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So Here We Go, Album Number Three By Till Von Sein. Attentive
Observers Of Tilly's Record History Might Notice, Something
Different Is Going On With This Cycle Of Tunes. Other Than The
Constitution Of His Previous Two Full Lengths, ocean' Tends To
Elaborate An Idea, A Pallet Of Sounds, An Overall Aesthetic, That
Come From Just One Place. Appropriate To The Release On Von
Sein's Own Label Imprint Tilly Jam, These Cuts Indeed Feel Like
Proper Jams. Deriving From A Certain Mindset, Building Up A
¢ow, Drifting Into Various Spheres, Delving Into Moods, And
Meanwhile, Forgetting About Time And Principles Of Structure,
Most Of His Previous Efforts Complied With. Surprisingly, No Vox
On Here. But Evidently, The Arrangements, Textures And Sonic
Nuances On ocean' Create A Narrative On Their Own. It Is An
Album That Puts Musicality Over Functionality. An Album To
Immerse Into, A Piece Of Music That Claims Attention And
Rewards With An Embracing Listening Pleasure. aloha', As The
Introducing Track, Sets The Tone Of Ever Reoccurring Leanings
Towards Balearic- And Mellowed Down House- And Funk
In¢uences. neptune' Directly Picks Up, Leading The ¢ow Of
Soothing Harmonies Into Slightly More Dancey Vibes. It's
Meeting The Relaxed Tempo Of cruise Control', Introducing Its
Catchy Synthbass And That Heart Melting Piano Hook. We Couldgo On, How The Funk Bass, The Spaced Out Break, The Tender
Chimes And The Harmonica Solo Of mission Muizenberg' Kind
Of Form The Centre Piece Of This Record, How junjung' Refers To
The Inciting Verve Of A Marching Band And At The Same Time
Grounds The Tune On Warm And Longing Melodies. How la
Boum' Is Bringing A Saturated Kickdrum Into Its Organic ¢ow,
How level 61' Merges G-funk Hints With A Neo-disco Attitude
Or How ocean' Lands This Record On A Dreamlike Loop. Yet, It
Wouldn't Paint The Picture Colourful And Bright Enough. Only
ocean' Itself Can Do. Album (release 22.02.19):

Both Stephen Vitiello and Taylor Deupree are seasoned collaborators. Each new collaboration is a new context, a new conversation and a unique opportunity to learn. Vitiello has worked with musicians such as Scanner, Steve Roden, Ryuichi Sakamoto and Machinefabriek. As an artist often
represented in galleries and large scale sound installations he has also had the frequent opportunity to work with visual artists from the likes of Tony Oursler to Julie Mehretu and Joan Jonas. Deupree has a long history of collaboration including early works with Christopher Willits and Richard Chartier as well as Marcus Fischer, Ryuichi Sakamoto, and Bon Iver's S. Carey. Fridman Variations is Vitiello and Deupree's third release
together and continues their tradition of exploring their unique form of experimental improvisation.
Stemming from a live performance at NYC's Fridman Gallery, Fridman Variations was co-produced by the gallery and will remain as part of the gallery's publications. Fridman Gallery is a visual exhibition space that also boasts a unique dedication to experimental music through their annual New Ear Festival, at which Vitiello and Deupree performed and recorded the main piece for this album.
Side A of Fridman Variations is the live recording, edited for vinyl while side B contains two pieces made with some of the same source material as the live performance and intended to be related, but entirely new, works. Guitar, modular synthesizer and a small tape synthesizer are at the heart of these songs. The improved layers draw on buried melodies and hint of feld recordings and found textures. Not overly melodic, not
overly noisy, Vitiello and Deupree like to fnd the edge between the pretty and the obscure, often suggesting more than laying their intentions bare. This type of sound is one that the duo often explores as an opportunity for Deupree to adventure beyond his melodic comfort zone and for Vitiello to work and experiment with new instruments and how they interact with his signature guitar.
One of the biggest inspirations to the artists for this work was the hushed and dreamy state of the audience during the performance. The late-night ambience added to the immersive quality of the surround speakers and helped to channel creativity and a sense of sharing
Both artists feel that recording live performances is an opportunity to capture a unique moment that simply won't happen again. Despite a performance's faws or imperfections the energy and interaction is a special moment in time for the performers and audience. The opportunity to not only document it for the listeners who were present but also to be able to share the moment with those who weren't there is a positive one.
To further be able to expand on the ideas in the controlled studio environment serves to enrich the experience and further the communication.

This March, the New York City-based imprint Absence Seizure will see its joint founders Abe Duque and Matuss join forces once more to deliver 'Seizure No. 11', following up on their recent collaborative effort 'Seizure No. 10' with another four tracks of soulful, stripped-down techno.

The EP begins in quintessential Duque fashion, running quirky and soulful melodies over a throbbing bassline and emotionally charged synths, whilst tying in the acid sounds that have been a staple of his music since his very earliest releases all the way back in 1993 as a regular in the New York wave of acid house and underground techno. '22 October' presents us with a progressive and skilfully executed cut, toning down some of the more muscular techno he sometimes produces in favour of a more freeform and chilled out vibe that layers funky synth melodies over bouncy rhythms and drawn-out sonic ambient textures.

The baton is then passed to Matuss for the remainder of the EP, beginning the journey straight off the bat with 'Between 4AM and Basement', beginning as an altogether more threatening number than the release's opener. The minimalism of the stripped-back beats instantly builds a dark atmosphere, creating a compelling flow through the track that opens up into a shuffling house-tinged beat and dreamy background soundscapes that carry you gently along for the ride.
The muted rhythms of 'Meet You at the Back Door' morph and skip around from one beat to the next to forge a jumpy and infectious musical trip that will instantly catch you up in its driven grooves. The EP's finale 'Moon Guardian' then opts for a different tack entirely, starting out with a confident, breaky beat and adding layer upon layer until the track reaches an exhilaratingly multifaceted climax. Unsettling cosmic ambience, distorted vocal samples, crescendos of noise and the ongoing and constantly evolving beats are brought to a perfect balance in this track, bringing the EP to a mysterious and gripping conclusion.

'Best electronic live set i've seen in two years!' CHRIS CUSACK (BOOKER, BLOC GLASGOW)

Fresh and heady slice of cerebral techno and out-there electro flavours.

EXTERIOR is the artist moniker of Edinburgh producer Doug MacDonald. Exterior represents his transition to electronic music and an embrace of the dancefloor. Doug played hardcore and noise-rock for a long time before eventually abandoning collaboration, nostalgia and formulaic rebellion in favour of synthesis. What he gained on the way was an understanding of the power of live drumming and years of finely honed performance-skills, something of an aberration in dance music.

Exterior thus represents a convergence of disparate personal and musical pleasures. Accordingly Exterior draws on rhythmic mavericks as divergent as Fugazi//Battles//Swans as well as DJ Spoko//Clark//Hieroglyphic Being. In addition, there is a deep undercurrent of melody and texture, drawing on the likes of Burial//Miles Davis//Bjork. Eschewing the modern home computer in favour of an exclusively hardware based approach, Exterior espouses a physical relationship to what is at heart an abstract practice, composing electronic dance music.

Perhaps it's unsurprising, then, that one of the things which really sets Exterior apart is his intoxicating live show. He gets the crowd going every single time he performs, so infectious is his energy, as he throws shapes and struts his stuff behind the gear, clearly 100% in the moment and his element.

His debut EP 'Public Transport' was released on London/Barcelona-based Land Recordings earlier in 2018. Having made his international headlining debut in Berlin in September, more continental sorties are currently being arranged (see below).

This record represents a significant move forward in sophistication and club-readiness.

On remix duties, anonymous analogue techno lover DALI returns on the back of four slices of extended club gear released via two Hobbes Music 12"s (2017-18), boasting colour-themed, screen-printed sleeves and an uber-simple design for that evergreen minimal aesthetic with a hint of mystique. These gained excited support/plays from the likes of Ben UFO, Nina Kraviz, Daniel Avery, DJ Deep, Laurent Garnier, Avalon Emerson, Twitch, XDB, Bill Brewster, Bawrut, Tom Findlay (Groove Armada) and many more... Clocking in (again) at just over 9 minutes, her 'Collapsing Star' remix is another marathon-length effort and does exactly what it says on the tin. Setting the beats to classic electro, everything's pushed hard until it all seems ready to fall rapidly apart (and it very nearly does), before dissolving in a fiery sizzle: a more visceral, dance floor accompaniment to Exterior's heady affair.

Long time unsung UK techno artist Aubrey is to release Gravitational Lensing, a first artist album since 2001 and his third in all. It lands in early 2019 on Out-ER and across 12 tracks it finds him getting more personal and instinctive than ever before with jazz, techno, broken beat and house all colouring this most coherent of musical adventures.
Aubrey s discography dates back to the early nineties, when he was a key part of the UK scene on labels like Solid Groove, Textures and Mosaic. Up there with the greats from Chicago and Detroit, he has turned out a steady stream of music that marries perfect dance floor functionality with real musical invention. Always inspired by anything deep with a good groove, everything from synth band Japan to funk king George Clinton, electro break beats to Jean Michel Jarre all inform his work.

As a DJ, he cut his teeth playing the biggest raves in the UK with names like Carl Cox and Eddie C having been swept up by the acid house records that hit English stores when he was just 15. Add in a love of jazz, ambient and US house, and you have all the eclectic influences that this criminally under-the-radar artist has drawn on for his latest album.

It is one that finds him really put his personal stamp on his sound. It s a chance to be more who you are and what you feel without pressure to conform to a particular sound, it s a chance to be free, says the artist of the album process. It was partially produced at Out-ER s studio in Nard , Lecce over the course of a year s worth of studio jam sessions, and is his finest and most cinematic work to date.

Things kick off with the ambient synth modulations of Aerglo Visible before exquisitely loose jazz drums and sci-fi pads suspend you in the cosmos on Floating to Rigel. There is an experimental feel to the off grid drums, rippling chords and drunken keys of Doctor Portia that keeps you brilliantly off balance, and the first deep techno trip is Journey To the Blue Planet , which has gorgeous ambience swirling over rolling, dubby kicks and soulful Detroit synth work. Carrying on through more lush, musical synth work and inventive drums, there are moments of heads down dance floor power and hi-tech soul, serene techno landscaping and chord-laced deep house that is superbly cerebral throughout the album.

In all, it makes for a complete and storytelling record that draws on a rich variety of genres and reworks them into something deep, multi-layered and hugely emotional that works as well in headphones, at home, as it will in the club.

Special remarks : 12' Vinyl +Downloadcode Tracklist 12: A1 Take A Moment A2 Action And Reaction B1 Eye Contact Info text: Dub and acid are the words as Marlon Hoffstadt goes deep on 'Simple Communication' the sixth EP in his Midnight Themes series. The Berlin producer has maintained a busy release schedule in 2018 and is intent on carrying through into 2019, starting with three tracks that fly the flag for his current sound: deep, dubby and subtly euphoric. Opener 'Take A Moment' is a finely tuned piece of weighty dubbed out techno with whiffs of vintage pool parties and a lonely acid line creepin'n'bleepin on the horizon. 'Action and Reaction' harks back to the 90s, rolling out waves of pads and melodies that ascend and descend while a mean old bassline keeps proceedings on track. Clocking in at 11 minutes, the two act play of 'Eye Contact' closes the EP on a blissed out note.

'Bobbie Gentry's The Delta Sweete Revisited' is
Mercury Rev's committed and affectionate
resurrection of an album that anticipated by three
decades their own pivotal expedition through
transcendental America, 1998's 'Deserter's Songs'.
From their recording lair in New York's Catskill
Mountains, the founding core of Jonathan
Donahue and Grasshopper with Jesse Chandler
(previously in the Texas group Midlake) honour
Gentry's foresight and creative triumph with
spacious invention and hallucinatory flair.
Gentry's stories and original resolve are brought to
new vocal life and empowerment by a vocal cast
from across modern rock and its alternative paths:
among them, Mazzy Star's Hope Sandoval; Laetitia
Sadier, formerly of Stereolab; Marissa Nadler;
Margo Price, the fiery new country star with a
punk rock heart; and Norway's Susanne Sundfør,
who cuts through 'Tobacco Road' with arctic-Nico
poise. Phoebe Bridgers, whose first record was a
softly stunning 2015 single for Ryan Adams' PAX
AM label, hovers through the acid-western
suspense of Gentry's 'Jessye Lisabeth' with floating
calm, like a comforting angel.

Fresh off their latest VA, The Press Group hand the reins over to up-and-coming Ukrainian producer Sasha Zlykh, here delivering his debut 12" effort. Clocking in with a quartet of club-oriented weapons and off-road house-y pumpers that shall bring dancefloors to a slow but steady simmer, the Kyiv-based producer blends in an avalanche of breaks-strewn rhythms, bleepy melodies and reshuffled UK bass patterns to create his own distinctive hybrids, halfway straight dance functionality and non-formulaic experimentality.

As playful in essence as it is serious in its execution, 'Lie To Your Mom' EP starts off with the title-cut, which works a wonky swagger that proves all the more infectious as bars fly by. Engineering a finely-woven mix of off-kilter drum programming, raucous analogue belches and volatile harp stabs distorted to the max, the track's shadowy intro is eventually offset by overlapping tides of luminous pads, released as one lets the light break through a vampire den. 'RnB Ritual' follows up close in the vein, meshing a brooding late-night-ish atmosphere with playful percussive mechs and sustained rhythmic accidents.

Flip sides and you'll be treated to a choice pair of remixes from in-house groove traders Rupert Marnie and Youthman. First in line, Marnie turns 'Lie To Your Mum' into a straight jacking and shuffling Chicagoan chugger. Going deeper into soulful terrains and lavishly-textured expanses, TPG's main operator exploits the whole melodic potential of Zlykh's original, bringing its anthemic power to further completion beautifully. More on the dubby end of things, Youthman adds his uniquely vibey touch to the main cut, deftly navigating betwixt a classic deep house kinda vibe, post-rave'y electronics and a Basic Channel-esque sound spectrum, which all in all should have people instinctively clapping their hands as their mind begins to sink into a weirdly introspective sense of euphoria.

Armagnac started in 2010 a label in metz all naked records & throwing up parties with his Fensch Groove Consortium (FGC) crew. After few years, he decided to move to paris france where between his writing for some famous french magazines & sites, he produced some marvellous tracks that keep the bobby konders spirit alive. This is spiritual deep house full of mystery and fuzzy textures that puts most 'deep' house to shame. ESSENTIAL ! SKYLAX RECORDS 4 EVER

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

Mark Van Hoen (prior jaunts in Seefeel, Scala, Autocreation among others) as Locust emerges with the first of a series of EPs for Transfusions that dive into unadulterated techno spaces that you were clearly not prepared for. Four powerful weapons start this series with sounds and textures that clearly incorporate Locust's indescribable signature that we have all fallen in love with but take the dance floor to an undisclosed locale where deep vibes transfix our minds into pure bliss. Armed with a new razor sharp identity and vision, we are in for an adventure. Completely new Locust logo and extra special sleeve artwork masterminded by Paul Nicholson (OG Aphex Twin artwork visionary). This is serious.

White Shadows In The South Seas is the title of a book written in 1919 by Frederick O'Brien as part of a trilogy he wrote based on his experiences living in the Pacific islands in the early part of the 20th century. His book was taken as the starting point for a film to be directed, initially, by Robert Flaherty (famous at the time for his groundbreaking documentary / fiction film Nanook Of The North) with W.S.Van Dyke as his support. The film, ultimately, apart from the title, had little to do with O'Brien's book and Flaherty left the film after a few months leaving Van Dyke to finish it.

I purchased O'Brien's book, along with many others, from Basement Books, a secondhand bookstore in Melbourne/Australia. Part of my 'Islomania' and on going fascination with all things Pacific. When I discovered there was a 1929 silent film based on the book I sought it out and started to present it as part of my 'Live Music/Silent films' repertoire. Tabu by Frederick Murnau, which coincidently also had Flaherty as co-director originally, was the first film I ever wrote / improvised a score for and presented as a live film/music performance. My repertoire extends to over 23 films now.

My eclectic and diverse musical and artistic interests extend into 'Hawaiian', 'Exotica', 'Ambient' and 'Electronic' Music. I have produced several volumes of so called 'Electronic, Ambient, Exotica' on CD and Vinyl, including Kiribati, Globe Notes, Rayon Hula ( on Vinyl, CD and digital format ) and most recently, New Globe Note on Vinyl and White Shadows In The South Seas on CD.
White Shadows In The South Seas features some of the music presented in my live screenings of the 1929 silent film.

The film is the story of Dr. Matthew Lloyd, an alcoholic doctor who is disgusted by the exploitation by white people of the natives on a Polynesian island. The natives dive for pearls, however, numerous accidents occur and one diver dies. In anger, Dr. Lloyd punches Sebastian, the employer. As revenge and to prevent further interruption of his activities, he tricks Dr. Lloyd onto a ship with a diseased crew (thinking they are ill) and his men rough him up and send the ship off into a storm. Dr. Lloyd survives and is washed ashore on an island where none of the natives have ever seen a white man before. Lloyd is rescued and ultimately falls in love with the chief's daughter, who is Taboo, hence Lloyd is prevented from pursuing his love for her. An incident occurs and a young boy is thought to have drowned but Lloyd is able to revive him, earning him points and permission with the chief's daughter. Lloyd begins to realise that the local islanders have no sense of the value of the black pearls which grow in abundance around their island and he starts to dive for them and collect them. One morning the white man Sebastian unexpectedly turns up on a scooner and starts to offer the islanders trade for their pearls. Llloyd tries to interrupt the encounter and is shot and dies. His wife and the islanders morn for his dead body and, symbolically, the passing of a way of life.

Mike Cooper plays - Electric and acoustic lap steel guitars / electronics / Zoom Sampletrack / Kaos Pad / Casio SK1 / Korg Drum Machine / Self Made Instruments.

It also features field recordings made on Pulau Ubin by Mike Cooper during a month as Artist In Residence for The Artist Village / Singapore.

I would like to acknowledge and thank Lawrence English (Room40 Records) for his assistance and encouragement with the original recordings and the CD version of White Shadows In The South Seas.

All music written and played by Mike Cooper PRS/MCPS - except Po Mahina (trad. Arr. Cooper) and Hilo Hanakahi (trad. Arr. Cooper)

Recorded and Mixed at the Steelworks in Rome 2012/2013.

A White Shadow In The South Seas
In February 2014 'A White Shadow In The South Seas' was the title of an audio-visual installation I made at the Teatro In Scatola in Rome, Italy, presented as part of a series of sound installations titled 'Visitazioni' produced by Proposte Sonore.

The essay below, as well as our collection of Hawaiian shirts, Exotica and Hawaiian vinyl records, was an inspiration for this installation.

'..the transformation and reconstitution of the souvenir commodity as an indigenous ethnic art form and a scarce relic of Hawai'i's romanticized past...' from - Clothing and Textile Reasearch Journal - From Kitsch to Chic by Marcia A. Morgado.

And....
Michael Thompson's Rubbish Theory (1979)
' ...a critical aspect of Western culture is the pre-disposition to see objects in terms of two overt categories: the transient and the durable. Objects identified as transient have finite life spans and lose value over time, whereas those identified as durable have infinite lives and over time increae in value....category assignments are arbitrary, but once assigned a category membership determines relative value. Fashion apparel-by defenition-is assigned to the transient category; paintings commonly are designated durables....how is it that transient objects.. ( e.g. Hawaiian shirts and vinyl records ) ..sometimes become durables.

Objects assigned to the rubbish category are largely invisible, have no value and, ideally, no life span. Fashion for example, no longer worn and relegated to the back of the wardrobe has fallen into the covert rubbish category. But rubbish can be rescued and transformed. Thompson says ' What I believe happens is a transient object gradually declining in value and in expected life span may slide across into rubbish. Here it exists in a timeless and valueless limbo where it has a chance to be re-discovered and be successfully transformed to a durable. Such transferes are radical: objects gradually slide from transcience to rubbish, but the transformation from rubbish to durable involves an all-or-nothing leap across two boundaries, that separating the worthless from the valuable and that between the covert and the overt. Things drift into obscurity but they leap into prominence.

The delightful consequence of this hypothesis is that in order to study the social control of value we must study rubbish.

The rubbish-to-durable transformation is accompanied by the development of highly specialized knowledge derived from the discovery of subtle variations and complex details that went unnoticed in the objects transient stage. The discoveries initiate renewed interest in the object and its market value begins to climb. As prices soar beyond the reach of ordinary people, the object becomes available only in high priced collectors' markets. Furthermore, as market values rise, the aesthetic value of the object undergoes a reassessment as well, and it becomes increasingly apparent that the objects intrinsic beauty has been overlooked. Ultimately the object is re -assigned as a durable and becomes recognized as a timeless classic.

Exotica, Ambience and Pacificism - A dialogue with Mike Cooper & Professor Philip Hayward Deputy Pro Vice Chancellor of Research Southern Cross University, Lismore, Australia.

New York residing DJ/Producers John Barera & Will Martin update their longstanding body of collaborative work with their first 2MR release since last year's exceptional 'Proceed To The Root' sophomore album... And it might just be their best work to date. Continuing the celestial theme of their last EP 'History Of Space'; the EP is the result of a whole new writing technique and heller time spent jamming on Will's Chroma Polaris synth. Comprising four tracks that simply ooze machine soul and loose-limbed groovemanship, 'Life, The Heavens & The Earth' is an ageless document that digs deep into the foundations while staring out into the cosmos. The tone is set by 'The Meaning'. Outer planetary electroid savoir faire; its crisp breaks are countered by the bulbous textured bassline throughout. It's followed by the title track 'Life, The Heavens & The Earth'; a spatial excursion built around a classic break and coloured with poignant arpeggiated cascades. Deeper into the EP we glide to strike warehouse gold on the venomous acid of 'In The Depths Of Madness', a layered analog jam that writhes and slinks dynamically in the spirit of Pierre, before closing with a track the duo feel is their most accomplished composition to date: 'Searching For Time'. Not just a title we can all relate to but a poignant emotional workout that touches your soul in the same way you first heard the instrumental of Information Society's 'Running'. Beautiful emotive electronica from a duo who keep getting better with every release. The journey to the root continues....

The dystopian reality is here but as humans possess enormous power to destroy, we are still subordinated to the greater powers of nature and material world. Desastere depicts the fragility of human experience when compared to space. The A side gives the sensation of inveitable and slow, intimidating superclusters with it's opener Mare Nostrum, and on side A2 - Supernova track that decelerate into hard-kicking loops. The B side is making an introduction to the final cut that will happen with the Cap on side 1 and B2 The Dune - which finalise the encounter in their off-beat and industrial manner.

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 worldwide such as DAC Records, Leaf, Cosmo Rhythmatic, Monotype, Radio France, Erototox.

After the solo album Paths Of The Errant Gaze in 2016 Reinier van Houdt returns to Hallow Ground with Igitur Carbon Copies - an album based on the unfinished gothic tale Igitur, a collection of texts that eventually was abandoned by its author Stéphane Mallarmé in 1869.

Connecting with Mallarmé's obsessions about chance and destiny, Igitur Carbon Copies is the fragmentation of all the roots that ran under its predecessor Paths Of The Errant Gaze and brings these to a provisional close: guided by David Tibet's voice reading the reworked text we descend through spheres of deserted anthems, disembodied voices, morse signals, crank calls, corroded tapes, radio statics, stones, while doing counting games. Here the acoustical spaces are manifold, blended or shifted in a heartbeat, where far and near, up and down are relative, where Riemann's god is pointless and angels are enjoying their space. Here perception is a vice that constantly hallucinates realities.

Reinier van Houdt started experimenting with taperecorders, radio's and objects at a young age. Later he studied piano at the Liszt Academy in Budapest and the Royal Conservatory in The Hague. He developed a fascination for all matters that defy notation: sound, timing, space, physicality, memory, noise, environment - points beyond composition, interpretation and improvisation. He has built himself an unusual repertoire that consistently resulted from personal quests; from composing with non-musical sources, from collaborations with composers and musicians, from research in archives or from unorthodox studies of classical music. He has collaborated with artists like Francisco López, Maria de Alvear, Robert Ashley, Luc Ferrari, Annea Lockwood, Alvin Curran, John Cage, Christian Marclay, Walter Marchetti, Charlemagne Palestine and joined the legendary outsider-collective Current 93 in 2012.

Soundwalk Collective is a multi-disciplinary audio-visual collective founded by Stephan Crasneanscki, including members Simone Merli and Kamran Sadeghi.

The Collective's approach to composition combines anthropology, ethnography, non- linear narrative, psycho-geography, the observation of nature, and explorations in recording and synthesis. The source material of their works is always linked to specific locations, natural or artificial, and requires long periods of investigative travel and field work.

Their recent projects include a collaboration with Patti Smith and reworking the archive of recordings on Jean-Luc Godard's film set.

For the 8th Marionette publication, Soundwalk Collective present 'Death Must Die'. A sound piece that began in 2004 and ended up as a composition for the PS1 radio in NY. For this New release the Collective has revisited the piece in a more musical way.

'Death Must Die' is based on Stephan Crasneanscki's multiple visits to the sacred Indian city of Varanasi, originally known as Kashi and Banares. Sacred texts maintain that Varanasi isn't even a city, but rather a lingam of celestial light, the subtle and cosmic form of Lord Shiva which manifested itself as a city for the sake of seekers of liberation. To bathe in the holy Ganga is to be purified of your sins. To die in Varanasi, is to attain liberation and to bring an end to the cycle of rebirth known as transmigration. Determined to capture the elusive reality of this ancient city, Stephan has day by day recorded and re-imagined his understanding of how to perceive the continuously moving stream of the holy Ganga; performing a simple form of sadhana, which request is to be very alert but also to allow your mind to be quiet, making it easier to slip into the streams, and into the current that both the city and the river are offering.

'Death Must Die' begins before the rising of the sun and reproduces the cycle of a day in Varanasi, going down the river that is believed to be the divinity descended to this Earth in the form of water. She grants us happiness and salvation. The composition attempts to emulate the vibration of Kashi that encourages the kind of interiority that enables a person to get a better perspective on reality than one might have, while constantly being in the current of human life. A vibration dedicated to eliminating the distinction between human and non-human, between alive and dead, between light and dark.

Reissue Des Livealbums "the Sole Inhabitant" (2008) Von Thomas Dolby. Seine Größten Hits Live Aufgenommen In Chicago Im Mai 2006, Mit Ausnahme Der 5 Tracks Auf Seite D, Die Im März 2007 Live Beim Sxsw Festival In Austin, Texas Aufgenommen Wurden. Doppel-vinyl Im Gatefold.

After Heading Up The First Three Releases Of His Akoya Circles Label, Look Like Brings A Brand New Name Into The Fold.

On The Motorsport Ep, New Swiss/ Serbian Talent Parco Palaz Takes Familiar Club Sounds And Reanimates Them Through His Own Prism Of Rhythm And Sound Design, Presenting An Unconventional And Sophisticated Debut Release. The Tracks Show A Mouth-watering Combination Of Heady Textures And Impulsive Movement That Mark The Young Producer As One To Watch For The Future.

The Lead Track, Motorsport Takes An Acid Trip Through An Imaginary, Nocturnal Landscape Of Hissing Percussion. Raw And Hypnotic, The Track Has A Looseness And Swing To It That Tempers A Tight Rhythmic Focus, Swelling And Pulsing For Sure Fire Dance Floor Heat.

On The Flip Side Palaz Steps Away From The Peak Time With A Pair Of Spacey, Ambient Leaning Electronic Pieces. Prelude To A Dream Is Wandering And Cinematic, Tinged With Psychedelic Melodrama. Slow Motion Is More Upbeat But Similarly Wide-eyed And Explorative. The Young Producer Experiments With Junglist Rhythms Against Soft Keys, Creating A Meditative Rave Homage To Round Off The Ep.

Following the path of their previous works, ASG releases the fifth chapter of the series.

Focused on evolving and captivating textures, the EP continues to scuplt the rhythmic soundscape developed through their journey. Pulsating grooves melt into ethereal atmospheres, while organic percussive elements tear up the mesmeric state.

Chapter V marks once again the narrative developed by the label, approaching an unexplored edge.

* 13 tracks featuring the likes of DRS, Serum, Riya, Cleveland Watikiss, Lorna King, L-Side, MC Fats, T.R.A.C and Sofi Mari.and many more.

* Colourful, effervescent, and energetic, the Brazilian drum & bass scene has given us some of the most distinctive production voices in the game. Including São Paulo's Level 2 and DJ Chap or, as they're known collectively, Alibi.

* 'In each of the songs, we expressed our feelings and each song carries a unique message. The album itself talks about life. We all go through times where we fall and get hurt. Then we get up and we recycle. In every single situation: we learn.' - Alibi

* Alibi signed exclusively to V Recordings at the end of 2015, and this LP shares the characteristics held dearly by both the duo and the label. Weaving together threads from the duo's shared funk, soul, reggae, and hip-hop influences with the drum 'n' bass tutelage of shared heroes like S.P.Y., Calibre, D-Bridge and the late Marcus Intalex, this is set to be the most complete statement of their musical vision so far.

* Each track from the album stands as an example of their impeccable production, starting with 'Debris' which is filled with cinematic textures and a sub-low reese typical to their sound. The album plays home to a handful of other lighter atmospheric pieces, including 'Recycle', 'Destiny', and 3 other tracks with Riya, Cleveland Watkiss and Lorna King, all gracing the booth with their vocals. The duo can effortlessly skip between sub-genres, shown by the tracks on the LP that would be more suited in a dark club at 5am, such as 'Smash Through The City' with Serum, L-Side & T.R.A.C., as well as the floor shaking 'Scuffed' - there's a style to cater to everybody.

* With V Recordings celebrating their 25th anniversary, there really is no better time for Alibi to cement themselves as one of the crown jewels of the label and the scene as a whole.

Time for some completely fresh business from a relative newcomer to the scene, though we're sure the name Cosmonection will be on your radars soon enough. The Parisian producer knocked us off our feet with a beautiful debut back in March this year on the fledgling Pont Neuf imprint. His '10 Feet Before The Horizon EP' was loaded with the just the kind of spaced- out, synth-heavy deep late night house that gets us all aquiver over here, so when a demo popped into the inbox we were all over it like a donkey on a waffle.

Here we present you with the Menorca EP; three blissed-out synth jams which explore the space between Balearic euphoria and Detroit futurism. On the title track a mournful Moog lead takes centre stage floating over a rising chord progression whilst punchy 909 drums bring the groove to the dance floor.

Next up, You picks up the pace for a deep and dubby house workout where soft focus pads converge with clattering percussion. Fragments of chiming melody bouncing around the stripped back groove.

Flipping over we have Light which shows Cosmonection at his most musical, layering up arpeggiating synths lines through a slowly building intro until a heavy groove with hefty kick joins the scene. The arrangement ebbs and flows as the rhythm drops out, rising synths creating anticipation and tension. This track feels like an ambitious fusion of musical styles and textures with 90's ambient colliding with Underground Resistance and coming up with a fresh sound for 2018 in the process.

Rounding off the record we have Delusions regulars, DJ supremos and all- round good guys Session Victim taking the reins on a remix of You. Keeping the warm, feel-good pads, the German duo inject a new found shuffle to the groove, bringing a wide-screen sensibility which adds a sublime yet dance-floor pleasing dimension to the release.

Bristol-based producer Drone finally makes his bow for Coyote Records with the release of new four-track EP, 'Light Speed'. Written over the first six months of 2018, 'Light Speed' forms Drone's most accomplished and absorbing release to date, bringing new textures, layers and depth to his music and to the club - a space where his beats have been a mainstay in the sets of producers like Kahn & Neek since debuting on Hear Other Sounds in early 2017. A regular at Coyote's Bristol parties over the course of 2016 and 2017 and inspired by the clinical, freeze-dried grime of label contemporaries like Last Japan, as well as Sector 7 bosses Boofy and Lemzly Dale, Drone has probed, honed and developed his sound to marry the raw impact of his early beats with detailed, widescreen scope. There are nods to the soundsystem culture of his new home city of Bristol on the coarse textures and booming, dubby low-end of 'Narroways' for example, while title-track 'Light Speed' captures the icy, shimmering Coyote sound aesthetic in full view. B-side tracks 'Probiscus' and 'Fangz' continue this theme apace, bleeding into one another like patchwork to showcase a grime sound moulded by the club, but finessed away from it. Born in Hastings, Drone has spent the last three years studying Music Production in Bristol, during which time he's guested on Rinse FM, released on London's Hear Other Sounds and Boofy and Lemzly Dale's influential Sector 7 imprint, as well as self-releasing a limited edition USB - comprised of a slew of unreleased beats - in February 2018.

UK Techno heavyweight Mark Broom and Berlin's Discrete Circuit have teamed up before - but this is their first fully-fledged collaboration aimed squarely at conveying just how well this combination works. A heavy hitting merger from both sides of the channel, boldly stating that form follows function. This collaboration is to the point.

MBDC The A side opens with a superbly engineered kick and counterpoint texture that allows for an otherworldly synth to slowly worm it's way out of the abyss. Frequencies open and shut to allow for the exact exchange of energy welcome in the mix. With no trickery, and at just the right moment, a pulsating binary hook reveals itself in the track and guarantees the desired effect. The A2 tilts the hat toward a stripped back motor city influence. Groovy, tooly, slightly dissonant. Blips, claps, punctuation where it works. Just the right shade of reverb and modulation, push and pull in the arrangement, reveal the versatility of the track and round out the opening side with punch. The flip side, and third track from the collab is also direct, firing up with the ubiquitous clap on the one. Looping acid and a purist minor stab alongside sizzling hats and rides force the energy ever upward. The break is needed as the expertly air drenched acid line opens up the whole space before driving back down into the intensity for the remainder of the cut. The final track of the EP features a remix of the B1 by Astray's other in-house producer, H4L. Back with a frenetic, broken, idm influenced belter of a remix with scattered and distorted 808's - all reigned in cohesively with some stellar beat science and gnarly touches. These 4 numbers are built for impact.

A trio of guitar, bass and drums, Elektro Guzzi overcome the boundary between analogue versus digital, performing techno live with the drive of a machine and the sonic detail of an instrument - without any computers or loopers. For their upcoming album Polybrass, Elektro Guzzi have drastically expanded their sonic repertoire: both in the studio and on stage, they are joined by an ensemble of three trombonists, opening up a whole new realm of possibilities. With Hilary Jeffrey, Daniel Riegler and Martin Ptak, the band are joined by three brass heavyweights, each of them well renowned for both their solo ventures as well as projects such as The Kilimanjaro Darkjazz Ensemble, Sand and Zeitkratzer. By treating the three trombones not simply as a set of extra instruments but rather as one coherent body of sound on its own, Elektro Guzzi dissociate the brass instruments from their conventional use and repurpose them into something completely different: a modular synthesizer, with each trombone representing one oscillator. In doing so, Elektro Guzzi add new layers of depth to their music, emphasizing a more cinematic side of their music: like the soundtrack for a movie, Polybrass is bigger, darker, more dramatic, more intimate. Warm and fuzzy textures float weightlessly above fragile soundscapes and complex sonic fragments. At the same time, the band's signature sound runs distinctly through the entire album: solid percussive grooves, stripped down to the absolute minimum it takes to make your body move. Hypnotic repetition, building tension and suspense up to a point where the energy of the music gets so intense you feel like you can physically touch it with your hands, interlaced with organic patterns of sound, constantly changing and evolving, pulsating and oscillating. Vinyl: heavy sleeves + heavy printed inner sleeves, 180g vinyl with download code.

Ukrainian label Muscut celebrates its anniversary - Muscut X (10) Test Pressign II - is the tenth record in a row. The first release was published in 2012 on 7 inches and was called simply Test Pressing. Like six years ago, the current vinyl is a compilation of Muscut's 'residents', as well as new friends of the label. Test Pressing II is 12 inches on which there are exactly ten tracks. Both sides are significantly different in color of mood. Party A starts with dub-drone sketches of key figures of the Odessa underground - Wildstyle Crew and Bryozone. Then we hear the mantra-like M2 - the work of the creative union of Nicola Ratti, Mads Emil Nielsen together with Nikolaenko. The Canadian sound-artist Mark Templeton continues the line of rhythmic textures crowned with unhurried percussion - it is in all senses of Soft Education at number four. The first part is completed by an exquisite curtsy from the Andrew Pekler label frequenter called Underwater Nocturne as a soundtrack for the perfect tea ceremony.

The second side confidently sets a completely different compilation rhythm from the very start - the tribal tribal dance from the Berlin project Native Instrument instantly introduces into a trance. It is followed by a warm, enveloping minimal synth track from the Ukrainian trio Nisantashi Primary School. The middle of the second side is decorated with the pensive house-ballad of St. Petersburg producer Fadeev known as AEM Rhythm Cascade. Another Russian settled next to him - Muscovite Oleg Buyanov, aka OL, with a massive broken dub Nutmeg. The final composition consists of burning afrosint motifs from luminary Odessan Vakula.

'Heritable Traits' is the first EP from Distant Echoes on his long-time friend Buck's Substrato records.

'Rail to rail' opens the release with a straight-forward techno groove which develop constantly reaching the climax thanks to an uncompromising mix of electrified modular sounds and deep textures. 'Barking dogs', the second track of the A-side, is marked out by a rolling kick pattern framed with an ever-changing yet hypnotic bass bringing you on a mysterious trip until the end.

On the B-side 'Lighthouse in the fog' brings us back to label's most intimate club attitude, where the 3/4 kick and the FM bass interact endlessly helped by moving textures and minimal hats, typical of Distant Echoes' productions. The B2 'Swirling thoughts' is a gently-hectic broken beat track, suitable for any use where the dreamy soundscapes contrast with the aggressive Cwejman grooves and kick. 'A walk in the field' closes the release with a down tempo sexy groove conceived for the most different sets, the catharsis is completed by the constant movement of LFOs embracing each others progressively until the end of the track.

Billy Milligan Trio, 3rd release of the label Lowlife Cartel, collects new ambient music that reflects our present moment. The musical aesthetic is described as a unified primitive/futuristic sound combining features of world ethnic styles with advanced electronic techniques. Predominant melancholic atmosphere, work on textures and hybridation with acoustic inherited by experimental jazz. Its title "Billy Milligan Trio", is a reference to sci-fi book from Daniel Keyes "The Minds of Billy Milligan".
The EP begins with "The Sky Was Pearl Grey" , by Shcaa (Archipel, Sharingtones), track, without beat, a guitar note accompagnied by a drone lament releases a trippy and introspective atmosphere. A light vocal, by Shcaa himself, comes subty at the middle of this gloomy exploration.
"Useless Man" by Mårble (Hair Del Records) is a leftfield saturated complaint, mixing jazzy and electronic elements. A distorted voice accompagnied by a piano as the key melody. "Para La Olimpiada" by Mårble is defined by fourth world music genre. The release ends with "Toll Fraud", by L:E:R (Archipel), cut from a full electronic live session, oscillating between a minimal beat and slightly evolving ambiance. In its entirety Billy Milligan Trio is a spirograph of uniquely experimental artists merging together to create something even more beguiling. A truly arresting listen.

Sometimes Magic Happens. Sometimes, Emotions Enwrap You In A Way You've Rarely Experienced Before. Sometimes, It's Just A Matter Of Freedom: The Freedom To Create, Improvise, Process, And Re-process, Without Specific References, Deadlines, Or Obligations To Please Whatever Markets Or Audiences With Clear-cut Styles And Sound Signatures.

Actually, This Tomat Petrella Affair Is Quite Unexpected. It's A Game Of Two: Turin-based Davide Tomat, Who Has Over Twenty Years Experience As A Multi-instrumentalist, Band Leader, And Sound Designer In Several Italian Projects (niagara, N.a.m.b., And Founder Of The Superbudda Collective); And Musician Gianluca Petrella, Hailing From Southern Italy But In Fact A Citizen Of The World And - More Importantly - One Of The Most Revered And Inventive Jazz Trombone Players In The World From The Last Decade Or So (as Stated On Several Down Beat Critics' Polls And Proven On His Blue Note And Ecm Releases).

'kepler', Their Collaborative Effort, Is A Beast Of A Different Nature. It Has So Many Textures, Intuitions, And Complexities That You Can Hardly List This Simply As A 'jazz-meetselectronica' Project.

So Much Cheesy, Well-educated, Nicely Predictable Music Has Been Produced Under That Moniker, But So Far None Of Them Have Had 'it'.

ADULT. '20 years ODD.'
Over the course of the last two decades, Detroit-based duo ADULT. (Nicola Kuperus and Adam Lee Miller) have released six albums and nineteen EPs and singles across some of our favorite labels: Mute, Ghostly International, Thrill Jockey, Clone Records, Third Man Records, and their own label, the revered Ersatz Audio. November 1998 marked their first release: the five-song 12" 'Dispassionate Furniture'. This September, twenty years later, Dais Records is proud to announce ADULT.'s seventh full length album: THIS BEHAVIOR.
The album began as 23 demos written and recorded in a remote cabin in the woods of Northern Michigan during the dead of winter. In total isolation, and with a reduced amount of gear (a modified version of their live setup) on the cabin's kitchen table, the duo were completely immersed in an incessant inescapable studio of their own making - looping, repetitive analogue sequences grinding away day and night. At the end of the intense demo session, a handful of peers were enlisted by the band for the difficult task of paring down the demos into the final album.

The result is 10 tracks of uncompromising dark electronics, showcasing ADULT.'s return to aggressive and energetic dancefloor mastery. Album opener 'This Behavior' alongside the follow-up 'Violent Shakes' (which ascends into synths wailing like warning sirens over Kuperus's commanding vocals) set the stage for an on-edge listen, while the heartbreaking 'Silent Exchange' unfolds as a beautiful sad synth dirge.  'Perversions of Humankind' breaks the mood - driving the listener into a slow and low groove before the frantic album midpoint of 'Irregular Pleasure'. 'Does The Body Know' is the album's post-punk anthem, with irresistible singalong 'we're out of order - we're undefined!' The latter half of the album drives forward with 'On The Edge (You Put Me...)' and 'Lick Out The Content', refusing rest and demanding movement and response. 'Everything & Nothing' emerges slowly from sparkling synth textures, snowballing with nervous energy into an acid techno stomper before the album comes to a close on the icy landscape of 'In All The Debris', a goose-bump inducing slow electronic mantra that closes the curtain on a massive album.

Artist statement on the album's writing process:
'It's confounding how often we negate the importance of disconnecting, getting weird, getting lost. Discomfort and joy intertwined. Day to day, theatrical self-presentation set to rest in our frantic social world. Public becomes private, almost too private. Looking out into frozen woods as you deliver your vocals. For who For what Taking walks along icy shorelines as you try to overcome writer's block, as you try to overcome yourself. Not seeing anyone for days and weeks on end. Overwhelming thoughts and feelings come rushing in; anxiety, fear, purpose, banality, futility of task, power structures, power struggles, pointlessness, collapse.You're faced to face yourself. Your awareness is heightened. You are neither here nor there. You are in a liminal state As you work in this isolated cabin your windows become mirrors.'

"Are we distortions. Are we distortions, perversions of humankind.Are we distortions. Are we distortions, twisted somewhere in time."

ADULT. '20 years ODD.'
Over the course of the last two decades, Detroit-based duo ADULT. (Nicola Kuperus and Adam Lee Miller) have released six albums and nineteen EPs and singles across some of our favorite labels: Mute, Ghostly International, Thrill Jockey, Clone Records, Third Man Records, and their own label, the revered Ersatz Audio. November 1998 marked their first release: the five-song 12" 'Dispassionate Furniture'. This September, twenty years later, Dais Records is proud to announce ADULT.'s seventh full length album: THIS BEHAVIOR.
The album began as 23 demos written and recorded in a remote cabin in the woods of Northern Michigan during the dead of winter. In total isolation, and with a reduced amount of gear (a modified version of their live setup) on the cabin's kitchen table, the duo were completely immersed in an incessant inescapable studio of their own making - looping, repetitive analogue sequences grinding away day and night. At the end of the intense demo session, a handful of peers were enlisted by the band for the difficult task of paring down the demos into the final album.

The result is 10 tracks of uncompromising dark electronics, showcasing ADULT.'s return to aggressive and energetic dancefloor mastery. Album opener 'This Behavior' alongside the follow-up 'Violent Shakes' (which ascends into synths wailing like warning sirens over Kuperus's commanding vocals) set the stage for an on-edge listen, while the heartbreaking 'Silent Exchange' unfolds as a beautiful sad synth dirge.  'Perversions of Humankind' breaks the mood - driving the listener into a slow and low groove before the frantic album midpoint of 'Irregular Pleasure'. 'Does The Body Know' is the album's post-punk anthem, with irresistible singalong 'we're out of order - we're undefined!' The latter half of the album drives forward with 'On The Edge (You Put Me...)' and 'Lick Out The Content', refusing rest and demanding movement and response. 'Everything & Nothing' emerges slowly from sparkling synth textures, snowballing with nervous energy into an acid techno stomper before the album comes to a close on the icy landscape of 'In All The Debris', a goose-bump inducing slow electronic mantra that closes the curtain on a massive album.

Artist statement on the album's writing process:
'It's confounding how often we negate the importance of disconnecting, getting weird, getting lost. Discomfort and joy intertwined. Day to day, theatrical self-presentation set to rest in our frantic social world. Public becomes private, almost too private. Looking out into frozen woods as you deliver your vocals. For who For what Taking walks along icy shorelines as you try to overcome writer's block, as you try to overcome yourself. Not seeing anyone for days and weeks on end. Overwhelming thoughts and feelings come rushing in; anxiety, fear, purpose, banality, futility of task, power structures, power struggles, pointlessness, collapse.You're faced to face yourself. Your awareness is heightened. You are neither here nor there. You are in a liminal state As you work in this isolated cabin your windows become mirrors.'

"Are we distortions. Are we distortions, perversions of humankind.Are we distortions. Are we distortions, twisted somewhere in time."

Moritz Simon Geist, media artist and robotic musician, publishes his first record. It is the world's first techno record played entirely by self-made futuristic robots. This is the 4-track EP to the following full-length album out 16. Nov. 2018. All of the sounds on his records are played by robots: small motors that beat on metal, futuristic 3D-printed robo-kalimbas, salvaged parts from old hard drives that click and cut. It took Geist several years to build, tweak, test and play all his DIY robotic instruments. His 'Sonic Robots' try to push the boundaries of the imaginable. He did so already in 2012 with his well-known oversized 808 robot - an iconic drum machine gotten real, 4 by 2 meter, filled with robotic parts which play the instruments live and in front of the audience. Now, Moritz Simon Geist goes even further to discover the unknown and futuristic world of techno robotics. For this quest he teamed up with the berlinian sound wizards from Mouse On Mars and dug deep in the history of mechanical music and experiments of early electronic music.

On the 4-track EP 'The Material Turn' Moritz Simon Geist turns materials into sounds. The opener 'Entropy' is a bassy club-track, played by futuristic bass-kalimbas, a psychedelic pattern of tonal glasses and pneumatic hi-hat patterns. It is core piece to this EP and is also featured in the main video. Even without a visual part, listening to his music, a sound world opens up which is unheard before: in definition, reference and organic nature. Geist: 'When you listen to robots playing, you realize, that they sound precise, but in contrast to digital sounds they transport an immense organic feeling. No beat is like the other, everything is played with actual acoustic physicality and thus actual error. On the same time, the repetitive nature of the robots make it perfect for playing electronic music. Its industrial and organic at the same time.' The second track 'Under Deconstruction' is a metal-on-metal slammer with a heavy beat played on a big sheets of metal. 'I often try to compose a track around one instrument', explains Geist, 'letting the sounds take a lot of room so they can stand out.' The B-side starts with 'Supercharged' - a heavy drone, reminding of the darked sides of music concrete. Here, tuned air fans, and a metallic percussion robot create the texture. 'Detok' closed the EP with an up-tempo club track, featuring complex rhythmic textures and well defined robotic percussion elements. What Moritz Simon Geist came up with is a stunning record of what is possible today - to explore the sound of mechanics that keep on filling our world. Geist creates a smashing soundtrack for both the precise automation and physical fragility that shapes today's society.

MANOID returns to Hafendisko this October with his debut long player 'Truth', comprising six original tracks on vinyl from the Polish producer and live act. Rising producer MANOID has been steadily developing his unique approach to electronic music for the past few years, releasing his first tracks in 2014 and co-producing material for fellow Polish artist Pola Rise, whilst taking his live act across the globe to The Netherlands, South Korea,Iceland and more. Here though, we see him marking a milestone in his career with his debut album for hafendisko, the Hamburg-based sublabel of hfn music. Across the Truth LP MANOID delivers an amalgamation of styles ranging from jazz-tinged electronica through to modern classical and techno- due to MANOID's origin often referred to as 'Forest Techno'. One half of Darkness Falls and Trentemøller collaborator Josephine Philip also delivers vocals on 'Take Me', adding yet another musical twist to the package, whilst further ideas came to fruition through field recordings such as 'When' which is based upon recordings from a textile museum in the city of Lodz, and 'For Roses' which was initially made as a lullaby for MANOID's niece but he felt was a little too dark so later developed it into this enchantingly eerie composition for the album. MANOID's debut album radiantly displays charm, maturity and musicality throughout and joins the thread of his musical influences and experiences perfectly.

Positive Centre marks the 5th release on his In Silent Series label
with 4 tracks of weighted mechanical workouts that feature his
honed atmospheric style with brooding scenery and sharp
percussive accents. Isolated Loop takes a crunched and spat out
growl of an acid synth and blends it with ever developing drum
machine patterns as a weaponised techno tool. Tension Arm builds
on this with sharp percussion piercing over a hard edged bassline
and atmospheric scenery. Idle Roller is a deep, sub-aquatic rhythm
journeying to parts unknown with subtle switch in rhythm keeping
the momentum going through this textured sound world. Sum
Tolerance fractures open with stretched sounds of otherworldly
instruments, sludge laden beats and humming bass pressure.

After more than a decade of deep, expansive productions on labels such as Detroit Underground and CPU, Annie Hall arrives on MUSAR for a record typically rich in texture and understated grooves.

Opening track 'Linium' immediately seduces listeners with a complex drum pattern that somehow feels spacious, subtly twisting and turning its way around Hall's analogue world. Dutch artist Mattheis maintains this understated feel but adds a soft, compelling kick in response on his suspenseful remix of 'Lavandula'. The original, moodier version of this cut the follows to open the B side, gradually erupting around a killer distorted bassline. The EP continues to hit a more urgent note with the tense machinations of 'Silene', where dense layers of stuttering, frenetic drums interweave with Hall's trademark, melancholy keys. The record concludes on a weightless, transcendent note with 'Santolina', taking each visceral element featured thus far and slowing each down, with affecting results.

Indebted to vintage electro and IDM, Hall's music is no throwback, always looking forward and moving dancefloors in the most unexpected ways.



DJ FEEDBACK

Early support from



Michael Mayer (Kompakt) : Nice vibes from Mattheis... will play for sure!

James Zabiela (Born Electric) : Linium is a nice one, thanks.

Arnaud Le Texier (Cocoon / Chronicle) : Nice music. Thx!

Marcel Dettmann (Ostgut Ton/MDR) : Thx!

Carl Craig (Planet E) : Thx!

Gonno (Beats In Space Records / Endless Flight) : I like Mattheis' :)

Thomas Hessler (Index Marcel Fengler) : Nice one! Thank you!

Slam (Soma) : Thanx

Âme (Innervisions) : Thanks

Blasha & Allatt (Meat Free / Manchester) : Amazing!

EREZ / John Byrun : A superb EP

Tom Lye (Melodic Distraction - Liverpool) : Big fan of the whole EP. Strong, building electro with different moods. Essential!

Afrodeutsche (NTS / LuckyMe / Skam) : Glitchy melodica... Right up my Strasse...

DJ Shiva / Noncompliant (Valence / Detroit Underground) : Stellar music here. Moving beyond "DJ music", this is just really fantastic to listen to in headphones. Gorgeous stuff.

Lonya (Asymmetric Recordings) : Great stuff here!

Nori (Posivision) : Cool work.

Cinnaman (Rush Hour / Naked Naked) : Lavandula and Santolina are my favorites! thanks

Dj Windows XP (E-Beamz) : Dope E.P. Will play Lavandula.

Ambivalent/LA-4A (Delft/Cocoon/Ovum) I'm a huge fan of Annie Hall and Mattheis!!! This is a FANTASTIC release!! One of my favorites of recent months just on first listen!!

Benoit C (Tsugi) : Linium for me

Ian Blevins (ESP Institute / Sulk Magic) : Linium and another bit of top work from Mattheis. Santolina is pushing my buttons too. Aphexy vibes.

Joe Europe (Ransom Note) : Very nice!

Azterisco: Very interesting record. Nice remix!

Oded Peled : What a fantastic release! Was hard to choose a favourite between Linium and the Mattheis Remix of Lavandula. Both will come in handy in my sets. ....Thanx a lot and keep em coming.

Naduve (Cocktail d'Amore / Disco Halal) : Both A1 and A2 are great!..Thanks.

Anastasia Kristensen (Nous) : I dig this a lot, it's a crazy well produced record.

Demia E.Clash (Darknet) : Such a good ep-.i love them all,quality production yess.

Pedro Martins (Karakter Records) : Nice EP overall. Linium, Silene, and Santolina are my favorites. Thank you so much!

Xinobi (Discotexas) : Great record. I'm specially enchanted by the original version o Lavandula. Congratulations.

Scan Mode (DJ Mag Spain) : Lavandula in both mixes for me

John Osborn (TANSTAAFL) : Can't pick a fav. it is all Devine. thank you.

Madloch (Sound Avenue) : Nice EP, Linium & Lavandula original are my favs, thanks.

DVS NME (Transient Force) : The standout track is Lavandula.

Planet E are proud to present 'AW18 Collection', a 3 track EP from British producer Tom Flynn due September 14th. Drawing upon a broad and learned musical understanding, 'AW18 Collection' fuses disparate strands from the worlds of fashion, club culture and sound design to forge a highly atmospheric, singular release. 'Packard', the title of which is inspired by parties in the historic Detroit power plant of the same name, establishes an unrelenting energy from the get go. A bouncing kick lays the foundations for rolling synths, unnerving vocal samples and delicate piano refrains to wander. 'Anna' is an indulgent nod to the catwalk, marching with intent amidst immersive chords and subtle melodies. The B side hosts a trippy cut full of interplanetary glitches and melancholic harmonies. Drawing upon hints to the extraterrestrial, 'Marx' creates a dizzying swirl with glistening textures. Carl Craig was sold straight away: 'When Tom sent me his demo of 'Packard' I knew I wanted to release it on Planet E. The mix of looped electronics with soul of the piano brought me back to when I first heard the post-Disco classic 'Beyond the Clouds'. I can imagine the kids on The Scene rockin' hard to this.'

Silicone Soul welcome the return of old friend Justin Robertson as he brings his much- loved Deadstock 33s project back to Darkroom Dubs. Last spotted on the label only a matter of weeks ago with 'Infinite Interchange' on the 'Darkroom Dubs Presents Summer Love' collection, here he builds on the momentum with two more singular missions deep into the timeless analogue abyss. What's more, they come covered with a print of one of Justin's very own hand-drawn pieces. 'Dr. Spectro On The Frontier' marks the start of this new Deadstock trip. Celebrating the lesser spotted DC super villain who could control people's emotions with a brazen line or two of sinewy acid; what starts off dark and gnarly gradually unfolds into a much more emotional narrative. Watch out for the harmonic riff that rekindles feels of raving fields and a salvo of chords towards the climax that genuinely will control your emotions.'The Music Is Madness (To Those Who Cannot Hear It)', meanwhile, is more than just a poetic title. Already a summer anthem at A Love From Outer Space, it's a roomy, cosmic affair that's laced with layers of trippy textures and chugs at a cool 120. It's one of Justin's classic signature smouldering sessions; what ostensibly seems forlorn and introspective is actually coded with deep hope and positivity. You'd be mad not to hear it.You'd be mad not to stay tuned too... For the first time in Darkroom Dubs history, this release and all this year's vinyl dispatches will be released digitally as part of an end of year compilation, 'Tales From Underground Vol. 1' and will also feature an exclusive Silicone Soul remix of Rigopolar & Cannibal Ink's 'Thousand Years Before'. And to round the year off The long-awaited new single from Silicone Soul themselves.

Brendon Moeller offers up his 'Set In Motion' EP on Echocord sub-label Echo Echo this September, comprising three originals from the Dub Techno veteran. South Africa, New York based producer and DJ Brendon Moeller aka Beat Pharmacy/Echologist has long been respected as one of the pioneering figures in ethereal, dubbed-out Techno with regular appearances at global hot spots like fabric, Berghain and Cielo as well as releases on labels like Third Ear, Kimochi, Neovinyl and Echocord. Here though we see Moeller joining the roster of the latter's sublabel Echo Echo, marking its fourth release. Title-track 'Set In Motion' leads with Brendon's signature murky synth textures at its core whilst lumpy low-end tones, shuffled hats and spiraling dub echoes fluidly undulate amongst one another throughout. 'Eastern Beach' follows, and as the name would suggest, nods towards brighter sounds with airy pads, soft bell chime synths and pulsating subs driving the composition alongside swinging, heavily reverberated percussion. 'Economy' then closes the package, stripping things back to gritty dub stabs, dusty 4/4 drums and billowing noise sweeps.

New 4-track Ep From Austin, Texas Analogue Hardware Enthusiast Bill Converse. Immersed In The Early Days Of The 90s Midwest Rave Scene, Bill Began Djing At A Young Age In Lansing, Michigan. Luminaries Such As Claude Young, Traxx, And Derrick May Were Key Early Influences. Techno, Noise, Ambient And Tape Processing Are All Part Of His Uncanny Sound Palette. His Debut Album 'meditations/industry' Was Released On Cassette In 2013 And Edited For A Vinyl Release On Dark Entries In 2016 Followed By Two 12' Singles 'warehouse Invocation' And '7 Of 9' The Same Year. In 2017 Converse Released His Second Album 'the Shape Of Things To Come' Followed By The Double Ep 'salt Of Mars'.

'hulled' Is A 25 Minute Journey Spread Across 4 Tracks Of Glacial Abandon. All Tracks Were Recorded Directly To Tape With No Overdubs, Made At Converse's Home Studio. Bill Says These Tracks Represent 'ocean Waves In Stormy Conditions, Dark Grey Blue Water, Or More Generally Speaking Something Ominous And Beautiful.' The Songs On This Album Reveal A Sublime Influence From Detroit Techno, Idm, And Acid. Built Around Vintage Synthesizer Lines And Gritty Drum Machine Percussion, The Tracks Ebb And Flow Like The Effect Of Sun Shimmering On Water, Woozy, Gauzy And Ephemeral. All Songs Were Mastered For Vinyl By George Horn At Fantasy Studios In Berkeley.

Each Ep Is Housed In A Die-cute Jacket Designed By Eloise Leigh With Peachy Pink Patterns Landing On An Alien Water Planet And Seeing Mysterious Playing Forms Under The Turquoise Water. Each Copy Includes A Postcard Featuring Photo Of Bill With Notes.

Cat.no.: De 222
Format: Ep

Tracklisting

Planet Mu Are Very Happy To Be Releasing 'vicious Circles', The Debut Ep By Sinjin Hawke And Zora Jones, Who Aside From Producing Music Also Run The Audio-visual Production Unit 'fractal Fantasy'. Zora Released Several Collaborations On Last Year's 'visceral Minds 2' Including 'dark Matter' With Planet Mu's Jlin, While Sinjin Has Collaborated With Dj Rashad, Just Blaze And Mikeq, And Also Produced Music For Monoliths Like Kanye West And Frank Ocean. Remarkably, Given The Breadth Of Their Work, 'vicious Circles' Is Their First Collaborative Ep, And The First Time Either Have Released A Vinyl Record Too. The Ep Is A Great Showcase For The Duo's Emotional, Maximalist Chimeras Of Abstract Pounding Beats. From The Punchy, Circular, Grandiose Build-ups Of Opener 'vicious Circles', To The Unyielding Melancholy Of 'god' With Its Sinister Bulgarian Choir Sample Against A Peak Timbaland-era Rhythm, The Record's Potent Synths And Manipulated Vocals Are Both Simultaneously Fierce And Friendly. 'source Of Conflict' Is A Poised Dance Between Pulsing Ambient Textures And Drilling Beats, While 'lurk 101' Pits A Volley Of Abstracted Juke Toms Up Against A Hammering Drumline. 'babyboysosa' Feels Like Drum-less Drill, Manipulating Vocals Into Strange Alien Shapes Over A Bassline Before Spiraling Toms And Hi-hats Start To Form A Forceful March. The Ep Concludes On The Love Anthem 'and You Were One' With A Chipmunked Vocal Running Through Its Wonky Chorus Of Bent Notes And Chords.