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This November will see Elia Perrone launch his new Jun'Ai imprint with his very own 'Flowers' EP, accompanied by a remix from Romanian minimal powerhouse Vid.

Tuscan producer and DJ Elia Perrone has long been one of the most respected figures in Italy's underground electronic music scene having co-founded the Klang Club in Arezzo which has seen him play alongside the likes of Simoncino, Juju & Jordash and Move D. Amongst this Elia, alongside brother and production partner heads up Unclear Records which plays host to their collaborative works as Easy To Remember as well as material from the likes of Baby Ford, Roman Fluegel, Christopher Rau and Dandy Jack amongst others.

Here though we see Elia turning a new chapter with the launch of his Jun'Ai imprint and taking the lead on the inaugural release is 'Flowers', a mind-altering slice of micro house fueled by pops, whirrs, clicks and sample cuts while fluttering atmospherics and bright string plucks ebb and flow throughout the murky depths of the composition. Vid aka Egal 3 steps up on remix duties to follow, delivering a straight edged take on things via crunchy organic percussion, billowing echoes of the original's atmospherics and a robust sub driven bass line.

Opening the flip side is 'Rain Smell', a slow brooding, hypnotic number employing dynamic string licks, modulating synth drones and bumpy 4/4 drums before 'Moshishi' closes out the package with airy ethereal textures, glitched out off-kilter percussion and rumbling low end tones.

Minimal hardcore and bloody fat hardfloor... minimistic and loud at bass. A bloody good combination to be played with the Radiation Des Sdillons 01:)

Idle Hands continues its quest to support new talent coming out of Bristol with a fresh 12" from local beatsmith Crump. Up to this point, he's been quietly slipping out razor sharp reduced house cuts on various artist releases for Extended Play and Banoffee Pies, but it's high time he had a 12" of his to truly showcase his sound.

The two tracks on this single tap into a consistent thread on Idle, fusing the minimal sensibilities of contemporary European house music with a swung, dub-weighted presence fit for soundsystem consumption in the fair city we call home. Much like previous releases from Leif, Christian Jay and Matt Karmil, this is a demonstration of stripped down music loaded with swagger.

"Ice & Spheres" pivots around an ear-snagging 2-step shuffle that cuts through any mix, but there's scores of subtlety woven in between the drums to reward the attentive listener. Snatches of vocal, distant field recordings, low-blowing synth licks and other unidentifiable sonic matter lurk quietly in the mix to cast a spell on the sleep-deprived twitcher and warm-up head-nodder alike.

Sporting a brighter disposition thanks to the sheen of its chords, "Mechanisms" provides a different vibe on the flip. The beat throws down with a rugged nod to West London broken styles while still tapping into that aforementioned continental 4/4 sensibility, injecting a refreshing variation into the densely populated minimal house landscape while maintaining the meditative qualities that keep the genre close to our hearts.

Arvid Wretman once again dresses up as everyone's favourite rave crooner Your Planet Is Next, delivering a stripped down, club-optimized follow-up to last year's Studio Barnhus debut. Focusing on minimal elements with maximal impact, the Laid Back EP ranges from rainy-day acid blues to Bill Hicks-channeling breakbeat choons, all perfected for modern soundsystems by inhouse mixmaster Pedrodollar and presented in a gorgeous full colour sleeve designed YPIN himself.

With its sixth release NEW YORK TRAX continues the mission of highlighting the jewels of the New York underground. Liquid Asset is a Philadelphia-born Brooklyn-based hardware virtuoso who has made a name for herself by virtue of appearances on labels such as E-Saggila's Summer Isle Brooklyn's own Primitive Languages
Jacktone and Acid Etch where she has recently delivered a furious 7' split with Isabella. Liquid Asset built her own 808 and 303 clones by hand. The modified 303 is particularly audible in the opening track of the record Ephemeral Nights' where she did not waste time on an intro and went straight to creating a sonic pandemonium by blending an airhorn sound with frenzy acid basslines and a hardcore-leaning 909 kick. Contact' is a merciless creature of the night with its relentless dark groove building up throughout this composition cannot easily be classified as a representation of any particular genre. Controlperception' opens the B side. Here Liquid Asset plays with a cheerful acid line over a dreamy landscape often punctured with bleeping sounds. Finally in Forgetmenot' two opposite sounding basslines intertwine creating a minimal yet very capturing composition to close this one of a kind record.

«Prelude» EP is the inceptive release of Oxmose, which marks the first entry in an ongoing catalogue, and the beginning of a journey with various artists. At its heart, the «Prelude» EP is a dialogue between two composers, a conversation that traces the line between abstract, electronic experimentalism and gliterring interpretive jazz. Parisian producer Shcaa takes control of Side A with 'Core', a near 20 minutes exploration into sound, which skirts the fringes of avant-garde minimalism and experimental rhythms. The song's acute cadence lays a dense and atmospheric foundation for the EP. - Side B sees Romanian artist Traian - Chereches offer-up an absorbing - counterpoint to Shcaa's opener on 'Cage'. The energy of Chereches' rebuttal fuses organic and interpretive sounds into a deft jazz reinterpretation, revealing a wide and surprising cinematic ambience. Mastered by Rashad Becker from Dubplates & Mastering Berlin, « Prelude » will be released on limited edition 12'', 180g heavyweight vinyl - with an outer sleeve featuring handmade artwork created by graphic designer Alice Voinea. The organic materials used in her work, emphasizing the interchange of the record, adding a further layer of continuity, one that streches between the artist, the music and the listener. - Written by Tom Fenwick

Finnish visual artist and filmmaker Hannu Karjalainen's music draws inspiration from ambient, drone, modern classical and dream pop. His first album Worms In My Piano was released in 2007 on Osaka Records and the second album, Hintergarten in 2009 on Simon Scott's Kesh Recordings. A Handful Of Dust Is A Desert, his third album - and the first under his full given name - arrives after a prolonged break.

Hannu Karjalainen's association with Karaoke Kalk started with his remix of Dakota Suite's The End Of Trying Part III on The Night Just Keeps Coming In in 2009 which also featured remixes by the likes of Hauschka, Deaf Center, Loscil and many more. Now, luckily for all concerned, Hannu is releasing a full length album on the label in the form of the exquisite record A Handful Of Dust Is A Desert.

The album opens with the track Angel which is a truly heavenly composition reminiscent of Boards of Canada's finest work. The Emigrant makes effective use of sinister synth-lines and delicate glockenspiel patterns to invoke a kind of science-fiction soundtrack atmosphere. Throughout the record, our ears are graced with truly sublime sound-scapes and transcendent textures.

The title track is actually the shortest tune on the album, but in no way less evocative. It's looped piano melodies are comparable with Susumo Yokota's later recordings in their minimalism and poise. A Year In a Day continues to walk the fine line between ambient and electronica - which is one of the albums great virtues: it shows how lively and eventful ambient music can be. Certainly ambient music benefits from having a strong pulse as Karjalainen demonstrates in various tracks on the album. The song Love Is A Black Lion features a sample from the afore mentioned Dakota Suite tune The End Of Trying Part III, and therefore somehow closes a circle.

This powerfully contemplative album comes to a controlled landing with the majestic Breaks My Heart She Aria, another in a long line of mesmerizing drifts, with a floating choral voice delicately enveloped in strings and pitched percussion.

A Handful of Dust Is A Desert is instantly captivating and for lovers of ambient music, dream listening. As an artist who trained in photography and is mostly active in the world of visual art, Hannu Karjalainen clearly enjoys a great deal of creative freedom in his music. This is the kind of desert you won't mind getting lost in and even take pleasure in roaming through the expansive sonic landscapes and horizons it embodies.

EMEX is the emergent project of George Apergis, who is the owner of Modular Expansion records. His brand new release 'Hyperion' is a collaboration with Studio 416, a mysterious project which based in Berlin. 'Hyperion' is a hypnotic, minimal track with deep chords which progresses into darker territories while the dark strings come. The release includes 3 massive remixes. The first one has been remixed from Alexander Kowalski, who has created a perfect groovy tool with his unique classic style, an instant hit. The second remix is coming from the legendary Brian Sanhaji, who is making the track darker with his pumping futuristic version. The release is closing with the hard, minimal and melodic remix from Subjected of Vault Series, an artist from the upcoming Berlin techno scene.

Written & Produced by George Apergis & Studio 416

After the last years widely appreciated 12 with two extraterrestrial dancefloor cuts on Jon Rust's Levels imprint and a handful of now hard-to-find 7 releases, the estonian musician/producer Ruutu Poiss returns to his minimal funk and leftfield synth-pop roots releasing a debut EP on International Major Label. The six selected homerecordings from 2011-2016 reflect almost a chronological and kaleidoscopic journey through the authors musical explorations, instrumental storytelling and unique sound design, imaginatively non-locking to existing genres. From subtle vocals to vicious toms; celestial soundscapes over restless rubbery bass; shimmering synths over polyrhythmic structures - an environment of romantic futurism and organic transformation appears, surrounded by a warm psychedelic sound palette. Previous releases played and supported by Secretsundaze, Benji B, James Blake, Mary-Anne Hobbs, Call Super, Omar-S and many others.

Transversales is a French label based in Paris founded by Sebastien Rosat & Jonathan Fitoussi.
Transversales is specialised in the reissues of long lost tapes, rare original soundtracks and library.
Jonathan Fitoussi is a French composer residing in Paris. He works on minimalist and contemporary musical forms. He's also audio restoration engineer at INA & INA GRM. Sebastien
Rosat is a French Music Supervisor working for Films, TV and Advertising. He's also a member of French electronic duo Sommet.
This first release is the original soundtrack of the film Rock, composed in 1982 by Bernard Parmegiani (1927-2013). A major figure of Electro Acoustic music and member of the historic GRM
(Groupe de Recherches Musicales) where he composed an important work of concert, among which is the masterpiece: De Natura Sonorum.
The work of Parmegiani, a virtuoso of the magnetic tape, is widely known to the public even without their knowledge, through the famous title he composed for the TV program Stade 2', for the French radio France Inter and also through the jingle adopted by Roissy-Charles de Gaulle Airport in Paris (1971 - 2005).
Bernard Parmegiani produced a large number of jingles, soundtracks and indicatives but ROCK stands apart in his repertoire. He recorded it without any outside constraints in his own studio. On listening to ROCK, one is reminded of John Carpenter or François de Roubaix: a work which mixes the sounds of the TR-808 drum-machine, Synthi AKS, Farfisa organ and Clavinet.
Limited Edition Remastered from the Original Master Tapes / Exclusive liner notes

"On Suicide's First Rehearsal Tapes, recorded in 1975, Alan Vega and Martin Rev create minimalist aural structures, traces of which would surface on their eponymous debut album, released on the Red Star label in late 1977.

These songs are not a sketchpad of semi-formed ideas. The First Rehearsal Tapes comprise an audio diary of two men out in the ether, measuring themselves as evolving individual artists and as a unit who would rely on inseparability to realize their unique and often confrontational mass in the decades to come. What the tapes also reveal is that Vega and Rev were compositionally ambitious, capable of melody and form, while resisting definition as they headed further into uncharted territory.

The First Rehearsal Tapes afford the listener a glimpse into the creative process of two groundbreaking, true art warriors with their swords and shields leaning against the practice room wall. To understand the absolute brilliance of Suicide's first album as well as their sonic adventures that followed, you have to start here with their earliest recordings."

- Henry Rollins (excerpt from the liner notes)

As the head of Grounded Theory and MANHIGH, Henning Baer has since 2009 presented his downcast, experimental interpretation of modern electronic music to wide critical acclaim, establishing his forceful presence on Berlin's scene with immaculate curatorial skills and equally imposing DJ abilities. His discography so far, concentrated on Adam X's legendary Sonic Groove imprint and his own K209 and MANHIGH imprints, amongst others, keeps step with his formidable reputation and wide-ranging tastes, moving across the spectrum of hard-edged, aggressively modern techno. With 'Shatterproof', his long-germinating debut album for MANHIGH, he offers for the first time his unified vision in extended format, a varied exploration into the outer limits of the genre. At its centre a work of dark minimalism, he sets and maintains the pensive tone on ambient pieces like 'Angel Dust', 'All Over', and 'MIL-STD 461', which foreground the exploratory electronics that maintain their presence throughout. The corroded textures of the sounds, enveloped in decaying reverb, bring life to pieces like 'Never Ending' or 'Bliss', which sit between rhythmic interludes and the stricter dancefloor material found on the remainder of the album. Once he shifts into techno, he does it unremittingly, from the uptempo fury of 'Code Buster' and 'Burning Chrome', whose starkness only heighten the tension, to denser pieces like 'Drama Sky' or closer 'Vermillion Red', where the cavernous impacts of drum hits punch holes through beds of seesawing synthesizers. Shatterproof like its title suggests, Henning Baer's first album unifies and strengthens the work of an artist whose legacy is already assured.

Sublime compilation of long-lost Australian indie-pop, acoustic jangle and beat happenings gathered by Melbourne-based collector and DJ Bayu and label head Moopie. Twelve tracks of singular vision spanning up- and downbeat pop, post-punk and minimal synth rarities recorded between 1982 and now. Australian twee pop royalty the Cat's Miaow shares the stage with the Cannanes and the Particles; Ya Ya Choral with Sarah Records' own Even As We Speak. Included is the previously unreleased 'Dot', by Mutant Sounds cult band Maestros and Dipsos. Full colour reverse-card sleeve with printed insert and lyrics sheet.

Following a run of local transmissions from A Sagittariun, Crump, Rob Smith and Atki2, Idle Hands turns its attention to Berlin and the straight-up, no-nonsense techno thrust of Johanna Knutsson and Hans Berg. Both respected artists and DJs in their own right, the pair have been turning out 12"s together for The Free Spirit Society, Klasse and Crime City Disco over the past few years, but most importantly they've been steering the excellent UFO Station Recordings as a vessel for their punchy, primal techno tracks.

The sound on this EP taps into the pure form of stern, dark dancefloor tackle favoured at Idle Hands - no extraneous filler, plenty of space in the mix, but equally built with warmth and personality rather than monochrome functionality. If you need further proof, just look to the fact the EP is named after a Swedish soap opera from the 90s.

The bleeps and bass tones that pulse through "Taggen" are so finely crafted they need not skip and dance around the arrangement. The melodic interplay on "Klimax" is subtle but ultimately uplifting and optimistic where so much techno concerns itself with oppressive gloom. "Bimbo" finds the pair embracing a more psychedelic approach, but even here the modulating effects processes are kept within certain boundaries so as to not dilute the impact on the floor. After all, this is music to dance to, to be felt over a large system (where possible).


Moving from leftfield bass excursions to minimalist 2-step, UK techno and now onto this much more continental sound, theMälarviken EP continues to widen the range of Idle Hands' musical tastes without losing sight of the complete picture.

For the label's 50th release, Emotional Rescue returns to the music of Woo to close a trilogy of reissue collaboration albums, in A La Luna. Following Whichever Way You Are Going (1982) and Into The Heart Of Love (1990), their opus A La Luna (1991) was the last of the bands song based albums and represents a wonderful way to close this association.

Reworked, re-ordered and remastered especially for this first time vinyl release, brothers Mark and Clive Ives again present their unique, ground-breaking and at the time, heart-wrenchingly overlooked music, that seems to fit the folk-new age-electronics of today as well, if not better, than when first released.

Across 20 plus songs Mark's guitar, clarinet and vocals are as ever drenched in Clive's mixing desk mastery. Echo and reverb shimmer as the short pieces rise and fall like the wind blowing across nighttime trees. With no song going much beyond three minutes, A La Luna flows as one piece. The unmistaken sound of Woo wraps itself around you in an essence, warmth and glow that is addictive, meditative and uplifting.

Featuring the original vocal performance of Mark's love ode, Magic In The Dark stands as a centerpiece where, as with all their albums, vocals appear at a minimum, as part of the musical journey.

The underlying somber nature of the album comes as the band ended more than a decade of recording with little critical or commercial success. The fact they did not release a full album again and moved towards a more meditation outlook was a loss, however, their recent rediscovery and the excellent releases by Drag City and Palto Flats included, has finally given the Ive's brothers not just a place in appreciation, but has shown that there really is no one like Woo. Enjoy the magic.

Music From Memory's final 12" for 2017 is a reissue of Dub Oven's self released, and sadly one-off, 1983 EP 'Skin N Bones'.
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Pioneers in the Post Punk Industrial and New Wave scene in 1980's San Francisco, Gary Miles (Voice Farm) and Blaise Smith (Minimal Man), met at San Francisco's notorious 181 Club in December of 1982. This straight/same sex/swing-both-ways late night dive bar was tucked away in one of the city's most risky, drug riddled neighbourhoods. Stationed near the SF Museum of modern Art it attracted a wild audience of local patrons, aspiring young artists and music heads. In the thick of all this the duo felt impartial to a lot what was going on musically and set out to produce electronic music that could break through the "somewhat exhausted post disco sound that was then competing in the local San Francisco clubs". Enlisting soul vocalist Celeste Miller, the duo were also inspired by Lee 'Scratch' Perry / Upsetters dub tracks being produced in Jamaica and created a unique breed of avant guard hybrid New Wave/Electronic Funk.

With it's influences seemingly as much rooted in the past and the present as it was focused on the future, Dub Oven formed a distinct, mystical approach to music intended for the dance floor. All three tracks on this 12" embody a signature groove and an inventive synthesized abstraction to express a languishing urban unsettledness and spiritual awareness. Recorded at L7 Studios in San Francisco with the assistance of the the studio's in house producer Marco Perry (who currently now works with Bjork) the record was unfortunately overlooked by A&R at several major and even local labels and was finally self-released in very limited quantities. Utilising analog electronics and instrumentation, the record draws on elements of dub, new wave, soul and funk to create a sound that is uncategorizable and one that was perhaps simply too forward thinking for it's time.

Silencio celebrates the first year of the label with a double-pack vinyl aptly titled Uno.
Comprising of new and established artists, the tracks on Uno collectively summarize the the feel of this label's year, while giving us a hint of what to expect in the year to come.
Click Box & Stefan Dichev kick off the release with 'Memories'. Presenting a collaborative production that will prove over and over again why sound is one of the strongest senses tied to memory. Engineered with emotionally responsive rhythms that roll into a rocksteady baseline, this track evokes feelings with finesse. "Memories" also features funky squiggle sounds and trailing even-tempered tones to punctuate its procession. This is one you'll want to relive every time the opportunity arises.
New comer Wave Particle Singularity has done it again. 'Virtue' is a tremendous track that will quickly establish itself as one of your new favorite things. The drum sequence, accented by beguiling background sounds and curious vocals, gallops throughout this selection with all its feet off the ground together in each smooth stride. Plus, it also comes fully equipped with a pleasingly unpredictable pace in the form of some moody, well-orchestrated changes that result in a perfectly adjusted attitude. Never a dull moment on the dance floor.
Guaranteed.
Kepler.'s latest offering 'Tool A' possess all the qualities one would normally associate with a fine wine because the taste left on the palate after its consumption is both complex and satisfying. During its ascent, effects that compress a thousand echoes into a single sample ride alongside an active baseline that ripples accordingly. Subtle, flavorful snippets bleep and bloop in complete balance, giving this cut a coordinated, contemplative vibe that brings everything into focus.
With his first track on Silencio, Yuuki Hori's 'Scene 5' is truly a unique item. This electromechanicaly exotic sounding export from Japan makes an impression with layers that are neatly stacked and minimal to the max. Its main feature, a sample that seemingly mimics the mating call of a male bullfrog, rhythmically ribbits in harmony with the beat, bellowing over the entirety of this track. All the various elements of this composition come together in a natural way that feels symbiotic and sounds superb.
Another Silencio first, Jorge Ciccioli's 'TD8' has a deliberate intention to create momentum, with a deep, penetrating baseline that rises to the occasion by descending the darkest depths of its own digital horizon. In the midst of the mix the listener is greeted with a clever chorus that effectively sounds like air vibrating, or in layman's terms "blowing", within an empty glass bottle. As it goes through the motions, observe how every note is noticeably nuanced in an effort to reflect the subtle changes that take place.
Closing out the release and year for Silencio, is Laughing Man with 'Reach Out'. Hard, heavyand heavenly are all terms that could be used to express the sentiment of this selection.
Notice how right from the get go this production profoundly pounds out its agenda with a solid, speedy beat that relentlessly rocks throughout the recording. Accompanied by aseries of wavy, spirited vocal layers, ringing bells and an inspired intersection of cymbals,this track is one hell of a ride that will enable you to make contact with the other side.

Marco Bailey's 5th full-length album, one that he personally claims to be the best overall representation of his sound. With seventeen tracks comprising almost an hour and a half of music, he has ample room to stretch out and to give listeners an excellent portable version of his potent live show.

By maintaining a consistently high-quality output that does not merely ride the wave of current trends, multi-faceted producer Marco Bailey has managed to survive through decades of mercilessly shifting adjustments to popular taste in dance music. From his beginnings in the late '80s spinning eclectic sets comprised of everything from punk to old school hip-hop, to his present interest in pure unadulterated techno, the Belgium-based DJ and producer has won over audiences with his keen knowledge of how to squeeze the greatest physical and emotional impact out of a few well-placed elements, along with his instinct for seeking out the most innovative and resilient kindred spirits (his impressive number of professional friendships includes artists as diverse as Markus Suckut, Jonas Kopp, Alex Bau, Edit Select, Speedy J, Steve Rachmad and many more). These combined talents have led to his formation of several different labels: MB Electronics in 2001, the 'limited edition' label MBR in 2013, and lastly the new Materia Music label begun last year. His similiarly named event series, Materia, has also been a truly worldwide 'state of the art' summit for advanced techno artists.



The full-length personal releases by Marco Bailey, which stretch back to his mid-'90s period as a trance producer, have been gracefully arcing and anthemic affairs composed of individual tracks that follow that same blueprint. He is now about to drop his 5th full-length album overall, one that he personally claims to be the best overall representation of his sound. With seventeen tracks comprising almost an hour and a half of music, he has ample room to stretch out and to give listeners an excellent portable version of his potent live show. Of course, an epic running time alone is not the marker of a great audio experience, but an epic running time in which one loses track of time completely is - Bailey accomplishes this feat by never rushing the payoff; by organically building up each track until listeners are fully immersed in his alternate universe.



This skill can be heard on banging, sweat-saturated tracks like 'Ash', 'Genetix' and 'Hasai,' but also on comparitively gentle pieces like 'Klauth' (which straddles the line between disciplined electro and something more dreamlike and weightless), or the blissed out 'Suoh,' which feels like a fresh snowfall in audio form. Low-key cuts like 'Rex,' driven by echo FX and other windswept sounds, form natural counterparts to busier tracks like 'Ruth,' with its spring-loaded sequencer attacks, or 'Reboot That Device,' which is ingeniously driven by a psychedelic organ whose sound evolves with various filter settings. Minimalist vocals are occasionally injected into the mix - i.e. on the 'The Darkness' - to impart a subtle message of constant, ongoing expansion into unexplored galaxies without and within. It's as good a definition of the artist's musical mission as any.

With The Object Isn't There UK guitar player and producer Jack Allett has made a deeply personal masterpiece based around cyclical guitar parts and electronic percussion. Playing like a half remembered fever dream with an aesthetic that is ragged, hypnotic and spacey, its two side-long pieces touch on minimalism, kraut-infused dub and euphoric dance floor optimism. As comfortable being played after Manuel Göttschings E2-E4 as right before a Terekke lo-fi house anthem, it is laced with the melancholy of an early morning post-rave comedown. Yet for all the references and name-checking, it's a record that is hard to compare to anything else, past or present.



BIOGRAPHY



Jack Allett works as a producer in London and has been active for many years as an experimental guitar player, releasing a solo record on Blackest Rainbow and collaborating with UK avant-guitar player Cam Deas. The Object Isn't There was written, recorded, and mixed in Camberwell and Camden, London, UK. 2012-2016.



INFO



This record is about - insofar as instrumental music need be about anything - hallucinations. The title The Object Isn't There serves as a concise definition, derived from the quote 'An hallucination is a strictly sensational form of consciousness, as good and true a sensation as if there were a real object there. The object happens to be not there, that is all.' (William James, The Principles Of Psychology, 1890)



Having experienced constant tinnitus - a form of auditory hallucination - for the last 13 years, Jack has long questioned the distinction of something experienced as being either there or not-there. Even if, strictly speaking, an hallucination is something that's not there, if the reality of how it affects day-to-day existence is undeniable then to any extent that matters, it is there. But The Object Isn't There is no tale of woe, nor simply a response to this one condition, and tinnitus need not be considered only as distressing or distracting. Allett sees it merely as one example of many things in life that cross this uncertain terrain:



There are obvious parallels here with the notion of active listening. There is room for emotion too, particularly the kind of overwhelming, -all-consuming emotion that, once it fades, is hard to believe was actually how you felt. Essentially the music here is concerned with being overwhelmed by a sensation, never really being sure to what extent you are conjuring it up yourself, to what extent it exists independently of you, but ultimately deciding that it doesn't much matter; the sensation itself was undeniable.

— Jack Allett

A swirling haze with a plenitude of sounds bobbing to it's surface it's a heartfelt

2022 Repress

HQ Gatefold, 3x12 140g Vinyl, black innersleeve, download code
EXTRAWELT are back! Although in fairness, they were never gone. On the contrary, since their first release on James Holden's Border Community Label dropped in 2005, Arne Schaffhausen and Wayan Raabe have been responsible for a plethora of classics including "Schöne Neue Extrawelt" and "In Aufruhr", their two seminal albums on Cocoon Recordings. The duo are one of the most booked live acts worldwide, commanding a huge fan base. Their performances are the stuff of legend, making them the absolute highlight at every club and festival they play. So it's with great pride and respect, that we can announce the release of Extrawelt's third album for Cocoon Recordings. "Fear Of An Extra Planet" completes the Cocoon trilogy and the excitement growing among their fans represents a new high in the history of EXTRAWELT!
Musically, of course, there's enormous pressure on EXTRAWELT to deliver, but this is dismissed with a playful disregard and they are clearly focused on the job in hand. The album title "Fear Of An Extra Planet" sounds cinematic, like some art-house science fiction film, without giving too much away.
However, from the first seconds of the opening track "Superposition", the album title makes 100% sense and sets the scene for the rest of the trip. We are immersed in wide open spaces and invited to explore dark and dusky worlds that transport us back to their Border Community years. Timeless and elegant, "Superposition" perfectly captures the epic, dream like quality that made James Holden's label so influential.
New Release Information Second up, "Gott ist Schrott" takes a much more minimalist approach with its retro 80s drum programming, monster bass lurking in the breaks and playful Rhodes/synth riffs that span the divide between early German techno and deep Detroit electro with a distinctive film soundtrack aesthetic. "Oddification" continues this theme, adding extra spice reminiscent of the techno-synth vibe of Detroit with a punchy, almost Prodigy-style breakbeat complete with shredded vocal samples that gives us a taste of what's in store. "Gentle Venom" then takes the breakbeat motif to the next stage. The main focus here is the classy sprinter of a bassline, peppered with a flurry of intricate and subtle effects and modulations, that immediately trigger an intense, movie-like 'in pursuit' feeling.
With - Das Grosse Flimmern" we cautiously approach the album's high point. It's still in keeping with the soundtrack aesthetics, but faster and with more urgency. Almost hypnotically, Extrawelt invade us with an energy and impetus that always radiates from their music. Next in line is "Silly Idol" and here Arne Schaffhausen and Wayan Raabe opt again for a more minimal tack, focusing even more intensely on the dance floor to reveal a pulsing, twisted heart to the album.
"Punch The Dragon" is the hidden gem of the collection, utilising and melting together the most bombastic and playful elements. This one is totally off the hook, a sensory overload in an acoustic widescreen format! Then we have the title track "Fear Of An Extra Planet" which perfectly sums up the album concept. It opens up like a film score, with minimal passages following dark sequences that morph into dreamy melodies, all grounded by cool, constantly alternating analogue drum patterns. If you're not listening closely, you might get the impression that three or four different titles are mixed together; such is the effortless flow of the album.
As we near our destination, "The Friendly Coroner" really does honour its name. The morbid charm of the title is captured by a fluid bassline and melodic arrangements that border on the absurd, until the funky drum beat finally drops. In our mind's eye we see a cheerful medical doctor removing his bloody gloves, hanging his smock in the closet and vibing out in his neon drenched workspace. And there we sit, glued to our cinema seat, submerged in the different textures EXTRAWELT have conjured up on "Fear Of An Extra Planet". Over the course of the last title, the strings usher in the final acknowledgments as the credits roll. The dramatic end of "2084" leaves us transfixed in front of a black screen in a large, dark room safe in the knowledge that we've just witnessed a science fiction epic.

Eric Copeland (Black Dice) returns to DFA with a brand-new set of hyper and hectic leftfield club music. 'Goofballs' places its emphasis on playful melodies, ear worm hooks and vocals mixed with trademark machine funk rhythms that hit hard and land off balance. Any other way would be too obvious for an artist like Eric.

Eric explained the creation of this new album via email from his home on an island in lovely Balearic Palma Spain: i made it here in Palma at my studio, this is the first full record i've made entirely here since moving. some of this material was road tested September 2016 on tour supporting Animal Collective. This album was the result of real isolation here, countless hours, focused only on this. The whole recording & writing was a fast process. I focused most on the bass groove. I had a very minimal gear setup: 90's drum machine, cheap bass machine and a sampler. But most important was a homemade 'drum brain' that Barry's London custom made for me. Barry was in the Van Pelt Soldiers of Fortune & Oneida. That piece of gear was a big part of this record and informed the direction it took the most.'

Eric Copeland is a founding member of Black Dice as well as a prolific solo artist. Besides DFA, he has released albums on L.I.E.S., Post Present Medium and Paw Tracks.

John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians. The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter's illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies.

Anthology is a near-comprehensive survey of John Carpenter's greatest themes, from his very first movie, the no-budget sci-fi film Dark Star, to 1998's supernatural Western, Vampires. Those sit alongside the driving, Led Zeppelin-influenced Assault on Precinct 13 theme, Halloween's iconic 5/4 piano riff, and the eerie synth work of The Fog. Carpenter and his band also cover Ennio Morricone's bleak, minimalist theme for The Thing.

We also get vital new recordings of the themes to '80s classics and fan favorites Big Trouble in Little China, Escape From New York, Christine, and They Live, along with the romantic Starman, which earned Jeff Bridges his first Oscar nomination as a lead actor. The collection is rounded out by the menacing, heavy themes to Prince of Darkness and In the Mouth of Madness, the latter a Metallica-inspired riff originally played for the film by Kinks guitarist Dave Davies, and now played by his son Daniel.

In the weeks following Anthology's October 20 release, Carpenter will return to the road, playing both classic movie themes and material from his two Lost Themes albums. The performances will once again affirm the power of the Horror Master's brilliant work as a composer and musician, and undoubtedly send audiences rushing home to their DVD libraries to dive yet again into the most rewarding filmography in genre cinema.

Deluxe color vinyl editions come with 7" including the themes to Village of the Damned and Body Bags
Collects the classic themes of John Carpenter on one volume for the first time
Lost Themes is the best-selling album in Sacred Bones history

Optimo Music is delighted to release a first album by Fantastic Twins (formerly known as The Twins). We'll let them tell you the story behind this inspired and beguiling record -
Obakodomo (Au Balcon Du Monde) is a soundtrack I created for a piece of contemporary dance, performed by two dancers for a young audience from the age of 4. It is the story of an imaginary journey in Antartica where two explorers go on an adventure. They encounter a colony of penguins and will progressively learn to understand their habits and respect their environment. Essentially, Au Balcon Du Monde is a metaphor of how to exist next to each other, how to share a territory, how to learn to live together and share resources.
The scenography and stage accessories were designed in a minimalistic and non-obvious form to leave all the space for imagination. The penguins were made of translucent material to provide light effects and were programmed to move in a swaying motion, allowing interaction with the dancers and the music. LED system could be wireless piloted.
With the soundtrack, I wanted to create an atmosphere that would immediately transport the children into this terra nova - a poetical space, like a cold sphere, where the strange meets the frightening and the playful. Translating the immense vs the small, the far-off vs the near, the collective vs the individual, the strange vs the familiar or the cold vs the heat. My intention was to follow the thread of the story in a narrative, yet non-caricatural way. Music for children doesn't have to be 'childish'. Children love to be scared or even just challenged. They love to love and react instantly to what they hear through their emotions. Ultimately, the soundtrack aims to provide different levels of 'reading' so that it becomes something more universal. So we, adults, just have to accept the invitation.

The man who views life in constancy is destined for stagnation. Everything is change, everything is motion. Atoms to galaxies, seasons to lives. Together in motion. The powerful force brings together, spinning together. Be magnetic. Music is the magnet that brings together and makes us spin. With subtlety, the aptly named Gyration EP begins its spin as minimalist synths assault with increasing frenetic abandon. Under the guise of apparent simplicity, Rekord 61 abducts the mind to a realm of constant motion. A futuristic merry-go-round stuck in overdrive, adrenaline spikes and neon lights smear across your vision. Unbalance and Ari Atai produce remixes of Gyration and Ferrimagnet that brings the machine to life. With catchy sequences and galactic atmospherics, the remixes imbue organic energy to the unwavering motion of the original tracks. Bringing the revolutions back under control, the efforts of Ari Atai and Unbalance expose dubby layers, pounding drums and melodic texture. Let the breakneck pace of Rekord 61 race through your mind, then let your soul reverberate with the timeless melodics of the remixes.

Tidy Line-up including Randomer, Gilb'R, Voiski and Tolouse Low Trax...TIP!
In terms of experimental, techno, very few come close to the impact that this UK producer has had on the scene. With a sound that is rarely classifiable, Randomer's Dekmantel contribution is a staggered, minimally-twisted, dark, kind-of-two step, awesome thing. Versatile Records' Gilb'R has found himself an integral part of the Dutch scene since moving to Amsterdam, and brings forth his organic, percussive grooves that have helped define his music, and label to date. Salon Des Amateurs' Tolouse Low Trax provides a seasoned session of amniotic, grizzled, hypnotic post-everything music, that is eerily discomforting and wonderfully pleasurable at the same time. And on the EP's fourth track, Parisian techno wizard, Voiski adds layered organic, futuristic loops that work to stale the progress of time, and space.
To date the 10-year anniversary series has seen new releases by the likes of The Egyptian Lover, Levon Vincent, Gigi Masin, Fatima Yamaha, Burnt Friedman, and many more. Each record is held together by stylistic glue, touching upon the varying facets that come to define Dekmantel as a label, and event series. Along the way, many pioneering artists have been brought under the Dekmantel umbrella, making their debuts on the label - and this, the seventh EP is of no exception, with Gilb'R, and Tolouse Low Trax all releasing their first full tracks with the Dutch imprint, while Randomer and Voiski, having previously released on Dekmantel's UFO techno side imprint, are also brought into the main fold.

Sparse and reflective, the Chicago native's work occupies a curious space on the periphery of the Techno genre. By stripping back the music to all but its most vital elements - most notably the Sequence, but at the same time maintaining a sense of urgency in its articulation, Litüus crafts exquisite, ghostly shadows of busier, more fleshed out material. Neither intro nor outro, but rather suspended in some middling point of formation - what remains is a remarkably pure examination of minimalist, experimental synthesis.

The enigmatic producer first appeared on the label with19805.-19905 - a collection of reduced hardware sequences released on cassette and 12" in 2015 and 2236 s Wentworth ave continues in much the same vein, though perhaps exploring a marginally more traditionally 'musical' sentiment. Nods to 1970's sound designer Irv Teibel's Environments series sit alongside more overtly contemporary structures, and the mood shifts gently across the recordings - from a low slung, pulsing anxiety to a gentler serenity via heavily ring modulated bells and spring reverbs, softly warping percussion and careful bandpass filtering.

Litüus creates music that is geared neither towards home listening nor the dance floor, but that exists somewhere in between - quite where exactly remains part of the the artist's undeniable allure.

Greenlight by DJ Manny is the fifth release from TEKLIFE Records. This 10 trackLP is a masterclass in footwork production by one of TEKLIFE's leading figures. Born and raised in Harvey on the South-Side of Chicago, DJ Manny has been footworking since the age of ten. The Footwork sound has developed in unison with the dance style that accompanies it, and Manny embodies this synergy.DJ Manny is without doubt one of the best dancers on the scene, harnessing control, grace and power in every movement. So when he steps into the studio, he knows instinctively how to create tracks that make you want to move your feet.Instead of relying on chopped up samples, DJ Manny is more inclined to pickup the microphone himself, and this gives Greenlight an original and individual personality.On the opening track titled Way you Move, his flow is soulful and almost vergingon melodic. His laid back drawl sounds equally great on club bangers like Life in This Bitch and If U Want It. As a young man, DJ Manny was the protégé of the late great DJ Rashad, and Rashad's influence reverberates through classic - sounding footwork tracks like Boop Me Down and I'll Hurt Ya Baby.Elsewhere on Greenlight, DJ Manny explores different moods to great effect.Ghost Out is atmospheric and menacing, with a sparse, minimal rhythm and fearsome lowend pulsing through siren synths. Life In This Bitch is a defiant statement of self-affirmation, and Zancrash feat. DJ Taye is uplifting and dreamy,with complex rhythmic patterns evocative of vintage jungle records.DJ Taye makes a significant contribution to this record, collaborating with DJ Manny on 5 productions including the title track. A fellow TEKLIFE squad member, Taye is a highly accomplished producer in his own right, Expect to hear more from him very soon on HYPERDUB Records. Greenlight also features guest appearances from DJ Lucky, Gant-Man and Sucia.

Shaun Reeves & Tuccillo present a new facet of their ongoing collaborative efforts, with a collection of works that took root in the woods of Ibiza. SHANTU's first record opens with 'Primero', a classy ride through dreamy melodic elements and a relaxed groove with a steadily rising pace. 'Ingenue' moves things into 2nd gear with a deep and funky bassline that is soon propelled further with a variety of organic percussion elements. The long B side 'Zissou' would certainly be at home in the team Zissou minimalist playlist, a mysterious and psychedelic underwater trip populated with strange echoed synths and steady precision drum machine work.

No-one else makes music like this: devilishly complex but warm and intuitive, stirring together a dizzying assembly of outernational and outerspace influences, whilst retaining the subby funk-and-hot-breath pressure of Shackleton's soundboy, club roots.The result is an evolutionary, truly alchemical music — great shifting tides of dub, minimalist composition and choral song (Five Demiurgic Options), ritual spells to ward off the darkness (Before The Dam Broke, The Prophet Sequence), radiophonia and zoned-out guitar improv (Seven Virgins), even the febrile, freeform psychedelia of eighties noise rock (Sferic Ghost Transmits / Fear The Crown). Over the five years since Music For The Quiet Hour, Vengeance's vocal and lyrical range has rolled out across this new terrain. Throughout these six transmissions he's hoarse preacher, sage scholar and ravaged bluesman, blind man marching off to war, and exhausted time-traveller warning of impending socio-ecological catastrophe. Six dialogic accounts of our conflicted times, then, expanding beyond the treacly unease of the duo's early collaborative work into something subtler and more emotionally shattering — its shades of brightness more dazzling, and its darkness even murkier. "We almost didn't hear it when the foundations went."

LTD 140g 10" grape juice vinyl MAIDM is made up of musical pioneers Aim and Mikey D.O.N.
Locked in the lab for as long as it took, they're now set to share the first fruits of this miraculous merger. Presented on tasty 10' grape juice vinyl, MAIDM's opening statement boasts two hard hitting hip-hop home-runs, Tun Up Di Heat (Party Banger) and B-Boy Shit.Tun Up Di Heat (Party Banger) is an earth-quaking, bass speaker shaking introduction to how nice they are. A beatific blend of head down hip hop and funky, floor-filling accessibility, Tun Up... is the perfect introduction to MAIDM and it's precision manifesto.Flip to the flip side for second track B-Boy Shit, a track that eschews concession to commerce and takes no prisoners through minimalistic murk and hyper-aggressive vocals. Long forgotten legends are name-checked, old scores are settled, the dirty break-beat rolls on and hip-hop gains a fresh new anthem.
MAIDM - Imagine the possibilities...

Assemble Music brings together four more producers at the forefront of today's fine minimal/house/electro scene. Eklo boss Seuil kicks things off with JAM, a slowly-unfolding confection of metallic percussion and rolling bass set against a meditative, minor backdrop. His fellow Half Baked resident Robin Ordell brings a tipsy-sounding vibe to MOBSIW, each element swaying its way around the others in an off-key dance. Les Points' Barbir adds Detroit hats to a no-shits-given breakbeat and suspends it in time, before finally a 4/4 kick comes to put feet back on the ground. Finally, Traffic founders Martyné and Jacob draw on more contemporary breaks and electro influences on ELECTRONETTO, with that laissez-faire swing with which their label has become synonymous.

Timedance drops a second instalment of remixes, featuring two interpretations of the Ploy track "Footprints In Solid Rock", taken from last years Iron Lungs EP. Beatrice Dillon contributes first with a sublime, dubbed out trip. She strips back the percussion of the original and adds a single dreamlike chord, it's a real zoner. Peder Mannerfelt supplies the flip. The remix takes on a stomping yet minimal form, before dissolving into one of the most wigged out uber-rave breakdowns, designed for the late night sessions!

The sub label of Sonic Groove, 'Sonic Groove Experiments', returns after a 4 year hiatus with a stellar re-release of the Electrowave classic 'Eruption' by Beta Evers. Originally released as a Limited Edition 12' back in 2005 on Beta's own Kommando 6 label. Now in 2017 the original pressing goes for quite a fortune on the record collecting market. Often exceeding €60 for a mint copy. For the first time in a dozen years this release is available on vinyl in its original running order but with very sleak new artwork for the normal asking price of a new store bought 12'.

Beta Evers is Brigitte Enzler from Augsburg, Germany. An artist with a substantial amount of accomplished work to her credit including an early release on the storied Hague label, Cre`me and her side project Black Spider Clan. After ceasing Kommando 6 operations, Beta Evers continues on independently releasing music on her other labels Bodyvolt and Venus Noir. Her most recent release is the 2016 awesome 'Delusion' album on legendary Industrial/EBM pioneer Dirk Ivens prestigious Daft imprint.

The opening track's title serves as a warning, titled 'Don't Be Afraid', a cold introduction led by sinister synth lines soliciting our attention to expertly crafted true analog electronic percussion in the EBM/Dark Electro disciplines. Surreal, deep and seductive vocals lie in the wake at the center of the composition giving us a melancholic piece worthy of deep contemplation during listening on or off the dance floor.

The following track 'Move In My Body Rhythm' continues in the same sinister and dark aesthetic in a more driving manner, this track continues to bring forth energy with a precise beat and rhythm accompanied by acidic synth modulations.

Side B continues to hold the heavy weight of this extended player with the track 'Eruptive' This reference track to the title of the EP. is an electronic/vocal robotic analog circuit breaker suitable for dawn light on the floor. Traditional arsenal of classic analog sounds are arranged and rearranged with sonic manipulation at the test. Mutant dance music for cosmic venues.

The closing track, 'Destination Lost' is comprised of lyrics of urban angst and disturbance whispered out through sultry vocals. Dark minimalist and cinematic cyberpunk breaks reinforced by low drone synth waves and crystals of lysergic analog bleeps drifting along the perimeter. Dead serious wave infected electronics.

This sonic document also serves as a good example of a roots approach to creating music whilst at the same time giving us something entirely innovative. This is as futuristic as it is timeless and that reflects the elements of a masterpiece.

This record is meant to be enjoyed like a seascape. It offers a Mediterranean journey, one that Ulysses, Aeneas, and Jason with his Argonauts charted first and Valencian artist, Pep Llopis, retraced and retread — from the islands of Menorca to Santorini. All of his experiences are aboard this vessel of sound: no format in mind, no course but the chasm within self. While Poiemusia La Nau Dels Argonautes materializes at this moment as an album, another object suits Pep's project: Lewis Carroll's Map of the Ocean' from his The Hunting of the Snark. It's a simple illustration: the thin outline of a blank rectangle that represents the sea with no trace of land. Carroll offers this empty space as an object that all can understand, a container for possibility. Likewise, Poiemusia offers a musical language that any listener can understand. Untethered to the meaning of words, one is set adrift and free in minimalist sound and traditional music. Llopis, who often composed for dance, originally wrote Poiemusia for a performance at the Poiemusia festival (the Greek contraction of poetry and music). Peer composers, Carles Santos and Wim Mertens, also participated in the festival, which took place over several days at the Teatro Princesa in Valencia. Llopis paired his newly formed avant-garde compositions with the poems of fellow Valencian, Salvador Jàfer.

In the studio presentation of Poiemusia, voices softly converse, only to evaporate. The poetry is incanted by the poet himself. Jàfer enunciates at the verge of song, drawing dimension from his Mediterranean travels. He is accompanied by Montse Anfruns' vaporous voice. She extends the roll of her r's and the hiss of each s as if casting a spell of Salacia. Pep bathes their conversational performance in slight delays and reverb, allowing their voices to dissolve into an ocean of sound.

Llopis was influenced by minimal American composers like Steve Reich and La Monte Young. He embraces the melodic sides of these masters in the winds of El Vell Rei De La Serp' and the tender piano on Nits de cristall.' You will find yourself submerged in tonality on tracks like Jardins Aquàtics' and La Nau Dels Argonautes' which have a kinship to Philip Glass or Daniel Lentz. Each piece extends from 5 to almost 14 minutes. The music gently laps against listening skin— sometimes placid, sometimes shimmering. Ripples of sound swell and quicken. Flutes like schools of fish. The spray of chimes. Taught strings break like the shore. Tingling, undulating synths. The record cover acts as a map, tracing the forms of the original art and providing the poems in Catalana and Spanish. Once bathed in these sounds one will emerge like Carroll's map: a perfect and absolute blank.' Poiemusia La Nau Dels Argonaute emerges in vinyl and digital formats on May 19, 2017 through Freedom To Spend.

- Beautiful 1 LP Edition with heavy 350g Sleeve, Poster Inlay with Liner Notes and Photo, includes CD with incl Bonus Tracks - 33 rpm LP mastercut by Emil Berliner - Midori Takada and Masahiko Satoh's 1990 masterpiece LUNAR CRUISE LP available on vinyl for the first time ever, as well as on CD, sourced from the original studio masters, with all new liner notes. - Featuring Yellow Magic Orchestra's Haruomi Hosono (bass) and Kazutoki Umezu (saxophone, clarinet). *** TERRITORY RESTRICTION - NO SALES TO JAPAN *** Following the successful reissue of Midori Takada's Through The Looking Glass, WRWTFWW Records is delighted to announce another release from the legendary Japanese percussionist: 1990's LUNAR CRUISE, her superb collaboration with jazz pianist, synth master, composer and arranger Masahiko Satoh. Arguably the best kept secret in Midori Takada's fascinating discography, LUNAR CRUISE is an under the radar masterpiece that captures Takada (on marimba and minimal percussion set-up) and Satoh (on Korg M1 and Yamaha DX7II synths, Ensoniq EPS sampler, and acoustic piano) vibrantly fusing traditional African and Asian percussion with jazz, ambient, and minimalism. The album also features the great Haruomi Hosono (Yellow Magic Orchestra, Happy End...) and Kazutoki Umezu. LUNAR CRUISE is available in two versions: a first-time-ever vinyl LP cut at Emil Berliner Studios, housed in a 350g sleeve and including a bonus CD of the album with 2 extra tracks, and a standalone digipak CD version. Both versions are sourced from the original studio masters (DATs) and come with new liner notes. Tracklisting Vinyl LP

We are pleased to announce the next vinyl only release on Pathway Traxx and an exciting new direction for the label focusing on the more minimal/tech side of house while still maintaining its true house roots. Label owner Niko is accompanied by underground house hero Nima Gorji and the in-form trend setter Primarie from the formidable Tzinah Records.

the label of the post-autonomous kindergarden from berlin's east cross awakes after a long beauty sleep. we're back behind the decks with a lineup that is carving out contemporary techno.
finnish producer samuli kemppi, from helsinki, has accompanied us since the beginning of our club. musically, he stands for a minimalist, crystal-cut sound hailing from galaxies far, far away.
fabrizio lapiana is a long-time friend of the house. his sounds are able to expand even the smallest dance floors—he sculpts spacious soundscapes and sends dancers on a deep dive into dark and melancholy travels. we are particularly excited about the presence of our resident akmê, who comes to us with energetic release after his first ep on connwax. he will be bringing his steadfast love of detail and sly playfulness—elements present in all his dj-sets. with these three numbers, the ://about blank 002 has compiled the best of the mdf soundtrack. next stop after powernap: lobby and garden. rave on!

Signum" was initially released more than twenty years ago on cd format and became a larger-than-life cornerstone of P.A.L's discography as well as a historical document in industrial music. recorded over a three year period from 1993- 95 this album displays the past & present face of this artist's sonic variety ranging from sweeping minimalistic soundscapes and powerloaded percussion-driven floorburners to heavily distorted harsh power noise attacks presented as a unified front. the industrial anthem 'Gelo¨bnis' is a truly fine example for the combination of crystal clear mastering and the selective, inspired implementation of samples which was always an important factor for p.a.l and became a trademark of his works.

ant-zen and aufnahme + wiedergabe are proud to present the extraordinary reissue of this long-deleted legendary release on coloured heavy double vinyl in a gatefold sleeve. a timeless opus for being re-discovered by adepts and recovered by novices.

recorded 1993-95 at Upper Meadow Field, Munich. Some overdubs were done at His Master's Studio, L.A.
mastered & co-produced in L.A. by rudy r. 1995.
cut by Christoph Grote-Beverborg at Dubplates & Mastering

Brixton's Dream Diary continue to bolster a blooming catalogue of classy electronic music with a fresh 4-track EP courtesy of label owner Oslo Roma. Staying true to their canon - Roma's 'Bubbles' EP spans Ambient, cruising Deep House, Minimal and Electro balancing water tight drums with eyes down melodies throughout.
The title track opens things up with gliding Juno chords and a steady, hypnotic pulse. Shimmering cymbals and spoken snippets ferry the listener into a trance before 'How Good Is The Party' rolls loose limbed drums under sweeping tones and expansive dub delays. 'Mars Water' then dims the lights with a driving bass line set under reversed vocals and clipped, neat drums. 'Twotet' then finishes the package up with sharp 808 drums and soft allaying melodies that work to round off another rich and varied addition to the Dream Diary catalogue.

Roman producer (and a force behind MinimalRome label) Valerio Lombardozzi known as Heinrich Dressel returns to Barba with a second release for our label, titled "The Styx Swamp". Heinrich has a unique way of combining classic techno and electro sounds with elements from the beloved Drexcyan universe and John Carpenter leitmotifs, and making them come together in a manner that both moves your body and pushes your mind beyond the point of awareness. As with the previous record, "Lurking Underwater", here he pulls off the move with the same efficiency and without sounding like he's repeating himself. "Gray Slope", "Sailing The Nether Waterways" and "The Styx Swamp" are all quite moody and deep, rich with sound and thick with vibe. However, the tracks feel equally at home in 4 am techno situation and a heady afterhours affair. He truly is a master of crafting hybrids whose influences get so flawlessly embedded that it's hard to point them out. If that's not enough, "The Styx Swamp" got a treatment by Nigel Rogers aka Perseus Traxx, a multi-faceted producer and a mighty live act performer. Nigel stayed respectful to the original but made the original's bouncy groove into something more direct and reduced, while retaining the same feel conditioned by lead synth's hypnotic quality. We're known to give a little bit of extra love to our releases so (as all before) this one's pressed onto a heavy duty 180 gram vinyl and beautifully packaged in an original artwork by EmaEmaEma.