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Thaba is a collaboration between South African singer/
songwriter Khusi Seremane and American producer/musician
Gabriel Cyr. Tragically in July 2020, while the two were
working with Soundway to prepare the release of their first
record, Seremane died a few days past his 41st birthday, after
battling health issues for several years.
The particular Thaba sound reflects a sonic duality drawing
on a double pop heritage of Mbaqanga and Bubblegum artists
like The Soul Brothers, Paul Ndlovu and Pat Shange alongside
traces of Roxy Music, Grace Jones, Sade, and Talk Talk that’s
wrapped up in a modern, electronic, layered, introspective
and at times jazz-tinged production style.
Brought together by a shared love of kwaito, 90’s R&B and
classic downtempo, Seremane and Cyr collaborated for a
decade after meeting online in the halcyon days of Myspace
Music. While the pair initially planned for Seremane to guest
on a Teleseen track, their ideas eventually evolved into an
entire record. Their debut, Eyes Rest Their Feet, was created
remotely over the course of several years, with the core
recorded during a 2016 studio session in Cape Town.
After returning to New York, Cyr honed these recordings with
several Brooklyn-based musicians, calling upon members
of Antibalas, Underground System, Midnight Magic, Loboko
and others. Eyes Rest Their Feet spans genres as well as
geography, touching on elements of soul, reggae, synth-pop
and beyond, with lyrical themes that explore loneliness and
the challenges of human relationships.
Eyes Rest Their Feet not only represents the apex of
Seremane’s work as an artist but also a meditation on the
transformative power of love and the impermanence of all
things.

We're back again with another gathering of old companions
and new faces, representing our bandwidth from intergalactic funk, mellow hip hop, bone dry warehouse stompers & all kinds of spaced out jams

Fragile X is an exciting new collaboration between vocalist Inga Schunn and producer Dylan Chase.

The group began in 2019 when Schunn posted an iPhone voice recording on Facebook in which she sang an acapella in her native German. Her friend Chase, who was recording and releasing at that time as Caffeine Worldwide, heard the 30-second clip and immediately asked Schunn, at that time only an acquaintance, if she might like to record something. Neither of them realised at the time that the first sessions would lead to a debut 4-track EP that capably references as many styles as most full-length albums from established artists, while also setting a blueprint for a project that could go anywhere from here.

The opening track alone, 'Lifetime', opens with a woozy blend of UKG rhythms and Royksopp synths, before giving way to Schunn's sedate rendition of Daniel Johnston's 'Some Things Last A Long Time'...basically the years 1990-2002 distilled into 5 furious minutes of 5am energy.

Across the whole release, Chase's productions show the same cinematic flair that made his previous releases on French Press Lounge, Third Try and Human Concrete Block must-haves for your late-night record bag.
A2 'Prix' with the kind of R&S attitude that would make forebears like LFO or Lone proud, could be the soundtrack for an illegal outback rave or a sunset drive over a Big Sur overpass.
The album closer, 'Fragile X Theme,” sounds something like if late 90's Bjork was commissioned to soundtrack the movie Hackers with Akai samplers on loan from the Hartnoll brothers.

The whole release may be overshadowed by the B1, 'Karaoke Girl', a track Schunn and Chase wrote in Mexico City in 2019 after a rough night at a Zona Rosa karaoke bar.
Opening with dripping synths as soft and inviting as the last drink before sunrise, Schunn tells a story of a woman who overstays her invite at an intimate birthday party between friends, taking the mic from the birthday girl and singing "Seal, Rush and Kate Bush" with a "death grip on the mic."
It's a bizarre, vivid song for such new artists to have come up with, and the lyrics are underpinned by Chase's equally adventurous combination of Nordic disco elements with heavily treated bursts of Japanese koto.
The Lifetime EP's title is a reference to the laborious process that it took to make the record, with multiple recording sessions across two countries followed by endless edits and a Covid 19 related vinyl slowdown bringing its release to a crawl.
The record itself is a fast-paced, dopamine rush debut that we are proud to share with you as both the culmination of a long process, and the beginning of a strange new story.

LTM presents a limited double vinyl gatefold edition (500 copies only) of B9, the definitive collection of cold wave and minimal electronica from Belgium, recorded between 1979 and 1983.
Originally released on Sandwich Records in May 1981, B9 featured 10 exclusive tracks by luminaries such as Digital Dance, Polyphonic Size, Kid Montana, Pseudo Code and Prothese, the latter the first recording project by Daniel Bressanutti of Front 242. Now digitally remastered, with 10 additional tracks on the second disc, this new deluxe vinyl edition also features Front 242, The Names, Marine, Siglo XX, The Neon Judgement, Berntholer, Allez Allez, Isolation Ward and more.
Cover op-art by Victor Vasarely. Design by Benoît Hennebert, based on a poster for The First Belgian Rhythm Box Contest (1981). Liner notes by James Nice. The existing CD version of B9 is also still available (LTMCD 2486) 

Bing & Ruth, the ever-evolving project helmed by New York composer David Moore, has announced details of a new album, scheduled for release this summer. Entitled Species, the 7-track, 49-min record will be released via 4AD.

While on a surface level, Species is an exploration of the sonic possibilities of the Farfisa organ, aided only
by a clarinet and double bass (played respectively by
founding members Jeremy Viner and Jeff Ratner), the
title Species is a nod to both humanity and humility –
a devotion to the godly intuition with which we are all
endowed, and the humbleness required of us to
perceive it. It’s also about suspended time and trance;
not just a steady movement from A to B, but as
something that flows, meanders and eddies, like
water.

Species, and the transcendental state it embodies,
was inspired by two recent loves of Moore’s: the
desert and long-distance running. Briefly relocating
from his New York base to Point Dume, between the
Pacific Ocean and the desert, Moore was able to
indulge in both passions, which in turn provided
stimulus for new work. He says, “I’d found myself in
places unfamiliar enough that I could easily lose all
sense of direction, size and, more than anything, all
sense of time. The music I was making became a kind
of reflection of these intentional detachments - and a
place to mirror that feeling of trance that had pushed
them out in the first place.”

The super-producer duo behind the mega-hit “Let’s Go Dancing” makes their return at a time when there is nowhere to go dancing to, and no us to let go dance there.

“Your home is now the club, which makes it my responsibility,” says Tiga, safe inside a thick denim containment suit. “This is not the time for relentless bangers, no matter how amazing they sound when live-streamed by the world’s loneliest DJs. ’This Is a Dream’ is an epic poem, an immunity passport to the boundless dimensions that lay beyond the veil of slow wave sleep. For I am Sleeporus, musical ferryman to the realm of night. My toll is $1.29 on Beatport, and your pillows are my decks, and also the boat. I hope that’s clear."

Immediately contradicting his no-bangers edict, Tiga describes “Crushed by Meditation” as a weirdo freakout soundtrack for washing each grape individually. This scathing commentary on poorly curated self-care employs bizarre bits of tape found in a piece of gear the two purchased before flea markets were against the law.

“Foraging is the future of sampling. But I alone believe that humanity was destined for more than living underground, eating from a can. I only pray to Father Time and Mr. Destiny that we’re not too late."

The next release in the Phonica Special Edition series comes from Ukrainian duo Asyncronous who first came to our attention after hearing their critically acclaimed debut on Berlin label Slow Life, 'The Art of Fighting In A Dream'.
A Phonica favourite, it provided the soundtrack to many days in the shop throughout the year, culminating in its inclusion in our top ten Best Singles of 2019!

The Phonica Special Edition series is focused on one-off projects, special remixes or collaborations, highlighting music that is slightly left of the dance floor and pairing it with unique artwork.
This time featuring a beautiful piece by celebrated Ukrainian artist, Mykyta Storozhkov.
The pair initially joined forces in an effort to explore human imagination and life experiences through music, focussing on creating feelings and atmosphere rather than be constrained by genre limitations. The result on this EP is a hazy cosmic trip through their universe of synth swells, deep sub bass and meticulous percussion.

The journey begins on 'Padma Kirtanam' with a constant drone providing the backbone to a building tension scattered with drums. The tension releases and makes way for A2 'Shinkansen', a beautiful track with minimal drums and dubbed out synths which echo around the listener's ear. Closing the A side 'Volta' continues this aesthetic but adds a 4x4 kick drum upping the groove to a cosmic deep house jam.

'Avalanche' kicks off the B side of the record with a syncopated bass line and skitterish hi hats. The energy is at its highest level here and only stops to make way for the next track 'Blocks of Despair'. The tempo drops and drum hits reverberate above stretched out bass notes creating arguably the most heartfelt tune of the release.
The EP ends with 'Midnight Sun' an ambient excursion that invites you to drift off with Asyncronous into outer space.

Today we have many opportunities to discover the world and travel through it without leaving your own room. In the age of globalisation, with the help of knowledge, technology and imagination, you can instantly teleport yourself to mystical temples of India or see the sun above the polar desert at midnight. No more borders - we are connected like never before, as if we are not at different ends of the globe, but on a single and indivisible continent that is not mapped but exists in a plexus of global events, information flows and digital environment.
This is our common home. Our new Pangaea.

THE ONLY DIFFERENCE BETWEEN ONE AND NONE IS N TRANS HUMAN OBJECT (THO) //////////////////////////////////////////////////////////////////// THE SUPERIOR FUNCTION ************************************************ X1N SAYS: //////////////////////////////////////////////////////////////////// IN THE VAST SURFACE OF ALL MATHEMATICAL EQUATIONS, ONE CAN SENSE EVENTS WHICH SEEM TO COME FROM OTHER DIMENSIONS - RIPPLES AND PATTERNS. THE ZERO POINT NINE INFINITE NUMBER LINE NEVER REACHES ONE, YET IS ONE, NONETHELESS. 0.9999... READ THAT SEQUENCE LIKE A MANTRA. A MANTRA OF DEATH. //////////////////////////////////////////////////////////////////// “I TALK IN ALPHA NUMERALS” ************************************************ ### denotes “end”. No more messages to follow.

All sounds recorded at various locations in Europe, South America and at EMS, Stockholm using the Buchla 200 modular synthesizer.

soar, all sounds recorded with Klara Lewis in Montreal 2018


Mastered by Russell Haswell. January 2020

Cut at Schnittstelle, Berlin by Andreas Kauffelt, January 2020


Image : Mark Hogben

Layout: Nik Void

The last two years have seen me maintaining an association with an unusual bedfellow, death. The loss of Mika Vainio, as well as three members of my own family, has had a profound effect on me and spurred a lengthy reflection on life, death, and everything in between.

Parallelly, while studying the philosophy of science, I came across shadow photons:


"Tangible photons are the ones we can see or detect with instruments whereas shadow photons are intangible (invisible) detectable only indirectly through the interference effects on the tangible photons.

There is no intrinsic difference between tangible and shadow photons: each photon is tangible in one universe and intangible in all the other parallel universes.

They travel at the speed of light, bounce off mirrors, are refracted by lenses, and are stopped by opaque barriers or filters of the wrong colour. Yet, they do not trigger even the most sensitive detectors. The only thing in the universe that a shadow photon can be observed to affect is the tangible photon that it accompanies. This is the phenomenon of interference.

Shadow photons would go entirely unnoticed, were it not for this phenomenon and the strange pattern of shadows by which we observe it.

Thus the existence of a seething, prodigiously complicated hidden world of shadow photons has been inferred."*


I have drawn a parallel between shadow photons and death. The interference phenomena, parallel universes, and how shadow photons affect tangible photons they accompany, offer, in my opinion, similarities, an unknown universe which is death and how we, remaining tangible human beings, are affected. This quest has led me to be more willing to accept chaos in my life and to conclude that Death is perfection, everything else is relative.

Hailed by none other than Seun Kuti as "one of the best things to come out of Lagos", Nigerian trumpeter, composer and bandleader Etuk Ubong has developed an original style he calls "Earth Music". Weaving together a unique combination of not only afrobeat, highlife and jazz, but also the ritualistic drumming of Ekombi, the result is urgent and highly energetic, yet spiritual; his compositions reflecting his heritage and life philosophy of goodwill, peace and love for humanity. Ubong's music is so vibrant and propulsive that one can easily make comparisons with leading lights of the UK scene, such as the Shabaka Hutchings-led Sons of Kemet, but at the same time it is distinctly Nigerian.

Sludge machine music slapped through the infinite mixing desk by SRS - the combined mind of Sunun and Robin Stewart. At any pointData Fossil'sgiddy industrial riddims could collapse under their own weight. There are Sunun inputs and there are Robin Stewart inputs - but everything is offered up to their machines gladly for an output of nu-human-beat. Voices drift through the mix in hushed Italian and Robin's gruff roboticized drawl, floating dub chords left hanging for cavernous subs and rattled bones, distant harps and arps, a sudden blast of trills. 'Spit Fossil' itself is a clipped noise-pop wonder - the aural equivalent of a lights-on Avon dancefloor with only the weirdest left standing.



Recorded on the rooftop of a housing project called Camelot in 2018, the two Bristol locals debuted the live / unplanned collaboration in an inflatable arena called 'Toldo' in the Brunswick Club ballroom (RIP). Then again at Young Echo at the Cube Microplex - a night where it's said anything is possible (Sunun even dubbed Guest's live human heartbeat there recently….). IfData Fossilis hard to describe - it's just the sound of the musical freedom of a city that will never run dry.



It's a high Bokeh honour to welcome Sunun back after we helped release her 2018 debut,Ooid EP. Her live show continues to be the most inspiring re-use of dub principles we've witnessed (again and again). Time only grows her music outwards causing the Young Echo collective to demand she join them. SinceOoid,she's released a 12" of MPC wonders with close Bristol pals Cold Light.


Recently bearing his dub-side to all that didn't know on Trilogy Tapes'Time Travel EP, Robin Stewart is half of world conquering techno-cult Giant Swan. Also a veteran of Rwdfwd stable of imprints (Fuckpunk and NoCorner) - his music DNA is equal parts shoegaze and steppas. In 2020 he was officially recognised for having the largest collection of Bokeh t shirts.

ADULT. make a triumphant return after their 2018 album "This Behavior", dubbed "_one of the best records of their career_" by Ryan Lathan of Pop Matters. This chilling continuation takes the form of "Perception is/as/of Deception", an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. While "This Behavior" was recorded in the isolated snowcovered woods of northern Michigan, "Perception is/as/of Deception" was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces that making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach. Tracks like "Have I Started at the End" successfully maintain the duo's classic EBM signatures and synthesized aggression, cradled by a suspicious mantra that questions_.what's the point? "Why Always Why" offers a disorienting mutation of the heralded sounds of classic dance music, like a remix that escaped prison and is on the run. The dystopian anthem, "Total Total Damage", comes in full force with an frantic energy which jolts any bystanders to attention, with only the defiant chants of Kuperus' vocals outlining the ever-degenerating state of societal affairs. The dramatically glam synth parts scattered throughout the album, while at times ominous in nature, seem to also act as a merciful reminder that through the journey of "Perception is/as/of Deception", one can still enjoy the chaos. With the rampant sense of emptiness on the minds of many these days, there continues to be few attempts at scoring these common, unfortunate human qualities with pure sincerity. Thankfully, ADULT. has a long-standing reputation for creating the soundtrack for our insecurities, and "Perception is/as/of Deception" further solidifies their apprehensive position.

LTD. GREEN VINYL

ADULT. make a triumphant return after their 2018 album "This Behavior", dubbed "_one of the best records of their career_" by Ryan Lathan of Pop Matters. This chilling continuation takes the form of "Perception is/as/of Deception", an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. While "This Behavior" was recorded in the isolated snowcovered woods of northern Michigan, "Perception is/as/of Deception" was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces that making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach. Tracks like "Have I Started at the End" successfully maintain the duo's classic EBM signatures and synthesized aggression, cradled by a suspicious mantra that questions_.what's the point? "Why Always Why" offers a disorienting mutation of the heralded sounds of classic dance music, like a remix that escaped prison and is on the run. The dystopian anthem, "Total Total Damage", comes in full force with an frantic energy which jolts any bystanders to attention, with only the defiant chants of Kuperus' vocals outlining the ever-degenerating state of societal affairs. The dramatically glam synth parts scattered throughout the album, while at times ominous in nature, seem to also act as a merciful reminder that through the journey of "Perception is/as/of Deception", one can still enjoy the chaos. With the rampant sense of emptiness on the minds of many these days, there continues to be few attempts at scoring these common, unfortunate human qualities with pure sincerity. Thankfully, ADULT. has a long-standing reputation for creating the soundtrack for our insecurities, and "Perception is/as/of Deception" further solidifies their apprehensive position.

Substance, the second album by producer Moisture, sets out to deliver an immersive tech-noir fantasy of emotional and physical deconstruction. Inspired in part by William S. Burroughs 1959 novel Naked Lunch, the conceptual narrative of the album follows a humanoid subject through an urban landscape and the exploration of its depravations.

Sampling and filtering sounds from other music, movies and own field recordings, the tapestry of Substance is a three-dimensional world of hard industrial spaces and fluid organic matter. While it's conception is rooted equally in literature and film as well as music, one can draw comparisons in particular to Barry Adamsons 1989 album Moss Side Story, in that it also works as a chronological narrative; the tracks aligning to make a world of its own.

And while Adamson was aiming to create an imaginary soundscape of his native Manchester, the geography of Substance is based on the city of Malmö. Using field recordings from it's city streets, the album paints a rain soaked, neon-clad portrait of the city's hedonistic nightlife.

On the opening "The Marketplace" we are teleported to Bergsgatan at night (the track title a subtle nod towards Eden Ahbez 1960 song of the same name).

This introduction is similar in line with the experience Burroughs once had in 1957 upon entering Malmö for the first and only time, which he details briefly in Naked Lunch: "averted eyes and the cemetery in the middle of town (every town in Sweden seems to be built around a cemetery), and nothing to do in the afternoon (...)"

This image of Malmö portrayed with dread and loathing holds a longstanding narrative tradition over the cultural geography of the town. Yet it is often paired with an image of great promise and bohemian splendor, seemingly a paradox but often perversely intertwined. This duality has always been a vital mindset in the underground music scene of the town and its illegal after hours clubs. Substance is a work steeped in the grayscale prism of techno and its post-industrial fetischism. Yet in picking it apart, one can find elements of everything from post-punk, drum & bass, trip hop and new age.

The theme of depravation that soaks through Burroughs Naked Lunch seems oddly befitting to this side of Malmö (one wonders what the author would have made of it had he stayed longer) Through rhythmic excursions and the exploration of repetition, the tracks of Substance are arranged to convey this self-destructive longing for depravity. Michel Foucault's ideas on limit experiences serves as context for this peculiar form of endeavour, as he puts it: "the point of life which lies as close as possible to the impossibility of living, which lies at the limit or the extreme."

‘Oh, baby, this is where it gets good.’ - Zaphod

The last ever BBC radio series of The Hitchhiker’s Guide to the Galaxy makes its vinyl debut! Materialising in the lavish packaging style of the preceding five series (Primary Phase, Secondary Phase, Tertiary Phase, Quandary Phase and Quintessential Phase) the Hexagonal Phase will make its presence known to all humanity on heavyweight Neon Geen vinyl! First broadcast in 2018, the Hexagonal Phase is based on Eoin Colfer’s And Another Thing…, the first - and, to date, only – official sequel to Douglas Adams’s original book series. This is also the first ever publication of the original radio edits of the Hexagonal Phase, as heard on their original Radio 4 broadcast. Arthur Dent and friends are thrown back into the Whole General Mish Mash in a rattling adventure featuring Viking Gods and Irish confidence tricksters, taking in a rare glimpse of Eccenrica Gallumbits and a brief but memorable moment with The Ravenous Bugblatter Beast of Traal.
Starring John Lloyd as The Book, with Simon Jones as Arthur Dent, Geoff McGivern as Ford Prefect, Mark Wing-Davey as Zaphod, Sandra Dickinson as Trillian/Tricia McMillan, Samantha Béart as Random and Jim Broadbent as Marvin, with a guest cast including Jane Horrocks, Lenny Henry, Jon Culshaw, Mitch Benn, Ed Byrne, Toby Longworth, Professor Stephen Hawking and many more, with music by Philip Pope. Adapted, Directed and Co Produced by Dirk Maggs, based on the novel And Another Thing… by Eoin Colfer, with additional material by Douglas Adams.

Presented on 3 x 180g heavyweight neon green vinyl, and
presented in illustrated wallets inside a rigid, bound 20 page book,
including a perspective sleeve note by Geoff McGivern and a
concluding overview of the series’ development by Jem Roberts,
Adams’s official biograph

You’re home just in time for tea.’ - Fenchurch

“The combined forces of Frederik Valentin & Loke Rahbek first found a way into the world in 2017 with the album 'Buy Corals Online'. Together they now present 'Elephant', an eight-track album that composes an inquisitive space with it's parts.

The economy of movement across Rahbek and Valentin's new collaborative album makes for a gentle transmission of its abstract intimacies. This presence, which we caught glimpses of on their previous work 'Buy Corals Online', is shaped by the delicate interplay between acoustic instrumentation and synthetically rendered sounds. Hauntingly melodic at times, the album feels like a suite of uncanny lullabies that grant access to realities that can only be found in dreams.

Rahbek and Valentin are always leading us somewhere and showing us something—one piece of the scene at a time, coming and going with different parts of a puzzle that eventually settles into a complete form. And through all this we perceive an inviting restlessness on their behalf, encouraging us to stray further and further into the private space of 'Elephant'. Valentin is perhaps best known for his work in the exquisite atypical pop group Kyo, though his widereaching music and videography practices covertly underpin his flagship projects.

Most recently, Valentin has been working with Yung Lean as both producer on his 'Nectar' album as Jonatan Leandoer127 as well as on their commission for Sweden's Cullberg Ballet. As Croatian Amor, Rahbek has made similar forays into unworldly pop and his work with Christian Stadsgaard as Damien Dubrovnik has been as critical as their cofounding of Posh Isolation.

Modest interventions from processed field-recordings and semi-erupting synths invite you to zoom in enough to hear the human hand. An attention to listening, to how sounds cradle the small movements and gestures that naturally accompany the playing of guitar, piano, and viola, is acutely developed by Rahbek and Valentin.

It's in this way that 'Elephant' persuades us that even small stories unfurl into the most intricate and tremendous of sagas"

Collocutor enter a new decade with the timeless, introspective Continuation. Continuation is a remarkable work in which the interplay of emotional experience and life motion experienced by band leader Tamar Osborn AKA Tamar Collocutor is channelled and explored by Collocutor.
The band's third LP assuredly strides forward following the critical acclaim awarded to 'The Search' from 2017 from the likes of The Wire, Vinyl Factory and Gilles Peterson. Continuation is an album about coping with grief and loss/bereavement: The music charts the many (and sometimes surprising) emotional states encountered, moving from acknowledgement, trying to keep 'normal' life going, the need to sometimes put a pause button on the world/existence and let the waves of feelings crash and roll, sudden anger & confusion, finally to moving (perhaps with uncertainty) forward.
Tamar Osborn has led Collocutor through a line-up shift from septet to quintet for Continuation. The modified line-up creates space for the musicians to express themselves through the shadows of Continuation's movement. The quintet allows for more group improvisation, based on just a few motifs and thereby giving the musicians more space to converse. The tracks Lost & Found and in particular the album's title track, Continuation (the only piece with 3 horns) hark back to the intricate arrangements of 'The Search'. It's a deeply personal album, the writing of which acted as Tamar's way of processing and understanding experience and the need to channel feeling.
In listening truly 'Continuation' bares that rare and precious gift of a morsel of the human experience being illuminated by artistic genius.

Samuel Rohrer CONTINUAL DECENTERING
With his Arjunamusic label and a growing catalog of categorydefying releases, Samuel Rohrer continues to quietly, yet confidently, make a name for himself as a genuinely unique Gigure within the European electronic music realm. In the current era, talk of blurring boundaries between musical genres and attitudes is more the rule than the exception, but not always something done with any degree of success. Rohrer is one of those rare alchemical explorers to have truly created a hybrid which is all his own, one that does not just exist to melt distinctions for its own sake, but is a natural result of years of experimentation with both the determination of electronic music and the ludic spirit of ‘free improvisation.’ On his newest offering, Continual Decentering, this vision is applied to a set of mostly in real time (live) performed explorations. 
In keeping with his many years’ worth of fruitful collaborations, the tonal palette on this new record is one that is expectedly rich for those familiar with his work, yet still surprising in terms of how exactly the differing tonal colors come together. Representative tracks like Spondee and The Fringe are brimming with dub pulses, noir shivers and blooming timbral variations that are in many places carefully isolated / focused and in other places blended together in vivid fusions. In terms of the emotional atmosphere created here, the pensive and questioning tone hearkens back to the ‘wide open’ state of electronic music in the mid-late 1990s, yet with a greater clarity and maturity of vision that makes this music feel like a possible answer to aesthetic questions being raised at that time. As with Rohrer’s most recent solo work, like the Range of Regularity LP, Continual Decentering showcases the artist’s skill in turning the drum kit into a lead instrument. While the term “lead instrument” denotes a kind of exuberant “Glash,” or a clear separation from the rest of the voices in an ensemble, we can take the term to mean something different throughout this listening program of 13 short vignettes: that is to say, everything else within the audible environment exists to complement the character of the percussive playing rather than to stand apart from it. It helps that Rohrer has, in fact, developed a unique and complex hybrid system in which drum hits trigger modular synthesizer processes, the use of which makes for an incredibly fluid response time between distinct sonic events. In contrast to the previous Range... LP, this new offering is propelled less by interlacing threads of intensity and more by a shared sense of deep listening. As displayed on pieces like All Too Human, there is a profound sense of attention to silences or thoughtful pauses that maybe hints at another crucial aspect of Rohrer’s style: over the course of this program, we tend to hear the player not only playing but listening, an activity which makes perfect sense given the sense of instrumental dialogue already mentioned. All of the above come together to give Continual Decentering a “live”-ness that will easily translate from recorded document to dynamic performance.

Austrian hardware-only liveact Anml Mthr presents his 4th release on Florian Meindl's FLASH Recordings imprint and counts to the core artists of the label.

Heavily influenced by the Vienna and Berlin Techno scene of the 90s he was a regular visitor to Tresor Club as well as a shining raver at Gazometer Vienna.

His productions under different monikers in the genre underground dubstep and hardcore can be traced back until the late 90s, but with Anml Mthr he found a home to combine his rough subbass with driving and chellanging acid lines and synth sequences.

His unique hardware setup consists of a huge modular synthesizer as well as classic boxes like the 303 of course, but also modern boutique synthesizers and effect boxes which he performs all in one take to record his tracks.

'Agartha Stories' is a record we were looking forward to release for quite some time. Hailing from the Venice area in Italy, Bruscagin & Visnadi are representing a specific sound from that region, a certain type of melodic techno but with its very own sound design we have rarely heard before. Hear the interesting story behind it. As half forgotten legends from ancient civilisations like Celts, Aztecs, Vikings and Incas say, there is a mythical place located in the centre of our planet. This enchanted place is called Agartha and only accessible through hidden gateways under different places on our Earth's surface, like the Pyramid of Giza, Mato Grosso or Mount Epomeo. Agartha is populated by an ancient civilization that survived Atlantis. What diversifies these inhabitants from our society is the respect and the love they feel for the nature and the fundamental elements that are substantial for the progress of human beings. Following their 'Indian Stories' release on Lost & Found, Bruscagin & Visnadi dedicate their second episode of the saga to the mysterious civilization of Agartha
´

The hyper talneted Stellar Om Source (NOT NOT FUN, RVNG, NO 'LABEL) blowing up new styles on this one!

"If there is one thing that leaps out from Stellar OM Source’s music, it is the sense of a highly active mind at work. There is an indivisible feeling that a real person is behind this dynamic flurry of tones, waves, vibrations and modulations. On I See Through You, the first full Stellar OM Source release in over four years, the spark that first LP piqued the interest of so many listeners is glowing stronger than ever.

In the 2010's, Christelle Gualdi carved a name as one of the most essential live electronic musicians around, dazzling dancers and home listeners in kind with her bombastic, acidic hardware jams. Circumstances outside her control forced a stop for the Stellar OM Source project. It was touring, including two shows in the summer of 2019 at Dekmantel Festival and Listen! that Gualdi credits as year highlights, which proved to be the integral jump-start to the engine.

Inspiration came rushing back thanks to the human connection of performing. Seeing a younger generation connect with her put fresh charge into the circuitry of her gear. All this accrued into new material on the road, and thus I See Through You was born.

The spirit of 2013’s cult favourite Joy One Mile is alive and well on I See Through You. There is once again immediacy, urgency and lust. But Stellar OM Source stepping into a comparatively more poppy and playful mode on these four tracks could also throw some. Fundamentally she says, it comes from a similar place, and ends with an enmeshed and positive outcome. Gualdi credits both “1995 rave” and “the clarity, bass and breath” of hi-def hip-hop productions as being twin northern stars for her to follow.

The artwork comes from friend and highly respected photographer & director Pierre Debusschere, whose work similarly flits between arresting close-ups and, well, the widescreen luxe of Beyoncé videos. “I’m definitely not a purist anymore,” Gualdi laughs – and with club-ready impact meeting human warmth, this shows in abundance.

“Night Alone” wastes no time in getting the listener up to speed. Is that an LFO sample running through “Night Alone”? Is this a lost Metro Area classic? Is that Stellar OM Source taking a diversion into searching Ibiza-rousing vocal for a moment, or did we imagine that in a heat haze? Where are the kicks? Oh there they are. How many elements are buried and revived within just over five minutes?
It’s hard to tell. Before we know it, “Lost Codes” is up and away, keeping pulses racing. A pitter-patter of baby kicks feel like a pre-tremor before a welting electro-Italo lead crashes into play. With fizzing energy, rasping synths and a frisson of danger, fans of Unit Moebius and The Hacker will be doing somersaults of joy.

“White Echoes” wastes kicks off the flip side with low gurgles descending briefly like a UFO reverse parking into the spot SOS had vacated. Soon, 303s are twisting like Chinese burns while warm chords offer a salve. The mood maintains on “Wild Palms”, the only song on this record not to feature additional mixing work from Peaking Lights’ dub-wise sensei Aaron Coyes.

True to form, the B2 is all Stellar: elements switching up and out, with all the fun and frenzy of capital-L Live action. Kick drums and bassline darting back and forth like a synchronised swimming routine, all elements in concert. The momentum of a runaway mine cart that you can’t help but strap yourself to. I See Through You is one for the dancers who have given Stellar OM Source the motive to move forward once again."

Aviador Dro are without a doubt the most avant-garde and influential techno-pop band from Spain. They started in 1979 and this year are celebrating their 40th anniversary playing shows, re-releasing some old works, publishing a book and also a new album.

“Acción Contra El Pasado” was recorded in Madrid in December of 1980 and is one of the oldest live performances of which there is a recording evidence. This concert is legendary not only for its age, but also for including some unreleased songs, a couple of early covers by Kraftwerk and Sex Pistols and vintage versions of classics tracks.

“Aviador Dro y su Maquinaria Humana” (exactly as it was announced on the original flyer) was formed at that time by Biovac N, Fox Cicloide, Placa Tumbler, Derflex Tipo IARR, CTA 102, X, Metalina 2 and Cyberjet. A priceless piece of history restored and remastered from the original cassette recorded directly from the mixing desk.

Limited edition of 400 copies with a A2 size colour poster.
Drawings created by the Polish artist Michał Arkusiński.

WRWTFWW Records is insanely happy to announce the first ever vinyl reissue for both volumes of Yoshio Ojima's superb environmental music project Une Collection des Chaînons I and II: Music For Spiral, originally released in 1988 on CD only. Each volume is sourced from original masters and comes as a double vinyl LP with liner notes in English and Japanese . This marks the inaugural release from the ESPLANADE SERIES by WRWTFWW Records which focuses on the works of Yoshio Ojima and friends.

Une Collection des Chaînons II (along with its complementary predecessor Une Collection des Chaînons I) gathers selected music pieces conceptualized and produced for sound-designing the Wacoal Art Center in Aoyama (Tokyo) also known as Spiral, a hub for a wide range of sophisticated cultural proposals spanning visual arts, theatre, music, design, fashion, and lifestyle.

Named after its superb curled-shaped structures laid in a vast atrium, Spiral is a monumental work of architecture by Fumihiko Maki, designed according to the principles of Metabolism, a movement advocating the fusion of the notions of megastructures and organic biological growth - in essence, evolving designs and constructions, adapting to human needs naturally.

Evolving, organic, adapting, these are notions that perfectly describe Yoshio Ojima's divinely designed brand of environmental music. Continuing, embellishing and bringing the Collection des Chaînons (which translates as collection of links) full circle, this second volume approaches sound design in relation to various contexts, sizes, and shapes. The nanoscopic neoclassical lullaby "Les Trois Grâces" brings attention to the importance of small details, "Pulse at Soothe" starts with the minimalism of a Satoshi Ashikawa piece and slowly drifts into mystical landscapes and cavernous echoes, "Entomology" and its melancholic artificial forest feels like a Twin Peaks mirage, and "Atrium" literally feels like a floating visit of a gigantic open space structure. With each timbre selected with extreme precision, each element placed in space with the utmost care, and textures worked to allow a wide canvas of emotion for the listeners, Yoshio Ojima's music is the constantly transforming connecting point between humanity and architecture.

Sitting alongside Midori Takada's Through The Looking Glass, Satoshi Ashikawa's Still Way, Hiroshi Yoshimura's Green, or Yutaka Hirose's NOVA, Une Collection des Chaînons is a pivotal work of Japanese environnmental/ambient/minimalist music.

A note from Yoshio Ojima: "Please listen to this album at around the same volume as daily life sounds such as air conditioners and refrigerators."

Editions Mego is proud to present the latest addition to the compelling discography of Thomas Brinkmann. Throughout his career Brinkmann has focussed on the human operating amongst industry alongside rhythms that manifest as a result of technological advancement. With this new release Brinkmann makes a u-turn, looking back to the early industrial age. Comprised of recordings of various looms, Raupenbahn investigates the sonic properties and consequences of the first automatic loom as constructed by Jacques de Vaucanson in 1745. Thomas Brinkmann once again adheres to his tendency for clarity and simplicity whilst further investigating not only the sound and rhythms of the machines (looms) but also what role they serve in society and what consequences they have on the environment. Raupenbahn presents 21 tracks in total, 11 feature on the vinyl, the remaining 10 as digital bonus tracks. The majority of recordings were undertaken by Brinkmann in 2017 with a Neumann KM 184 stereo set. Additional recordings were sourced with permission from Monika W. recs. from 2014 Central Museum of Textiles Łódź, Poland. Each piece presents a diversity of material which borders on the breathtaking and beautiful in richness and complexity. The various looms unravel rhythms and patterns unexpected from machines of the early industrial age.

The loom holds a significant role in shaping our world being the catalyst for Charles Babbage's Analytical Engine which, alongside the subsequent work of Byron's daughter Ada Lovelace, paved the way for modern computing. There is a linage of the loom that fits succinctly in Brinkmann's overall argument. Here we encounter a parallel between machine driven economies and the music that rose from such places, consider the Sheffield steel industries, the Manchester weaving industry or the Rhineland / Düsseldorf loom and machine industry. Is it a coincidence that the practice of such machines in the environment gave rise to today's predilection for electronic dance music, in pop, soundtracks, etc.

Raupenbahn features no treatment or processing and explicitly displays varying tempo and timbres which ascertain a wide range of acoustic structures. The artwork features Ingrid Wiener, Rosemarie Trockel and Alexandra Bircken, three different generations who would with ideas of fabric weaving, loming and the like. This exceptional release works on a number of levels alongside it's striking sonic palette.


i 9 Günne (Irmscher) BO Möhnesee / D

Robotron successfully autonomized and has now breached the mainframe. This is its second offering for the ESP Institute. Side A’s Exodus picks up where the last 12” left off, the spoils of cybernetic war as scavenged by the now-defunct Xinner and translated by Robotron into machine dance music for a post-apocalyptic future. With only a select few analog machines with which to communicate, it manages to produce the most bombastic beat we’ve heard this side of the acid winter—a mighty compressor permeates all spare gaps in the waveform, as communicative bleeps and note-bending mechanics work in concert to assemble a highly dynamic composition— emboldening us with courage for a new age. On the flip side, Kamchatkan renders a sparse image of a only remaining organic life, found in the furthest Eastern reaches of the Asian continent, the Kamchatka peninsula. Here, Robotron experienced a metamorphosis, a collapse of its structured programming in which it became self-aware and transitioned from its quantitative agenda to a qualitative enlightenment. This breath of new life invigorated Robotron’s musical approach as heard in the aforementioned title, revealing an uncanny ability for humanistic percussion and lyrical Acid melodies. These two programs will conduct synchronized dances for the masses.

And we used to be such a nice record label .... BKV 026 swells up from the Bristol swamp in the forms of post-human industrial duo Bad Tracking. Here they have assembled variously, one spacious black metal intro (with original screams), an industrial-pop earworm not unlike Depeche Mode imploding in a feedback tunnel, two itch-tek dancefloor riddims namecheking local venue bans and I just don't know what to call 'Wellspring' really, the end of days? Well you had it coming anyway…..


Known in town for upsetting local MPs and lisencees with their live performances as 'naked technology sex slaves' think cassette-induced self harm, total nudity, blood from ears, Bad Tracking are the most visceral thing we've seen in this new wave of Avon experimental - a breath of life into the longstanding tradition of industrial performance art (and an antidote to idle BR club culture). Lyrically touching on censorship and tech // sonically they use feedback as a punishing instrument of anguish and expression.Widower EPis truly chewed nail sonics, more human than all your noise records, genuinely more scary than your edgelord power electronics nonsense, more forward than all yer government funded experimental think-records.


You may remember Bad Tracking from their remix of 90s soundsystem legends Bush Chemists on Bokeh last year. It sounded like they played the original through 1,000 knackered tape decks and added one kick drum. It was total sacrilege and we loved it. Bad Tracking is Gordon Apps aka reputed jungle/drumfunk producer Relapse (who also moonlights as Avon Terror Corp's Olivia Mutant John, buy his shit) and poet / VHS video artist Max Kelan (who has lent his visuals to MVs from Hodge, The Pop Group, OM Unit, Young Echo to name only 4). They've released on tRewdindForward family labels like Mechanical Reproductions and champions of bad taste and good music - Fuckpunk.

Time is Local is a project by Danish collective We like We and sound artist Jacob Kirkegaard built around a 12-hour live sound installation and performance at Thorvaldsen Museum in Copenhagen.

The piece was initiated and performed by the artists during the G((o))ng Tomorrow Festival in 2017. As they slowly wandered the halls and rooms of the museum for a whole day, they performed extended sound compositions for a visiting audience at each of the 12 chambers for a longer session - a haunting experience as the outside world disappeared and the focus was on quiet sonic moments unfolding in midst of the grand, reverberous space. For this album they have collected 12 fragments revolving around the chambers in the museum. Each chamber is being represented by its own handful of tones, instruments and voice. The statues within, depicted by neo-classicist sculptor Bertel Thorvaldsen get their own soundtrack of quiet emanating gusts. Barely heard frequencies reflect through the walls. The marble carved busts of Greek gods that line the museum hallways gaze eternally with a blank stare as decades pass and new audience arrives.

Although We like We should need no introduction to followers of the Sonic Pieces label, the Danish all female sound quartet consists of Katrine Grarup Elbo (violin), Josefine Opsahl (cello), Sara Nigard Rosendal (percussion) and Katinka Fogh Vindelev (voice). Together they have forged a dynamic and intuitional sound beyond genres through the last decade. Only two years ago they released the nordic neo-classical opus Next to the entire All. This time they emerge in collaboration with sound artist Jacob Kirkegaard. Jacob’s works are sonic reflections on complex aspects of the human civilisation, treating themes such as radioactivity, melting ice, border walls and tones emitted by the ears. Through the last decades he has released records and sound documents through labels such as Touch, Important Records and more. As a document of their 12h performance, Time is Local is a beautiful sonic evocation that shines as a bright line of sun through the cracks of a tomb.

Sometimes you know it’s coming, sometimes it’s unexpected, but the time to hang your boots will always come. It’s better when you have total control, even better if you end up on a high (or on a low). After seven years of sonic interferences, calibrating the soundscape of field recordings and helping to recreate the old sounds of today, Gonzo is retiring from music. It’s a goodbye, yeah, and a well-crafted one.
But “Ruído(s)” doesn’t sound like an intentional one. You won’t listen to it on any of the thirteen tracks that scavenge for a solution in the space between ambient music and field recordings. You won’t feel it in the intense connection between human and natural sounds and how sometimes everything oscillates in opposite states of mind. You won’t even read it in the intense, but subtle, humor present in some of the pieces. You won’t, because it’s not an intentional goodbye. You only know it is, because you’re reading this.
What is it then? It’s a celebration of random sound. How can you experience something scholastic and, simultaneously, deeply hilarious? Just think about the amazing triad formed by “A Fuga dos Grilos”, “Degredado(s)” and “Cantiga Parva”. First, you’re blessed with six minutes that build up on the idea that sound can be an intense religious experience, echoes going back and forth to create a fantastic Boiler Room feeling (one populated with raving Gonzos doing dabs in front of the camera) that eventually ends up with a cinematic touch: someone saying the title of the song out loud. One second after we are into the Flying Lizards world, with two songs that shake any pretentious seriousness of the previous track.
Is it serious or not? It is. But it doesn’t have to be. In “Ruído(s)” Gonzo recounts pop/electronic history through field recordings and weird-soft beats. More than compiling his seven-year history, Gonzo is more worried to understand where he’s leaving his ideas, Caretaker style. Speaking of Caretaker, Leyland Kirby should think about reviving Caretaker and do a whole album around “Brilhante Cortejo”: it’s haunted ballroom in a ‘cracked’ nutshell.
As the album progresses and the need to revisit it grows, it becomes clearer(?) that “Ruído(s)” is more than an artist self-indulging on his work – in a very good manner. It’s also a condensed catalog of Portuguese music and its sounds, a circular trip down the memory lane of a forgotten country and its landscape. “Ruído(s)” is a goodbye to a country and its traditions. It does it without sulking but with the most respectful loud laugh - the Gonzo way.

In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep.

Animated Violence Mild was written throughout 2018, at Blanck Mass’ studio outside of Edinburgh. These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief - the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it.

I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated — brought to life by humankind. Violent — insurmountable and wild beyond our control. Mild — delicious.

Called out by The Irish Times as “Ireland’s best new rock band” and named as an one of NME's “100 Essential New Artists for 2019," When I Have Fears is the debut album from Dublin, Ireland's The Murder Capital.

Produced by Flood (PJ Harvey, New Order, Foals) the album features both singles from the band so far, "Feeling Fades" and "Green & Blue", as well as the first studio recording of breakthrough track "More Is Less".



An exercise in both darkness and light, “When I Have Fears” only serves to highlight the early ambition in the band's sound. From the post-rock build and breakdowns of the two-part "Slowdance", to the tender, bruised confessional of "On Twisted Ground" and industrial pulse of closer "Love, Love, Love", there's a consistent intensity throughout that marks out The Murder Capital as a band arriving fully formed on their debut album.

Following sell-out shows on their April tour, the group have also announced a new string of UK & European headline dates for October and November 2019 - see below.

Beacon Sound and Jacktone Records are pleased to announce a limited edition joint vinyl release by Hugo RA Paris titled Threaded Habitat. The new LP from Paris follows two of Jacktone’s most popular releases: Mystique Youth (2015) and Horizons Beneath The Surface (2016), which appeared under his alias, Lavender.

The transition to the Hugo RA Paris moniker with this album marks a more personal shift in approach. Threaded Habitat combines ambient textures and techno rhythms to reflect tension between humanity and nature—particularly the cyclical nature of collapse and renewal. It also marks Jacktone's first collaborative release with the record store and label Beacon Sound, which has put out works from veteran experimental musicians like Terry Riley and Colleen. Beacon Sound is an important node in Portland, where Paris also lives and developed the flagship modular product for leading Eurorack manufacturer 4MS: the SWN.

The album's closing track was entirely composed on a SWN prototype and recorded in one take. In fact, much of his work is done in layers of single takes with minimal processing to preserve its raw emotion and embrace minor imperfections. As an MIT-trained engineer and physicist, working with hardware—from modulars to guitar pedals and tape loops—is essential to his process of not only making but exploring sound.

Threaded Habitat captures moments of claustrophobia and bliss in seven tracks and three accompanying videos directed by New Zealand artist Sam Hamilton. Visual art plays a central role in many of Paris’s projects, which include intricate audio-visual performances and scores for full-length films like The Modern Jungle (La Selva Negra) and its forthcoming follow-up.

The LP will be available to pre-order on July 1st with a limited, exclusive content sample pack. The handmade vinyl package features photography by Sam Hamilton and will be released July 19 through Jacktone and Beacon Sound’s webshops, with worldwide sales beginning August 2nd. A remix release will arrive later in the Fall.

On July 26th the top-ranking leftfield star Clark will release ‘Kiri Variations’, via his own label Throttle Records – and as always, he has musically metamorphosized into something fresh and new.

This album of plaintive beauty, eerie wyrd arcadian horror and childlike outsider music epitomises his constant ability to flip-the-script and coherently organise an abundance of new ideas.

Mysterious and morbidly beautiful pieces driven by piano, harpsichord, clarinet, strings, electronics and voice are interspersed with fabulously unusual and highly original curveballs:

Odd-in-a-brilliant-way, the faux naïve ‘Kiri’s Glee’, evokes traveling minstrels of yore accidentally eating the wrong ‘shrooms, and ‘Coffin Knocker’ has diffracted psych feel, like David Axelrod’s work with the Electric Prunes, but chopped, screwed and scorched.

‘Forebode Knocker’ is darkly funky, like the kind of lost diggers’ nugget unearthed and sampled by RZA, whilst the sonically-perfect ‘Primary Pluck’ unfurls exquisitely, swaying slowly ever forward like a funeral march.

‘Cannibal Homecoming’ is nothing short of Clark’s most song-based composition ever, featuring augmented human voice as evident elsewhere and also a fully-fledged vocal sung by him.

‘Kiri Variations’ started life as the score to the BAFTA-nominated TV program ‘Kiri’, but only a small (and highly effective) portion of the music recorded was used – intentionally sparingly – by director Euros Lyn. That first incarnation has since grown and morphed intosomething entirely of its own being; a proper artist album.

“In addition to my usual methods of controlled randomness and tangential ideas, the TV commission was a prominent spark for new approaches. It’s a great balancing contrast with the solipsistic studio album”, Clark explains.

The record allows simplicity and playfulness to shine through: “It’s a skeleton of an album, reduced to bare essentials, although it started out rather dense - the thing that takes time is making it succinct."explains Clark. “Certain parts are also what you could call anti muso – for example the recorder on ‘Kiri’s Glee’ is totally out of tune – but it sounds so colourful. I can’t resist the primary paint of acoustic instruments; it’s an antidote to frictionless digital music.

The Soulpop Continuum – by Arno Raffeiner
Six songs, one sound signature, one vision. Supreme Beats Series by Drei Farben House is an album
that firmly stands in the tradition of the big records of the disco era: a vinyl disc full of kicks and licks,
just as much as two sides in amazing sound quality can hold.
The album is the latest work of Michael Siegle, the Berlin-based producer and owner of Tenderpark
Records. 13 years after Drei Farben House's first full-length on the acclaimed Force Tracks label, it
features contributions by singer and songwriter Mavin and none other than Robert Owens who's voice
shaped house music forever. The trademark sonic elegance of Drei Farben House blends perfectly
with the timbre of the man behind Fingers Inc.'s Mysteries Of Love. Siegle's work as a producer is not
so much about turning this rich heritage upside down, but about refining it and creating a space within
that realm that's very much his own.
The title of the opening song with Owens states it: I’m Remaining Here. And Supreme Beats Series
invites you to come over and stay there, too, in a refuge of class and funkiness. The record offers
dense layers of rhythm, vintage keyboard sounds, chucking guitar, and vocal samples that indulge in a
many-voiced conversation. Not to forget the prominent, singing rather than walking bass lines
performed by the hands of Michael Siegle himself with his bass guitar.

New Release Information
You could think of Supreme Beats Series as a cross-section in time and space. It allows you to take a
closer look at the here and now of a much bigger picture, both aesthetically and socially. Siegle uses
the vocabulary of house music in a way that transcends its conception as merely a genre and speaks
of the historic evolution and the profound roots of this music as a movement. His record takes
inspiration from 60s Motown hits as well as the blue eyed soul of the 80s, you can discover influences
ranging from Philly's pre-disco craze to new jack swing and on to the heyday when house-pop divas
stormed the charts. By drawing these lines, Siegle deliberately opens up the space of a visionary
Soulpop Continuum.
In the 1950s, the American issue of Vogue magazine had their say about Coco Chanel's work and its
ever-lasting impression on fashion and design. They claimed it was all about “infinite variety within
narrow limits,“ and meant that as a compliment, of course. Michael Siegle likes to think about Drei
Farben House in a similar way. And you should, too.
Info about the artwork:
As far as the cover artwork of 'Supreme Beats Series‘ is concerned, the release of Drei Farben
House’s new album shows the second part of an image series which has been started with TDPR
release # 021 and which revolves around architectural photos taken by Achim Valbracht. Tenderpark
art director Till Sperrle and photographer Achim Valbracht like these pictures of various commercial
buildings erected in Berlin in the 1990s to be seen as a critique of investor-driven architecture which
has been dominating Berlin for several decades now.
The fascination of these pictures lies in their ambivalence of staging a normalised and globally
standardised kind of beauty, but at the same time revealing a strong sense of isolation - noticeable not
only but also in the absence of human beings. This new series of images is to some extent a
continuation of art director Till Sperrle's and label manager Michael Siegle’s interest in architectural
photography. However, at the same time the photo series also embodies a new angle on the subject
since all previous picture series on Tenderpark had been an affirmation of socially progressive
architecture which expressed a longing for socio-cultural utopia.

“Acid Sensible EP” released by Johnkôôl Records is a compilation of tracks composed by french producer Botine (already seen on Acid Avengers Records) along those formative years. It is truly the fruit of back-and-forths between the stage and studio environment from 2013 to 2016.

The term Acid Sensible first appeared in Clément’s graphic work as he developed his musical adventures. It’s a tale in which pets, organized in a micro-society produce music that will free them from humans and their alienating lifestyle. Acid Sensible is how they name that musical genre they created and that Botine appropriated himself. Built on a complex mix of influences, Acid Sensible is a careful and melodious pop balance between new-beat rhythms and meditative sounds sourced from IDM, Braindance, Psychedelic Rock and Krautrock.

Most of the tracks on the EP were composed on analog devices. The recording was done in one take only, thus preserving its powerful esthetic sourced from the live environment.

“Built By Humanoid” is Humanoid's second album, a mere 30 years after the debut, though Brian Dougans claims the first album wasn't really him anyway.
Humanoid's classic acid house single, ‘Stakker Humanoid’, highly regarded as one of the key tracks from the era (Richard James (Aphex Twin) sights the Stakker project as a major influence), enjoyed massive success in 1988. Reaching No.1 for 5 weeks in the UK dance charts, performances on Top of the Pops, a John Peel session for the BBC and European tours eventually led to an album deal.
Whilst all this was happening, Brian Dougans (one half of electronic legends Future Sound of London) claims he was returning to his squat in Kings Cross with no electricity or water. He not only became disillusioned with the business, but also became increasingly ill from the conditions he was living in. Around 6 tracks into the album, he left London and record label, Streetsounds, returning to Manchester to recover and regroup his thoughts. However, Steetsounds pressed ahead with the album and it was finished in Brian’s absence with guest performers.
Brian left Humanoid behind and went on to create FSOL with Gaz Cobain becoming leading lights in the burgeoning ambient scene, scoring a top 10 album "Lifeforms" on Virgin Records.
In 2003 Rephlex (Aphex Twin’s label) released a posthumous album of 1988 out takes compiled by Brian.
Recently Humanoid tracks have been popping up on modern compilation albums (Touched Music / Gasman, etc) signalling a possible return.
“Built by Humanoid” is a brand new nine track album of future acid cuts, breaks and electronics, a lot of which is credited to 2 synthesisers co-designed by Brian Dougans and English Electronics company Digitana. It is this innovation that has helped usher Humanoid back into the limelight and consequently the album has a rather new and unique sound and style.
The track ‘Polymath’ is created using a possibility / probability theory that results in a track which at no point repeats itself - 303 tinged acidic bubbles. Meanwhile ‘Traktion’ is a break beat, pulse laden, bass heavy monster. ‘Fu*k It’ is the future sound of 303. Fast, frantic and beat driven. Whilst ‘Post Humans’ combines thumping 909 and 303 into an acid hallucination.

As a visual artist and ambient composer, Tor Lundvall's work often recontextualizes the familiarity of everyday life through abstraction and space. Starting with the snapshot of a moment, Lundvall extracts its underlying complexity of the seemingly mundane and gives sleeping suggestion a presence and purpose. Mainly working sans vocals, Lundvall returned to voice exploration for 2018's A Dark Place, a somber, dark synth album that merged his mastery of textural ambience with traditional pop structures.

Rescued from old DAT tapes A Strangeness In Motion: Early Pop Recordings 1989-1999 are some of Lundvall's earliest completed synth pop works which have remained unreleased until now.

Though Lundvall's work throughout the collection has the recognizable ambient bones and sensibilities he has refined throughout his career, many of the tracks call back to the synth-driven pop of Orchestral Manoeuvres In The Dark, The Human League and New Order, with the common thread being the sparse density and mood created by reservation and the lonely impulse to twist convention, not to rip it up and repurpose it. Rather than 10 disparate ideas, Lundvall's curation of A Strangeness In Motion: Early Pop Recordings 1989-1999 feels like excerpts from a broader work, allowing the listener to fill in the holes and ladder up to his larger themes and concepts, perhaps coloring his prior works in new hues and tones.

'For years I dismissed these songs as naive and youthful relics, but I've grown much fonder of them in recent years along with the memories they evoke,' he says of the decade spanning collection of tracks, many of which were sketched out in his duo with Drew Sullivan, After The Outing. 'Original One', 'Procession Day', 'The Clearing', and 'The Melting Hour' are present here as solo reworkings, originally culled from his sessions with Sullivan. The remaining songs were ideas originally considered for Passing Through Alone (1997) and its proposed follow up, provisionally and playfully titled Femalamania.

'The title was summing up my girl problems at the time and also a silly word spin on Robyn Hitchcock's Fegmania!' he says. 'Sadly, the project was abandoned—a rare decision for me and perhaps the only time I've scrapped an album entirely.'

Born in 1949 in Recife (Brazil), Roberto De Melo Santos, despite a very light discography, is among
the true icons of the Brazilian Soul music under his artist alias, Di Melo. He’s indeed only needed an
eponymous album, released in 1975 on Odeon, to assert himself as a star in his native country, but
also as a legend for all collectors and connoisseurs of the world. More than 40 years after its release,
this famous album sells for several hundred euros in its original version, and even for the few
reissues that were offered. Not very active since then, Di Melo however returned in 2016 with the
album O Imorrível, released on the Brazilian label Casona Produções.
It is then that a year later, came a meeting with the French group Cotonete, that Florian Pellissier,
founding member and keyboard within the band tells us about: “On tour in Brazil with Cotonete, we
had a few days off in Sao Paulo and I really hoped to make a collaboration with an important artist or
band from the Brazilian funk scene. We had thought of Marcos Valle, Meta Meta or Ed Motta... but
Rafaela Prestes our Brazilian "sound ingineer/genious" told me she’d worked with Di Melo for his
recent comeback and gave me his number. No sooner said than done, as I'm a huge fan of Di Melo.
The next day he arrived at our house with Jo, his wife, and Gabi, his daughter. He takes the guitar in
front of us and gives us a private show of 3 hours… we cried the tears of joy. He had 400 original
songs never recorded, a gold mine. On the same night, we started working the arrangements for 2
days, followed by a rehearsal and two small gigs in Sao Paulo. Immediately after, we recorded in the
magical Epsilon B studio. This album is the summary of this moment, of these 5 days of madness
spent together between “the best band in the world” and the legend Roberto Di Melo… Simple,
beautiful, Brazilian-French, human music…”
Today, Atemporal found its final version in collaboration with Favorite Recordings and is proudly
presented as what we believe will become the genuine long-awaited follow-up to the classic Di
Melo’s LP.

- One 140 gram RED Vinyl Disc in plain white paper inner sleeve

- 4/color Single-pocket jacket - shared with 093624903444

- 4/c over 4/c Lyric Insert - shared with 093624903444

- 2/c (PMS 186 + Black) 2.0' x 4.0' FYE Exclusive Marketing Sticker

- 1/c (Black) UPC sticker and affix directly on jacket over existing barcode.

Global superstar Michael Bublé is scheduled to release(pronounced love) as his first studio album in two years on November 16th following a two year break from public life to spend time with his family.

The Canadian singer-songwriter returned to the studio with a new perspective on life and a renewed commitment to honouring the music he has always loved.

I didn't anticipate returning to recording or performing and I was fine with that. My entire world view has changed completely these last few years. I wanted to spend all my time with my wife and kids. That was my focus. During that time, I also learned how much love and humanity is out in the world from the prayers and good wishes we received. But slowly, along with understanding what my priorities in life are, I began to feel a new commitment to express the emotions and lessons I've embraced. Whether I am the narrator, the observer, the main character, the dreamer, the broken hearted guy at a bar or having the night of a lifetime, I have stories to tell on this record. It's all there in the songs. I have had so many blessings in life and one of them is that I hold the torch to keep these songs alive for generations to come. I take the responsibility very seriously. My end game for the new record was to create a series of short cinematic stories for each song I chose and have it stand on its own. I'm so proud of what we accomplished,' commented Bublé.

Bublé co-produced his new album and brings new love to several rich classics from the American Songbook. The album opens with the idealistic and dreamy 'When I Fall In Love.' It also includes a haunting take on another Rogers & Hart standard, 'My Funny Valentine.' Other standouts are an ebullient 'When You're Smiling,' a swinging 'Such A Night' as well as Bublé's hand-picked favorites including 'Unforgettable,' 'Help Me Make It Through The Night,' and 'I Only Have Eyes For You.' Two standout tracks are Charlie Puth's swinging 'Love You Anymore' and an achingly poignant 'La Vie En Rose' -a Bublé duet featuring singer Cecile McLorin Salvant. A touching Bublépenned original 'Forever Now' demonstrates his songwriting skills, which were previously shown in such Bubléwritten hits like 'Home,' 'Haven't Met You Yet' and 'Everything.' The album closes with a show-stopping version of 'Where or When.'

was produced by David Foster, longtime collaborator Jochem van der Saag and Michael Bublé. The trio brought Bublé's visions to life with luscious arrangements surrounding his rich vocals. Michael Bublé has sold over 60 million records worldwide, performed hundreds of sold-out shows around the globe, and won four Grammys and multiple Juno Awards during the course of his extraordinary career.

Tokyo based DJ/Producer Tsuyoshi Ogawa presents "Seven Samurai". This vinyl-only label has been founded in 2018 and it is operating in Tokyo, Japan. It pays tribute to the Japanese legendary movie director 'Akira Kurosawa'. This 4th EP featuring Foog from Tokyo who is a pioneer of Japanese electronic music since the early 80’s as Yukihiro Fukutomi. The EP includes two tracks inspired by the movie "The Lower Depths" that well know "Donzoko" in Japanese. 1st title track "The Lower Depths" recorded using the sound sample from the movie. The beat influenced by the Japanese Rakugo and impressive Syakuhachi phrase brings us toughness and funniness of those who survive in Edo-Ghetto like that movie. 2nd track "Fourth Wall" asks us about the confusion of the modern world with human negative emotions, evil, anger, poverty and greedy from the movie in 1962 across time and space. It will be a warning message to the modern economically unequal society from the ancient economically unequal society. This EP is dedicated to Kurosawa as a new spiritual soundtrack for The Lower Depths.

Italo-disco inspired house music, IN MY DREAMS is the latest single from New York/Moscow duo IPF aka INTERNETPOWERLIFTINGFEDERATION. A warm, galloping bass line fuses with razor-sharp synth stabs, creamy pads and late-80’s house drums. A dual-vocal exchange explores self-delusion, obsession and a single-sided relationship between girl and the boy who lives in her head. Melancholic yet pop-y, IN MY DREAMS wouldn’t be out of place in club run by Erasure, Depeche Mode or Human League at their most soulful and dancefloor-ready. In the spirit of classic 80’s dance music traditions, the original mix gets three additional reworks: a classic Electro version, a “big room” friendly HI-NRG version and stripped down version. This is the first release from New York city based label Daddy Issues, limited pressing 150 copies only.