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London based artist Ben Vince is best known for his minimal & transcendent saxophone soundscapes. With 'Assimilation' we find Ben treading new ground with his recorded output, moving away from the limitations of solo Saxophone, instead embracing collaboration and communication to forge new paths. Whilst Vince's Sax work still undeniably holds 'Assimilation' together, the new territories explored by working with an artistically diverse range of collaborators allows new life and influence to flow through Ben's work. The album features collaborations with Micachu (Mica Levi), Rupert Clervaux, Merlin Nova, Valentina Magaletti, and Cam Deas. Ben Vince has also recently collaborated on a 12' with Joy O (forthcoming on Hessle Audio).

LYBES DIMEM is a project by visual artist and musician Lukas Rehm. With a focus on digital sound-de- sign, elaborate beat structures and the use of error, the music plays with cognitive phenomena and abstraction while maintaining an emotional refuge. LYBES DIMEM is presented in formats ranging from spatial sound experiences to sy- nesthetic shows complementing the auditive layers with visualiza- tions of real-time data, computer graphics and moving image. Lukas Rehms installative art, and compo- sitions have been internationally presented and awarded with multi- ple emerging arts prices.

SYNCLEFT CHRONEM is the first album released by LYBES DIMEM in both digital and vinyl format and accompanied by a moving image artwork. The title reflects the pro- jects interest in the potential of difference, cognitive frictions and exertion: sync = variability in the processing of auditive and visual signals, syncleft = the synaptic cleft, which is a crucial empty spa- ce in biological neural networks, chronem = the chroneme as a the- oretical unit to measure the time of

an articulated sound. Mathemati- cally clean sounds juxtapose pat- terns and transitions familiar from the realm of organic acoustics. Multi-layered noise textures ex- plore the simulated space. A tem- porary continuity is provided by percussive and melodic elements, right until the next escalation, eventually awaiting a concluding resolution.

The visual language explores dif- ferent phenomena and techniques of cognition inspired by the rhe- torics of big science (computer graphics, discontinuity of materi- al, pop cultural references). Both the moving image artwork and the graphic design of the release pay tribute to the multi-layered appro- ach of the music. The design of the vinyl cover by studio BNAG.cc uses subtractive colour synthesis to interchange between abstract for- mality and representationalism.

SYNCLEFT CHRONEM is the first release by LYBES DIMEM on SVS Records following a first encounter at the SVS residency at the 4D Spa- tial Sound Institute in Budapest.

Transit Valley is the debut release by Joe Coghill, a multi-disciplinary artist, musician and experimental publisher based in Edinburgh. His practice incorporates sound, video, performance, social sculpture, facilitation and media distribution. Borrowing from multiple spheres of influence, his scattered output operates from a liminal position. Coghill works in an improvised and often haphazard way, incorporating disparate field recordings, modular synthesis and other sonic ambiences to create unpredictable and ephemeral multi-layer audio-visual performances. Alongside this Coghill has been producing music recreationally in his various bedroom studios over the past 14 years.

Following the U.S. Army's liberation of Munich in May 1945, the world's first Amerikahaus was inaugurated there with a library, a magazine reading room, a children's library, a record and lm department, and lecture and seminar rooms, together with a concert hall and exhibition space. Up to 80,000 people a month utilized the offerings of Amerikahaus during its early years. Beginning in 1953, the United States Information Agency (USIA), an institution founded as an instrument of the Cold War, began to finance Amerikahaus. In addition to representing the U.S., its principal task in West Germany was to democratize and denazify the postwar population. After the beginning of the Cold War, many of these re-educative measures also served as propaganda in a programmatic linking of democratic and economic principles meant to strengthen transatlantic relations against the Communist Bloc. In 1997, the U.S. government concluded its work at Amerikahaus in Munich and shipped almost all its items back to the States. However, 1,630 long-playing vinyl records from the library were left behind in cardboard boxes in the basement. When Michaela Melián looked through this forgotten collection, one of the first things she came across was Don Gillis' 1940 tone poem »Portrait of a Frontier Town«, whose second movement is entitled »Where the West Begins«. Don Gillis, a composer and radio producer, used the musical styles and genres of that decade to create an explicitly American program music. Michaela Melián's »Music from a Frontier Town« is fueled by the diverse sonic material of this extensive record collection once considered as an instrument of cultural education. This record has been produced in addition to Melián's twenty-four hour performative music installation »Music from a Frontier Town« in the garage of what is now the Bavarian Center for Transatlantic Relations at Karolinenplatz, Munich (4-5 May 2018).

180g

Hybris Is A State Of Dissoluteness, Of Loss Of Control, Of Greed And Of Lustfulness. Following That Motto, Wice Takes His Listeners On A Journey Through A Hybristic Process On His Second Steinlach Ep, Which Chooses An Enchanting And Euphemistic Entrance Into Hybris With Absent (no Aggression). Gentle Pads Create A Peaceful And Dreamy World That Is Turned Into A Fascinating Landscape Of Sound By Trippy Drums And Dopey Synths And So Pushes Wide Open The Gate To Hybris. The Threateningly Booming Hb11 Then Finally Enters The State Of Hybris: Synths And Drums Pump Adrenaline In Heads And Bodies, Dancing Turns Into Greed, The Complete Lack Of Control Sets In. That Lack Of Control Riots Towards Its Peak With The Eponymous Hybris, Which Tears The Listener In Technoid And Gritty Manner Into The Abyss Of Hybris And Holds Him Captive Down There. Hybris Is Followed By Nemesis, The Divine Punishment Ending In Death: Wice Interprets This Transition Towards Nemesis With Hertz, A Playful And Breaky Good-night Kiss, Which Feels Pretty Damn Good And Resonates Bittersweetly.

It's A Funny Old World, And Yet Again, The Black Dog Have Provided The Soundtrack. Our Fast-approaching Dystopia Has Been Envisioned And Documented By The Band For Decades. Now, The Black Dog's Two New Albums, Post -truth And Black Daisy Wheel, Translate Their Growing Horror Into Some Of Their Most Accessible And Impactful Music, Translating Our Manufactured Reality Into High Energy Dancefloor Constructions On Post -truth, And Reflective Ambient Excursions On Black Daisy Wheel.

Long Familiar With The Tropes And Pitfalls Of Esoteric Undergrounds, In Both The Pre- And Post Internet Eras, The Black Dog Have Ventured Deep Into Contemporary Conspiratorial Cultures With A Trenchantly Critical Eye. In The 80s, Conspiracy Theories Were A Tonic For A Sceptical Mind, A Stimulant To Agile Thinking. Today, They Have Become The Stock In Trade Of Mainstream Political Influence. The Scene Has Morphed Into A Rabbit Hole Where Nothing Is 'really' Real, Everything Is A Hoax, And Everyone Is Out To Get You. The Mindset Is Beyond Paranoid, The Discourse So Far Post-fact That Only Opinion And Assumed Identity Matter. Arguing Against Proven Science Is A Part Of The Entry Criteria, And Wilful Pedantry Its Standard Currency. The Impact On Mental Health Is Corrosive: Fear, Uncertainty And Doubt Multiply And Replicate Until The Most Ridiculous Theories Are Invented To Explain The Most Basic Things: Tarmac, Banana Skins, Duvets. Auto-suggestion Is Rife, Where Willing Victims Drink Bleach (mms) At The Behest Of Youtube Videos, Flat-earthers Are Taken Seriously, And The Manufactured Fearful Believe They Are Being Gang-stalked For Finding Monsters On Pixelated Screens. The Distinction Between The Real World And The World Of An Auto-hoaxer Is So Blurred That Reality Melts Away; You're Only Ever One Personal Detail Away From Being Doxxed, At Which Point Reality Bites Back, Hard.

You Couldn't Make It Up, Even Though That Is Exactly What The Conspiratorial Fringe (now One Sharp Corner From The Mainstream) Always Do. The Fact That There Are Real People Involved In This Scene Creates A Real Sense Of Pathos And Anger Which Is Deeply Embedded In The Music On These Two Albums. As Soon As You Start Engaging With People In The So-called 'truth Movement', One Minute It's Painful, But The Next Can Be Genuinely Funny; These Are People Who Are Both On Edge And Upon The Edge Of A Larger Social And Political Reality That, For Worse And For (even) Worse, Defines Our Times. Hence These Two Very Different Albums. Black Daisy Wheel Is Reflective, Often Intense, Frequently Compassionate; While Post -truth Was Written While The Black Dog Was Fully Engaged With People Whose Paranoia Was In Full Swing.

Welcome To Our Disinformation.

Limited To 500 Copies - 180g

It's A Funny Old World, And Yet Again, The Black Dog Have Provided The Soundtrack. Our Fast-approaching Dystopia Has Been Envisioned And Documented By The Band For Decades. Now, The Black Dog's Two New Albums, Post -truth And Black Daisy Wheel, Translate Their Growing Horror Into Some Of Their Most Accessible And Impactful Music, Translating Our Manufactured Reality Into High Energy Dancefloor Constructions On Post -truth, And Reflective Ambient Excursions On Black Daisy Wheel. Long Familiar With The Tropes And Pitfalls Of Esoteric Undergrounds, In Both The Pre- And Post Internet Eras, The Black Dog Have Ventured Deep Into Contemporary Conspiratorial Cultures With A Trenchantly Critical Eye. In The 80s, Conspiracy Theories Were A Tonic For A Sceptical Mind, A Stimulant To Agile Thinking. Today, They Have Become The Stock In Trade Of Mainstream Political Influence. The Scene Has Morphed Into A Rabbit Hole Where Nothing Is 'really' Real, Everything Is A Hoax, And Everyone Is Out To Get You. The Mindset Is Beyond Paranoid, The Discourse So Far Post-fact That Only Opinion And Assumed Identity Matter. Arguing Against Proven Science Is A Part Of The Entry Criteria, And Wilful Pedantry Its Standard Currency. The Impact On Mental Health Is Corrosive: Fear, Uncertainty And Doubt Multiply And Replicate Until The Most Ridiculous Theories Are Invented To Explain The Most Basic Things: Tarmac, Banana Skins, Duvets. Auto-suggestion Is Rife, Where Willing Victims Drink Bleach (mms) At The Behest Of Youtube Videos, Flat-earthers Are Taken Seriously, And The Manufactured Fearful Believe They Are Being Gang-stalked For Finding Monsters On Pixelated Screens. The Distinction Between The Real World And The World Of An Auto-hoaxer Is So Blurred That Reality Melts Away; You're Only Ever One Personal Detail Away From Being Doxxed, At Which Point Reality Bites Back, Hard. You Couldn't Make It Up, Even Though That Is Exactly What The Conspiratorial Fringe (now One Sharp Corner From The Mainstream) Always Do. The Fact That There Are Real People Involved In This Scene Creates A Real Sense Of Pathos And Anger Which Is Deeply Embedded In The Music On These Two Albums. As Soon As You Start Engaging With People In The So-called 'truth Movement', One Minute It's Painful, But The Next Can Be Genuinely Funny; These Are People Who Are Both On Edge And Upon The Edge Of A Larger Social And Political Reality That, For Worse And For (even) Worse, Defines Our Times. Hence These Two Very Different Albums. Black Daisy Wheel Is Reflective, Often Intense, Frequently Compassionate; While Post -truth Was Written While The Black Dog Was Fully Engaged With People Whose Paranoia Was In Full Swing. Welcome To Our Disinformation.

Limited To 500 Copies - 180g

Italian club staple and producer Kaiser turns to MOC for his Debris EP, showcasing three agile Techno slices and a remix from Exploration Records chief Johannes Volk.

'Parachute' opens up the release in a spellbinding, energy-heavy manner, with its whirlwind groove and lead taking no prisoners. Next up is 'Debris', showing off an equally energetic prowess channeling zig zagging synths and a more melodic, yet still heavy strung bassline. 'Esplosione Di Colori', translated as 'color explosion' aptly translates into sound what is usually only possible for a paint canvas. A lighthearted, arpegio-ridden track in original, Johannes Volk works his magic, turning it into a versatile piece of raw, dubby Techno.

Tune after tune, Coops consistently delivers truly original and unique music, his newest single 'Jetpack' taken from
the recently announced 'No Brainer' project is no exception. Twist up a paper plane and take ight with Coops as he transports us out of the mundane into completely uncharted territory with this perfectly executed audio/visual experience. At High Focus Records, we are rm believers in artistic freedom, so when an artist as versatile as Coops delivered this 14 track project, it was a 'No Brainer' to share these highly innovative creations with the
world. 'Jetpack', alongside previous singles 'That Jazz', 'Bob Dylan' & 'What You Want' can all be found on Coops'
forthcoming 'No Brainer' project which is now available to pre order on limited edition splatter vinyl, CD, cassette tape and on all digital platforms. This forthcoming record showcases Coops' versatility and creative approach to his craft displaying a broad palette of sounds and moods. The cosmic cover art shows the two sides of the brain, representing the different approaches Coops has taken when crafting this project, ranging from experimental modern soundscapes to that classic Hip Hop sound. 'No Brainer' isn't really a album but more an experiment... I made most of these tracks alongside music I'd been making for an album... People have always tried to categorise me as a "Boom-Bap artist" but that I have never been. I am constantly making music of different styles and never work on one project at a time. Sadly some of these tracks never see the light of day, even though they are still of high quality and sick, so this time it was a 'No Brainer' that I put some of these tracks out.' - Coops
Coops - 'No Brainer' is offcially released on the 27th of April 2018 on High Focus Records.

** Limited Edition 180gm Gold w/ Black haze LP w/DL.
* Kaziwa is the second collaboration between Iranian ambient experimental composer Porya Hatami and superlative sound designer Uwe Zahn's Arovane project.
* The album was originally released on limited compact disc via the Time Released Sound boutique label in July 2016 and now sees rerelease on n5MD. Each of Hatami and Zahn's collaborations has been vastly different from one another focusing on a feeling or technique. With Kaziwa the duo focused their attention toward nostalgic layered piano vignettes. The album's closer 'feer' was the first track they worked on and used it as their jumping off point. What began as a simple loop of piano morphed into something contemplatively fascinating. While that specific track features Hatami supplying most of the piano and Zahn creating the 'another time and place' atmospheres the two effortlessly switched off on piano duties all while transparently deviating from the current affectation of Frahm / Sakamoto style ambient piano clarity.

* This new version of Kaziwa will come on limited vinyl as well as on digital platforms for the first time.

The Safe Trip Organisation Has Been Broadcasting Their Musical Version Of A Traditional "numbers Station" On The Frequency 5079. Human Intelligence Suggests The Agent Behind Four Regular, Ear-pleasing Transmissions Is The Safe Trip Associate "artis".
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Using A Specially Modified "one-time Pad", We Were Able To Decipher These Undercover Operatives. The Ethereal, Dreamy, Arpeggio-driven Throb Of "panthera Pardus", With Its Poignant Tone And Undulating Lead Lines, Was Clearly Meant As A Warning.. The Same Could Be Said Of "cetacea", Where Melancholic Synthesizer Sounds And Meandering Electronics Gently Wind Their Way Around Hybrid Electronic/acoustic Percussion.

Panic Set In Once We Deciphered "giganthopithecus", A Composition Littered With Frequent Increases In Percussive Intensity And A Mind-altering Melodic Refrain. Our Hunch That Artis Was Ordering Immediate Action By Agents Was Confirmed By "delphinae", Whose Colourful Melodic Fluidity, Futurist New Age Construction And Layered Wooden Drum Hits Deeply Affected Our Researchers. We Ordered Our Own Agents To Raid The Station, But Artis Had Long Since Scuttled Off Into The Hazy Morning Sunshine.

'It is now clear that humans are no longer the most important things in the universe, that their knowledge, creativity and intelligence are ultimately limited.'

The Posthuman realises that the ultimate questions about existence and being do not require answers and accepts that humans have a finite capacity to understand and control nature. Even just to know the ultimate nature of the universe would require knowing everything about the universe, everything that has happened and everything that will happen. If one thing were not known it would imply that all knowledge of the universe is partial, potentially incomplete and, therefore, not ultimate.

Humans privilege to order over disorder on the assumption that the essential laws of nature are gradually being discovered. This is a fundamental error; nature is neither essentially ordered or disordered. What we perceive as regular, patterned information we classify as order; what we perceive as irregular, unpatterned information we classify as disorder. The appearance of order and disorder implies more about the way in which we process information than the intrinsic presence of order or disorder in nature.

The humanist era was characterized by certainty about the operation of the universe and the place of humans within it. The Posthuman era is characterized by uncertainty about the operation of the universe and about what it is to be human.
What is a human Is there such a thing

No finite division can be drawn between the environment, the body and the brain. The human is identifiable, but not definable.
Consciousness, (the interaction body-brain) and the environment (reality) cannot be separated; they are continuous that defines the being.

All technological progress of human society is geared towards the transformation of the human species as we currently know it; the posthumans regard their own being as embodied in an extended technological world. In such 'synthetik' reality power no longer needs to impose physical regulations, as it is able to manipulate and shape up the minds directly, becoming part of it.
There won't be any resistance from the individual, as he will have embodied the needs of the system in his own being, and their ambition will serve the economy.
Currently the output of machines is predictable; the Posthuman era fully starts when the output of machines becomes unpredictable, so that complex machines, apparatus whose workings we do not fully understand or control, become an emerging form of life.

In the Posthuman era, the future never arrives.
..from ´The Posthuman Manifesto´, Robert Pepperel, 1995

New Ways, rooted in the techno-blueprint swings between playful, skittish bass lines, hazy distortion, chthonic voices and melancholic synths to create an atmosphere that is at times unnerving, uplifting and mindless. Buoyed by a genuine sincerity, New Ways expresses a narrative element of the maturation of an artist, of the transfusion of self, achieved through sound.

Limited to 300 black vinyl.

Audio-visual artists Soundwalk Collective were granted exclusive access to the personal archive of the groundbreaking filmmaker and present their ambitious New Album and Remix EP: What We Leave Behind released on 18th & 25th May 2018.

The NYC and Berlin based group were invited to aurally explore the archive of the seminal French director Jean-Luc Godard and release their interpretations in an innovative new album What We Leave Behind. Drawing on Godard's personal collection of shot film, reel- to-reels and historical ephemera, the recordings reveal the moments before and after the camera rolls, from stage directions and on-set asides to rehearsals, false stars and outtakes.

'There are boxes filled with sounds, words, chaos, and also silence. For Godard sound is a musical composition and when I began listening to the tapes and heard his voice between takes, it was like little bits of life...each sound has its own value. It has always been part of our working practice to venture into untapped sonic territories, discover the poetics behind them, and explore how we (as humans) relate to it, it is part of a larger discourse.' - Stephan Crasneancki, Soundwalk Collective

Revealing much insight to the director's process and personality, the 6-track album will be followed by a remix EP, featuring unique reworks from Ricardo Villalobos, Jan Jelinek and Petre Inspirescu.

What We Leave Behind, and the subsequent remix EP, arrive 50 years to the day that the the Cannes Film Festival, 1968, was closed after Jean-Luc Godard, Francois Truffaut and Claude Lelouche, publicly announced their closing of the festival in solidarity with workers and students protesting across the country.

The LP features a conversation between Stephan Crasneanscki, of Soundwalk Collective, and Franc¸ois Musy, Jean-Luc Godard's sound engineer, printed on a translucent paper insert. The LP and Remix EP both contain imagery taken by Stephan Crasneanscki of the archives, which he has also filmed to create a series of mesmeric short music videos of original and remix tracks.

An international genre-bending group of artist-musicians with studios in New York City and Berlin, the three members of Soundwalk Collective (Stephan Crasneanscki, Simone Merli, and Kamran Sadeghi) formed in Manhattan to produce concept albums, sound installations, and live performances, and have worked with a diverse range of collaborators, from Nan Goldin and Patti Smith to Berghain and Zaha Hadid.

3x12"

Listening back to Roman Poncet's first releases on Figure just a couple years ago, they already hinted at the producer's keen technical abilities and a knack for rich texturing, resulting in tracks that were
both carried by force and form. What he delivers now is an impressively mature debut album, ripe with personal creative realization.

On Gypsophila the French producer uses the extended format to slowly shape up a scenery of epic proportions where surprise and constant change lurk around every corner. A certain sense of
progression and evolution runs throughout Poncet's music; it invariably keeps one locked in, no matter for the opening drones of Do Not or the patiently growing Thick Vegetation, which fuses tribal
percussion and choral chants to showcase another of this LP's key features: its dense soundscape, which at once feels inherently electronic yet deeply organic, translating the abstract futuristic themes
of techno into something jam-packed and heady albeit steadily grounded - a listening experience that is as dreamy as it remains tangible.

This holds true for the highly atmospheric synth-lead pieces, such as the cinematic intro Hello You, the elevating arp-ride Epreuve or the suspended celestial groove of Atlas. But equally goes for the floorfocused
rhythms, like relentless steam engine-workout Piege or mid-album mind-trip In Aeternam. Adding even more variety and depth to the mix, the tidal title track is given its own side to explore the
sheer endless expanses of dub...
Bundling the complete range of his influences, Gypsophila marks the pinnacle of Roman Poncet's work to date. Covering a spectrum this broad in his very own way, the album proves as relevant for the
current club scene as it will be for repeated return visits.

Keshavara debuts on FILM.

Taking it's influence from downtempo Alt-Pop and Hip Hop, but with nods to blissed out Dub and World Music - the Indian producer arrives on the Berlin based label with Creators of The Rain. Danny Wolfers takes control on the flip - turning in a gorgeous, transcendental remix under his Legowelt alias.

Live instrumentation provides the backbone of the work - dusty drums drive the music forward, complemented by shifting dub-guitar leads, off kilter bassline licks and delayed drum machine breaks. Singer Gio's vocals sit com-fortably at the back of the mix, soft but inviting - present but realised with a distinctly otherworldly energy. There's a fine, organic feel to the recording - ambient surface noise shifts and warps between elements, and live FX pop and duck in and amongst instrument strikes giving the work a rolling, hypnotic feel. It's a deep and fully realised piece of music - wonderfully three dimensional in it's execution, and a striking homage to the artist's wide frame of refer-ence.

On his remix, legendary synthesiser enthusiast Legowelt draws for a characteristically Sci-Fi finish, in keeping with the best of celebrated output for Clone, L.I.E.S., Creme Organisation and more. Maintaining the tempo of the origi-nal piece, but augmenting the work with a growling Reece bassline and hazy lead synths, the Dutch producer care-fully shifts Keshvara's recording up a gear. Where Creators of The Rain began life as a grooving, Hip Hop indebted piece of World Music - immediate but markedly laid-back in it's execution - Danny Wolfers injects a more anthemic, uplifting sentiment, highlighting the dub elements with a delayed drum machine line and pushing the vocals back with a touch of reverb to give his glorious synth-work space to breathe. It's a wonderful take on an already accom-plished piece of music; respectful but inspired - and no doubt some of the Hardware Occultist's finest work.

On The 50th Anniversary Of The Band's Inception At An Event In Harlem, Ny To Commemorate Malcolm X's Birthday On 19 May 1968, Influential Spoken Word Artists, Poets And Commentators The Last Poets Are Set To Make A Glorious And Relevant Return With Their First Album In Over 20 Years, 'understand What Black Is'.

Produced By Ben Lamdin (nostaglia 77) And Brighton Legend Prince Fatty, Whose Speciality Is Traditional Reggae And Dub Production's, 'understand What Black Is' Is A Ten-track Album Which Speaks Of A Revolutionary Struggle Defined By Both Race And Identity, That Has Never Sounded More Relevant. Released On Studio Rockers, There Will Also Be An Accompanying Single Featuring Remixes Of The Title Track "understand What Black Is" By Mala (south London Collective Digital Mystikz) And Uk Dance Music Innovators Dego And Kaidi.

Since The Initial Line-up Of Dahveed Nelson, Gylan Kain And Felipe Luciano Formed In East Harlem's Marcus Garvey Park, The Last Poets Have Produced Under Various Guises Over The Subsequent Years. However, It Was Their Seminal Output, Namely 1970's 'the Last Poets' Under Both Umar Bin Hassan And Abiodun Oyewole That Secured Their Legacy, Becoming One Of The Most Important Influences In Early Hip Hop.

Throughout The Last 20 Years, The Band Have Remained Largely On Hiatus. But Their Influence Could Still Be Felt With Their Tracks Being Sampled By The Notorious B.i.g, Nwa, A Tribe Called Quest, Dr.dre And Snoop Dogg. Umar Has Recorded Various Solo Albums And Featured On Common And Kanye West's Grammy Nominated 'the Corner'. Abiodun Appeared On The Red Hot Organization's Album, Stolen Moments Which Was Named "album Of The Year" By Time. He Also Conducts Weekly Open House Poetry Readings, Where He Constructively Critiques Upcoming Poets, Helping To Nurture Them. He Has Also Conducted Classes At Columbia University, Where He Teaches Creative Writing.

The Inauguration Of Donald Trump As Us President In 2016 Inspired Hassan And Oyewole To Resurrect The Group To Create A Brand New Record, Modern And Edgy, And Deeply Relevant And Reflective Of Our Times.

Tracks On 'understand What Black Is' Include 'how Many Bullets', Which Bridles With Defiance As Oyewole Works Through A Litany Of Injustices Suffered By Black People In The Us: " You've Tried

To Blow My Brains Out With Bigotry, Chopped Off My Wings, So I Couldn't Fly Free, And Dared Me To Be Me, Took My Drum, Broke My Hands, Yanked My Roots Right Up Out Of The Land, And Riddled My Soul With Jesus" 'what I Want To See' Describes A Utopia - A Refuge From Hurt And Those Who'd Make "our Vision Blurred, And Our Faith Obscure", Whilst The Title Track 'understand What Black Is' Aims To Transcend Ethnicity: "understand What Black Is....it's The Source From Which All Things Come...black Is A Hero, Not A Villain."

The Album Even Takes Reference From Prince's 2003 Album Of Instrumentals, 'news', Which Hassan Drew Comparisons From With His Own Childhood Experiences: "that Poem Took Me About A Year To Write....i Just Kept Writing And Writing But Not Getting Too Far And Then I Heard That Album And The Musicianship Was Amazing. I Was Left Wondering If It Was Jazz, Classical, Rock Or Maybe Something New But All Those Images That I Write About Came To Me From Listening To That Album. I Loved Prince In That Movie Purple Rain Because My Father Was A Talented Musician But He Was Into Brutalising Mama At Times And In The Movie There's A Jerome And My Name Is Jerome, So It Was Like He Was Telling My Life Story As Well."

The Album Acts As A Body Of Work Between Individual Members Each Speaking Of Their Own Personal Journeys, But Feeding Into The Much Larger Narrative Of Struggle And Oppression, Alongside A Fervent Hunger For Social Change. These Are Struggles And Tests Of Personal Resolve That Have Directly Shaped And Moulded The Bands' Unique Sound Over The Course Of An Impressive 50 Years, And Their Powerful And Influential Commentary Remains As Relevant As Ever.

Combo Lulo is that rare possibility of true magic moments manifested. Embodying the classic sentiment of a New York supergroup with an ensemble of friends and like-minded musicians whose resume is too full of credits and accolades to grasp in one shot, the band is a testament to what can happen when locked together for a two-day session in a Brooklyn studio.

Drawing inspiration and direction from band leader, composer and multi-instrumentalist Mike Sarason, Combo Lulo moves side to side from effortless Jamaican foundation rhythms into the further reaches of Caribbean influence...incorporating a natural transition between Jamaican classics and the essence of Afro-Latin ritmo. It's a musical match made in heaven and, more importantly, it's carried out with the gentle and deft touch of veteran studio musicians with deep appreciation and nuanced understanding. Together with Names You Can Trust, it's a locked in groove that is a perfect slice of roots, collaboration & present day experimentation that is sure to have any listener feeling nice.

Ismo Laakso's very well produced and spaceously mixed Ofelia (from 1996-99) is a blend of industrial, avant garde, modern classic, bleeps and clicks. The narrative of this album sometimes undefinably blurs the lines between recorded material & samples, and also juxtapose the main grooves with highly psychedelic sound effects and (beautiful) melodies.

Transparent Vinyl

Label boss Scalameriya is back! The Serbian behemoth delivers a must-have, 4-track EP full of epic synths, heavy beats and dramatic breakdowns.

Anklepants Introduces His Brand New Album For Detroit Undergroud, A Collection Of Ten Cuts, Made With His Very Own Arsenal Of Digital And Hardware Toys, Most Of Them Self Made And Customised For His Purposes. This Multi Faceted Artist Creates A Blend Of Twisted Ryhthms, Synthetic Melodies And Weird Textures And Noises, Yet Danceable Stuff But With Heavy Focus In Experimentation And Risk.

Pollen Opens The Release With A Weird Arabic Style Riff And Arpeggiated Clean Synths Over A Simple Beat, Until More Melodic Layers Complete The Equation.

Chowsey In Upstyled Onesy Minor Follows With Sampled And Morphed Traditional Instruments, Laying Over Destructed Beats And Rythms.

The Perfect Adult Man Relies On Atmospheric Stabs, Four Four Kick And Analogue Bubble Bassline, Dark, Grey And Melancholic.

'lé Cavé_isnt It Funny To Think Once Apon A Time People Thought The World Was Blue White Flat And Squaré' Is Made Of Twisted Samples, Asymetrical Grooves, Organic Instruments Decimated And Multiple Sound Layers.

808 Frapé Is An Homage To The Classic Drum Machine, Electro Shaped Drum Patterns, Floating Sounds And Crispy Metalic Glitches Dance With Random Sequences And Bleeps In A Robotic Exercise.

Reecard Farche The Torture Of Credo Mutwa And The Theft Of The Necklace Of Mysteries_noel Goes Again To Weird Random Bleepy Fields, Alien Grooves, Heavy Sound Processing And Glitched Details.

Industrial Kingpins Und Drachoen Is Dark, Obscure Number, Clear Rythms, Strings And Resonant Bassline Collide, The Groove Transforms To Broken Beats After The Break Bringing New Life To The Overall Feel.

Sharkblood, Sure The Sharks, Repeats This Phrase In Different Pitches Over A Solid Kick Pattern While More Vocal Layers Are Added Progressively In A Voice Madness.

Golife_refracto Relationé Again Plays With Samples In A Mad Style, Altering Every Parameter, Creating Granular Efects, Destroying The Audio Files Creating An Asymetric Tune.

Attila's Own Photos From The Shoot It's The Epilogue, In A Relaxed Mood, Sound Textures, Various String Samples Melting In Different Pitches And Crunchy Atmospheres.

One of the most exciting artists to emerge in techno circles in recent times, Drumcode is excited to present the label's first EP from Boxia. Over the last 12 months the UK artist has impressed with his classy take on techno that mines two decades of rave.

Last year's 'Colour Sequence' EP on We Are The Brave marked one of 2017's standout releases, before being tapped by Maya Jane Coles to remix a track from her latest album 'Take Flight', while B.Traits also shone the spotlight on him for a Future 12 residency on BBC Radio 1 throughout September.

Boxia first came into contact with Adam Beyer when he opened the Car Park at Tobacco Dock for LWE's NYD event in 2016, and since then the pair have spoken regularly sharing similar tastes in music and DJing. He dropped his first cut on DC during the summer of '16, with 'Revolution' that featured on A-Sides Vol. 5, making him primed and ready for his first full length EP in 2018.

The four-track work lives up to his growing reputation for crafting beautiful, nuanced and ultimately very powerful electronic music. The EP opens with 'No World Order', a deep transcendental slice of techno propelled by a wicked acid line and vocal that leads to a galloping finish.

'Only Human' is drenched in atmosphere and old skool wonder, a brilliant composition of punchy multi-layered drum work, catchy synth lines and cutting acid that reveals its tender side with emotive broken beat interludes. 'Unreal' is a big peak time belter, raising the tempo to sweaty palms level, as a propulsion of acid and a memorable riff fill the techno sphere.

The title track 'Ethereal Education' closes out the work, a beautiful chord-driven vocal cut that evokes images of the classic dance that characterised Boxia's earlier years and makes a fitting outro to this outstanding EP.

Enjoy the new and unformated dub style from Concrete Elephant... Sound builder of the everyday life... Sampled and replayed through the filtaz.

* Pioneers of the electronic music scene, Music Producer and Finiflex Studio Owner, John Vick and DJ, Davie Miller are working together on a new project . . . . FINIFLEX

* TA TA OO HA was the first single to be released from the much anticipated forthcoming album SUILVEN, slated for release in May 2018.

* FINIFLEX have been playing the new material live since the end of 2016 with gigs in Edinburgh (Neu Reekie), Glasgow (Let's Go Way Back) Skye (Non Stop Easter Weekender) Barcelona (Kosmopolis), Dundee (Carnival 56) and the TA TA OO HA Single Launch Party (TRANSMISSION) in Glasgow.
The show itself is an immersive experience featuring lights, live projections and video graphics, basically a super slick production rammed with back to back bangers.

* These new releases may by the first in 20 years but in reality it's not been such a long period of silence. The almost a secret FINIFLEX Studio Complex (FINIFLEX HQ) based in Leith, Edinburgh has continued to work away with some of the best in the genre including the likes of Justin Robertson, Lord Of The Isles, DJ Rolando, Andrew Weatherall, Sparks, Billy McKenzie, Jon Pleased Wimmin, Paul Oakenfold, Dave Ball (Soft Cell) to name a few.
It's a given that their past assures their pedigree within the electronic music arena but with the release of TA TA TA OO HA . . . . . FINIFLEX brought it all rushing into the future. . . . . .

originally released in 1990-with Liz Lamere - Never released on vinyl-

Born in Brooklyn, Alan Vega was reared on the rock 'n' roll sound of Elvis Presley and Roy Orbison, but originally struck out on a career as a visual artist and light sculptor, making pieces out of electronic debris. But on the occasion of seeing Iggy Pop fronting the Stooges at The Stooges at the New York State Pavilion in 1969 was an epiphany for Vega. It showed me you didn't have to do static artworks, you could create situations,' he said. That show was the first time in my life the audience and the stage merged into one." It was that eradication of barriers between the two that Vega took to heart.

Their first two albums, 1977's Suicide and their 1980 follow-up, remain two of the era's greatest touchstones, beacons for others seeking to transform their worlds with sound. And even during the group's hiatus through the 1980s, Vega continued to pursue his singular vision across an individualistic solo output. From his 1980 self-titled debut and rockabilly-infused albums like Saturn Strip, through bracing albums like Power On to Zero Hour and IT, Vega forged his own singular path.

For all the darkness and despair that encompasses this moment in our world - and despite his work being depicted as bleak and nihilistic - for Vega there was always a sense of hope and a place for dreams to become reality. People have always told me that my music is angry,' he said. To me, it was always just an energy. It was the way I perceived the world. The key Suicide song was 'Dream Baby Dream,' which was about the need to keep our dreams alive. I knew back then that something poisonous was encroaching on our lives, on all our freedoms.' He fought to his very last breath for that freedom.

originally released in 1993 - with Ric Ocasek & Liz Lamere-Never released on vinyl-

Born in Brooklyn, Alan Vega was reared on the rock 'n' roll sound of Elvis Presley and Roy Orbison, but originally struck out on a career as a visual artist and light sculptor, making pieces out of electronic debris. But on the occasion of seeing Iggy Pop fronting the Stooges at The Stooges at the New York State Pavilion in 1969 was an epiphany for Vega. It showed me you didn't have to do static artworks, you could create situations,' he said. That show was the first time in my life the audience and the stage merged into one." It was that eradication of barriers between the two that Vega took to heart.

Their first two albums, 1977's Suicide and their 1980 follow-up, remain two of the era's greatest touchstones, beacons for others seeking to transform their worlds with sound. And even during the group's hiatus through the 1980s, Vega continued to pursue his singular vision across an individualistic solo output. From his 1980 self-titled debut and rockabilly-infused albums like Saturn Strip, through bracing albums like Power On to Zero Hour and IT, Vega forged his own singular path.

For all the darkness and despair that encompasses this moment in our world - and despite his work being depicted as bleak and nihilistic - for Vega there was always a sense of hope and a place for dreams to become reality. People have always told me that my music is angry,' he said. To me, it was always just an energy. It was the way I perceived the world. The key Suicide song was 'Dream Baby Dream,' which was about the need to keep our dreams alive. I knew back then that something poisonous was encroaching on our lives, on all our freedoms.' He fought to his very last breath for that freedom.

Sent from a nearby star system, from one world to ours. Wondering the streets with misguided importance. How du is new to our planet, but does not yet know why he is here, only that he must heal himself and all those he meets in order to find his home. An inherent feeling that he has arrived to protect and serve others from the deepest patterns of evil overwhelms him. Evil that spreads through the mind in conscious frequencies of the brain. Areas we call the Shadow Realms of oneself. Unable to communicate in the correct language his correspondence with Earth people can only be transmitted through sound and melody. Music is his language and his tool. This is the Landing.
Deep Garage with a minimal spin and a broken beat format. A story in sounds. Best served on the rocks. Shouts to the bristol crew. Banoffee x

A thrilling 9-song set, Murmurations is as perfectly pitched for headphones as it is for clubs, named after giant cloud formations of starlings and themed around the stunning emergent behaviors that appear within them. To mirror these movements in the sonic landscape and visuals of Murmurations, SMD's James Ford and Jas Shaw collaborated with the celebrated Hackney-based vocal collective The Deep Throat Choir, as well as creative directors Kazim Rashid of ENDLESSLOVESHOW (Aphex Twin, Flying Lotus, Hudson Mohawk) and Carri Munden.

Finding time in between Ford's work as a producer and Jas' club gigging last year, the duo arranged a session in Shaw's countryside studio. Via an introduction from a friend of Ford's wife, The Deep Throat Choir's director Luisa Gerstein and SMD began swapping some production and melodic ideas. They decided to bring the whole East London-based choir into the studio to experiment, and the results were intense. Jas says, 'Listening to them moving their voices around a tone, altering the timbre, making chords, was like working with an incredible new synthesiser.' Rashid and Munden explore related ideas centered on kinetic energy and communal movement throughout the visuals of Murmurations. Rashid says of the collaboration, 'We were both having discussions around the purity of collective human experience and how transcendental this can be. Techno and the dance-floor is one of the last true expressions of this euphoria.'

From the beat-less introduction 'Boids' onwards you can hear uncanny patterns and sounds rising up from the sea of voices -- not traditional chords or harmonies, but complex interference patterns that play tricks on the mind and merge perfectly with SMD's distinctive synth tonalities and instinctive dancefloor nous. At times you might hear hints of Bulgarian choral music, or Cocteau Twins, or avant-garde composers like Iannis Xenakis or Pauline Oliveiros - but really, thanks to the creative freedom of SMD's working methods, it is a sound completely of its own, something all too rare in an age of retro and reference.

Ford and Shaw still have the same love of pure sound, human harmonies and electronic possibilities that they did when they first met at university, and it's clear that their career path has allowed them to nurture this love and express it as vividly as ever before.

Over the course of four unforgettable EPs released on Throne of Blood since 2013, Hardway Brother Sean Johnston has cultivated a broad international following for his singular brand of dancefloor fodder.

Best known as one half of legendary DJ team A Love From Outer Space alongside the one-and-only Andrew Weatherall, Johnston's roots in the dance music scene include a clutch of leftfield 90's era bangers on labels like Sabres of Paradise and Flashcomm. Beyond his original output, Johnston has also remixed the likes of Man Power, The Asphodells, Museum Of Love, Split Secs, Clandestino and many more.

The Laser EP is peaktime Hardway Bros business. 'Friedman Feedback Loop Revision' (a nod to TOB boss James Friedman's highly-valued opinions) is a masterclass in efficient simplicity, elevating a few basic loops into an exhilarating 8 minute monster. 'The Laser' rounds out the a- side with a classic electro rhythm/bass/vocal sample combo could easily have landed in retro territory. Instead, Hardway Bros easily flips a clutch of oldschool tricks into an utterly modern execution. The b-side finds TOB's label manager Max Pask injecting 'Friedman Feedback Loop Revision' with his love for all things analog and Italo. With his impressive collection of synths brought to life by Chinatown Records' Brennan Green, the song is transformed into an epic set- closer that's already devasting dancefloors like Berlin's Panorama Bar. The EP closes with 'Afro Sirene,' a midtempo groover with melodic arpeggios built for the discerning DJ's warm-up set.

"This release is 3xLP and it's individually 1000 hand-numbered limited edition. The first 200 copies are pressed on BLUE TRANSPARENT vinyls (AR012).
It's dedicated to the Organic / Meditative / Groovy 1992 Japanese release, with all the ORIGINAL tracks, contained both in the CD and in the now so rare 12"" + 4 SPECIAL REMIXES from Japanese men, none than... Kuniyuki, Chee Shimizu (Organic Music), Max Essa and Tadashi Yabe (U.F.O.).
Archeo Recordings is a reissue record label that regenerates old, lost, obscure (and forgotten) rare gems of Italian music of the 70s and 80s, and not only.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images. Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.

The "Perfect Illusion EP" opens up with "Never Can get Away", a steamy & dreamy cut that sucks you right in to it's lair of thick pads and trancy sequences, which are contrasted by a carefully programmed synth bassline and a stomping house beat.

Next the title track immediately evokes early Chicago warehouse jam feelings, with bass sequence, detuned chords and classic drum patterns all oozing of old analogue Roland machines.

"Running Number" starts as a no-nonsense house track, yet it transcends into 80s territory with the help of a deeply emotional chord progression that might just make you forget you're in a club.

Berlin Duo Longhair give "Running Number" the Luv-Remix treatment, really digging deep into that chord progression and building a melody and synth-bell infused Italo-house track around it that should make this year's festival crowd weep and rejoice alike.

Second pressing, 300 copies on blue marbled vinyl

The newest studio material of Steven Wilson's experimental drone project, especially recorded for Substantia Innominata series! Based on ethereal vocal choir material the four parts of "Sisters Oregon" reach transcendental beauty of the highest degree.

Much more than a mere side-project, Bass Communion could be regarded as Steven Wilson's discrete medium for manifesting his most daring, challenging and obscure musical ideas.

After a planning phase of several years, we can finally present the newest studio material of Bass Communion, a wonderful, mysterious experimental drone / ambient work that is mainly based on a recording of a boys choir (recorded at Air Studio in London 2014). Other sound sources or the meaning of the title "Sisters Oregon" were not revealed so much of this music is dependent on the listener's own imagination.

The four parts on this long play 10" are filled with sonorous drone expanses, tiny microsounds, deep bass eruptions and sudden breaks, ranging from an otherwordly subtleness to a most spacious finale, reaching a transcendental beauty of the highest degree.

Second pressing is limited to 300 copies on blue marpled vinyl, with full colour sleeve feat. stunning artwork by Carl Glover, underlining the mystery of this release.

Japanese vocal performer Hatis Noit will release her enigmatic EP Illogical Dance via Erased Tapes worldwide on 23rd March 2018.
The arresting 4-track record creates unique song-worlds with transcendent vocal interpretations that at once deconstruct and recombine Western Classical, Japanese folk and nature's own ambience atmosphere. Illogical Dance also features Björk-collaborators Matmos, who were so impressed with Hatis Noit's recordings, they volunteered to edit the lead track Illogical Lullaby.

Hailing from the distant Shiretoko, a small town in Hokkaido, which is the largest island in north Japan, Hatis Noit's accomplished range is astonishingly self-taught, inspired by everything she could find from Gagaku — Japanese classical music — and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists. The sounds she created on Illogical Dance, co-produced by Haruhisa Tanaka and Matmos, bring to mind the experimental vocal patterns of Meredith Monk with the attentive production of Holly Herndon.

It was at the age of 16, during a trek in Nepal to the Buddha's birthplace, when she realised singing was her calling. While staying at a women's temple in Lumbini, one morning on a walk Hatis Noit heard someone singing. On further investigation it was a female monk singing Buddhist chants, alone. The sound moved her so intensely she was instantly aware of the visceral power of the human voice, a primal and instinctive instrument that connects us to the very essence of humanity, nature and our universe.

The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root the spirit world, therefore Hatis Noit is what connects the two. For Hatis Noit, music represents the same netherworld with its ability to move and transport us to the other side, the past, a memory, our subconscious. It is the same for Illogical Dance, a set of transformative songs that taps into our most primal instincts.

The human voice is our oldest, most primal yet most powerful instrument. I use it to describe nature's many sounds, a language that isn't logical. Yet it forms a beautiful conversation that isn't restricted to words like the human language is. I want my music to remind us of that.' — Hatis Noit

Wanting to interpret and mimic the sounds Hatis Noit hears in nature, Illogical Dance is as unpredictable, beautiful and mysterious as the world around us. Each track is made up from multi layers of vocals, all improvised and without words, before being carefully pieced together. Astonishingly no samples are used throughout, even the sound of crushing leaves came from Hatis Noit's own vocal chords.

The result is a stunning array of sound sculptures that see her switching between multiple styles with great ease. From the sweet operatics on Illogical Lullaby, the manipulated vocal loops duplicating electronic production on Anagram c.i.y. to the primordial chanting call to arms of Angelus Novus, a 10-minute odyssey that features whispering and leaves crunching, it showcases Hatis Noit's full range and introduces a truly original artist.

Previously only available in Japan, Illogical Dance will receive a worldwide release on 23rd March 2018 including a first edition on 12' vinyl. After participating in a ceremony for memorial and appreciation tailored to the withdrawal of the evacuation area in Fukushima on 31st March 2017, Hatis Noit collaborated with renowned visual artist Nobumichi Asai on a project titled INORI (prayer) which they premiered live as part of an Erased Tapes showcase at Mutek Japan in Tokyo.

Having recently moved to London and performed a first string of UK shows, followed by a special live performance at the Milan Fashion Week and Mutek Japan appearance, Peter Broderick has invited Hatis Noit to support him at the Jazz Cafe on April 15th. She's also been announced as part of this year's Sea Change Festival line-up, and asked to participate in a workshop with the London Contemporary Orchestra.

Crying Bamboos is a translation of the pidgin description of the sound of sacred flutes: "Mambu i cry, i cry, i cry".

Sacred flutes are blown to make the cries of spirits by adult men in the Madang region of Papua New Guinea. Pairs of long bamboo male and female flutes are played for ceremonies in the coastal villages near the Ramu River. There are seven male initiation flute cries from Bosmun, four flute cries from Bak: Borai with occasional single garamut percussion and two flute cries from Kaean, one with vocals and hand drums. The flute players were of the last generation to have learned this skill during a complete cycle of male initiation. These previouslyunreleased recordings were made in 1979.

Recorded by Ragnar Johnson

Notes by Ragnar Johnson and Jessica Mayer

Photographs by Ragnar Johnson

Tape to digital transfer and mastering by Dave Hunt at

Dave Hunt Audio, London

Cut by Rashad Becker at Dubplates and Mastering, Berlin

The Works of John B. McLemore, the star of one of last years biggest podcasts, S-Town, which is coming out on Dais. The story behind this release is truly fascinating.. the music itself is ambient remixes of Tor Lundvall's best works, but with John's idiosyncratic slant on them, with some having been woven together using the horde of clocks he use to keep in his basement. This story is really worth a read if you get a chance."In September 2012, I received an e-mail from someone named John B. who said he had assembled a lengthy remix of my music, which also incorporated some of his own material. John asked if I'd mind if he posted this recording on YouTube, to which I agreed. He also mentioned that there was a second part to his mix that was "roughed out", but never completed. I was curious to hear both parts, so shortly afterwards, John mailed me two CDrs which I enjoyed very much. The recordings were hypnotic and haunting, evoking images of vast fields at twilight. I was especially fond of the second disc which had a darker atmosphere and featured more of John's original material, beginning with ghostly clock chimes and ending with a mysterious piece using dried seed pods and other cryptic sounds that slowly built-up into an intense, almost claustrophobic environment.

My correspondence with John lasted about two months. In one of his final e-mails, John said "I have to observe that your paintings seem to have a great deal of loneliness involved in them... even multiple characters seem to be together alone, so to speak... I really appreciate looking at your paintings as well as your music, I think I have connected with the spirit of them both as much as anyone can." He went on to discuss his struggles with depression, caring for his aging mom and his concerns about the future. I tried to encourage his music as a possible outlet, perhaps as a means to help transform his feelings of loneliness into a more content solitude. Always easy to say, but as I well know, not always easy to do.

In his last e-mail in late October 2012, John sent me a beautiful slideshow of his Fall flower beds and his dogs. I was touched and I told him how much watching his video had brightened my day. That was the last time I heard from him.

Last year, I visited John's YouTube channel to see if Part One of his mix was still posted, which it was, and still remains. I was shocked and saddened to read in the comments section that he had passed away. The comments also suggested that John had received some sort of national attention recently. This quickly led me to the S-Town podcast. Although I had mixed reactions after listening, I was thankful that S-Town shed more light on John and his remarkable life... but somehow, I just couldn't place the person in the podcast with the person I had corresponded with. Had I not listened to S-Town, I would have remembered John as a very private, somewhat dark and lonely person. He may have been these things, but there was obviously far more to him than that.

After finishing the final episode, I decided to play the second, unreleased CDr of John's recordings for the first time in years. Listening to his clock chimes ringing in the dark was an eerie and chilling moment. I was reminded of a line from my song "29" which says "I live with dreams and a lonely mind, my clock is set to a different time". I wondered what those lyrics might have meant to him.

John had mentioned that he wasn't satisfied with his final mix, but I felt his work was too special not to be heard. I hope that these recordings offer another glimpse into the creative mind of a unique, complex and gifted individual who tragically left this world all too early."

Tor Lundvall
January 17th, 2018

JOHN B.'s NOTES:

This is what was intended to be the second part of my Tor Lundvall Remix series. Unfortunately I am dissatisfied with it due to a few defects, and it is highly unlikely that I will ever be able to complete it. Still it serves as a testament to my interest in the work of Tor Lundvall that I made it this far. Defects are as follows: The first movement is too 'fussy', and the first section of the fifth movement seems a bit long and may bore the listener, but since it consisted of so many slow moving textures, I don't know how I could redo it and still achieve what I was wanting to accomplish. Additionally, this recording was done just days before my Father died, and there are many feelings of guilt associated with the time spent on it. If you are receiving this recording, either you are one of my better friends, or you are a great admirer of Tor Lundvall, and requested that I send it to you.

1st Part: Basically a track of me fiddling around with old clock bells, and air turbulence mixed with Tor Lundvall and Field Recordings of rain, birds, cicadas, frogs and such.

2nd Part: My interpretation of Lundvall's Dark Spring. This track was inspired by the music of Carl Michael von Hausswolff.

3rd Part: Very ambient Field Recordings inspired by the work of Francisco Lopez.

4th Part: A Very Quiet passage consisting of delicate Field Recordings.

5th Part: Music performed entirely by me inspired by the Darker paintings of Tor Lundvall. Most of the instruments on this piece consisted of dried seed pods from the plant; Showy Rattlebox (Crotolaria Spectabilis), that I had collected and dried the previous Fall. There are other sounds from my own environment as well.

This mix was assembled in the Late Fall of 2003. There are some very Quiet passages in this piece, so it requires a nearly Isolated listening environment... It should be heard After Midnight, in the Late Fall of the year, and, not surprisingly, a Very Long Attention span is a Prerequisite.

John B. McLemore
September 10, 2012

Black To Comm's Marc Richter returns under his Jemh Circs guise for a 2nd album of sonic abstractions. In contrast to Black To Comm's analogue tape and vinyl based sound, in Jemh Circs he works with digital sources by primarily sampling modern Pop Music (and various other oddities) on YouTube (et al.) and sending chunks of it through a variety of arcane transformations and mutations.Using similar esoteric methods as on his 2016 debut album but with very different results the record deconstructs the hypermodern sound of Pop Music with a Post Punk attitude, energy and primitivism. Richter's combining disparate elements that shouldn't really work together but somehow all the chaos is making strange sense creating a collection of oddly diverging sonic vignettes with a surreal and anarchic spirit. This is music deeply rooted in the present but still difficult to pinpoint to a certain year or style."(untitled) Kingdom" converts a seemingly one-dimensional concept into a complex puzzle of ideas, sounds and narratives, completely assimilating the original sources and transforming them into novel entities with an unexpected melodic and rhythmic quality.Some press clips for previous releases:The overall effect is quite remarkable. Each track is like a hologram of pop music itself, a tiny part that reflects the whole. You almost feel that you could open them out and re-create entire popular music cultures. We'll be grateful for that when the next solar storm fries all of our hard drives. (Ian Sherred / The Sound Projector) In that way Jemh Circs is a record about process - not just how Richter loops and distorts and mutates his samples, but how the sounds of pop music create a particular sonic signature, one that gets more interesting the farther they're pulled from their original context. (Marc Masters / The Out Door) Recycling random audio off YouTube, Jemh Circs' process couldn't be less sentimental, but the results turn out to be sneakily emotive. (Philip Sherburne / Pitchfork)

2x12"

An artist as versatile as Alex Krüger is a rare find these days, not only did he release numerous EP's and albums as Tigerskin or Korsakow since the mid 90s, he's also been on the forefront of the 'Dub Techno' movement since 1999 with outings on classic labels such as 'Raum...Musik", 'Force Tracks' and '3B/ United States of Mars". Now ten years after his last album on 'Opossum Recordings' Alex is back with this well crafted genre bending full length 'Caves & Cages". From deep techno cuts through rippling ambient excursions to funky reggae infused live jams with Haushausen this work is yet another milestone in the creative bubble Alex lives in (i.e. his studio). A predominantly analogue producer, Alex recorded most sounds for 'Caves & Cages' on his modular synths and vintage gear at Organic Domain during 2017 and early 2018. Throughout the album tension ebbs and flows effortlessly via syncopated subs, analogue improvisation, subtle chord stabs and sustained swells interspersed with textured field and home recordings. The ambient opener 'Intra' sets the tone for the album. Rich with alien atmospheres, distant soundscapes, out of reach voices and licks of live instruments dug up from numerous recordings dating back as far as 30 years, even before Alex started his electronic journey. The sojourn ventures deeper from there. Subaquatic dub techno is the mood on 'King's Cave", 'Helix' and 'In Air' only surfacing ever so slightly for moments of clarity where shimmering tops and glistening synth lines shed some light on the steady grooves. The tracks 'Future History' and 'Transition State CIV' border on deep house territory.

Transversales Disques present a reissue of Bernard Baschet and Michel Deneuve's 4 Espaces Sonores, originally released in 1982. Rare 1979 recording of Bernard Baschet performing on his Sound Sculptures.The Baschet brothers are known worldwide as creators of Sound Sculptures, fantastic shapes of moulded metal and glass, which combine the visual arts with music.François Baschet had always been fascinated by acoustics, by the relationships between the shape and material of an intrument and the beauty of its sound.Bernard Baschet was passionately interested in contemporary music and firmly believed that such instruments were the proper tools for modern music, for they offered to the artist and performer a personal means of expression denied by electronic devices.Together the brothers began to design and produce Sound Sculptures, which could also be regarded as musical instruments.Circa 1965, Bernard worked alongside Pierre Schaeffer as a member of the GRM (Musical Research Group) on the elaboration of what was to become Schaeffer's "Traité des objets musicaux" (Treatise on Musical Objects).The Baschet brothers also created structures and instruments of all sizes, including bell towers, windmills and fountains, using the natural elements of wind and water to make music. Bernard Baschet was especially proud of his pedagogical work amongst deprived and handicapped children, with the instrumentaium made up of fourteen pieces.

'Source', a new release by Wolfgang Tillmans, comes in an original version and two remixes by legendary German producer Roman Flügel.
The sixteen-minute original version is a vocal piece in which Tillmans explores his abilities to generate vocal sounds to tell a story while refraining from using actual words. Meshing six different sequences into one composition, each sequence investigates different moods and emotions meandering between the guttural, sacral, and absurd. Recorded in a studio session in 2017, the piece focuses on the immediacy of vocal improvisation as much as on its post-production and edit.
Tillmans knows that whatever is achieved through spontaneity can as easily be lost, as he recently told Emily Bicks in a feature for 'The Wire': I am, of course, always planning things ahead, and I am managing an archive of 25 years, and communicating in the now with dozens of contacts, but the fortunate thing that I feel I've retained is an ability to get in touch with this moment of being in the here and now, and seeing, or hearing, or allowing words or melodies to pop into my head in such moments.
The A-side and an additional bonus track are both remixes by German producer Roman Flügel. In a ten-minute remix, the multi-faceted producer stays true to the original's spontaneity and develops changing arrangements wherever Tillmans' vocals are creating momentum. Exploring various directions, Flügel's experience allows him to glide effortlessly through the different sequences. The bonus 909 Mix instead takes a tighter direction with claps and high-hats and builds up around Tillmans' staccato laughter before culminating in beautiful house piano chords.

The title may suggest a specific origin, a 'source' that is to be located, but in Tillmans' understanding it is a transient space abundant of undiscovered possibilities.
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