Electronic / Experimental

Written and produced by

Manfredas Bajelis

and

Marijus Aleksa

from Lithuania.

Driving Vladimir Tarasov influensedpercussionist jazzfunk.

Music From Memory are excited to present the first compilation of works by British electronic pioneers MLO aka Peter Smith and Jon Tye. Titled ‘Oumuamua’ and second up in the Virtual Dreams series, the compilation is an in-depth artist focused release containing twelve thoughtfully selected tracks that touch on highlights from the duo’s discography as well as newly (re)discovered music drawn from a vast archive of unreleased pieces, sketches and extended jams recorded between 1993-1995. MLO’s ambient explorations began when Pete and Jon, having first met in rival punk bands during the late ‘70s, found themselves with unlimited access to an incredibly well-equipped studio, having been hired to produce an Icelandic pop star’s record in the early ‘90s. Particularly charmed by the Korg PS 3300 and an Emulator 2, Smith and Tye were also deeply fascinated by outer space and set about developing a musical landscape informed by both this new state of the art musical equipment and what lay beyond the Earth’s limits. Painting with a palette informed by classical minimalism, new age and the works of Cluster & Eno; the duos primary colours were drones, sustained tones, washes, calming tides, gentle temple bells and soft angelic voices with flickering glimpses of percussion and drums that hinted at the possibilities of a dance floor. ‘Oumuamua’ is a collection of music to get lost-in, a wander down the mazed, mirrored corridors of the subconscious. Peaceful, flowing, fresh-water patterns, drawing the listener toward a mediative, inner space. Not strictly ambient, rather the music rests temporarily within the boundaries between drum ‘n’ bass, library music, soundtracks and Techno. Or how Jon Tye himself puts it: “It really feels like music from a different place, a different time, made by different people.”

Music From Memory are excited to present the first compilation of works by British electronic pioneers MLO aka Peter Smith and Jon Tye. Titled ‘Oumuamua’ and second up in the Virtual Dreams series, the compilation is an in-depth artist focused release containing twelve thoughtfully selected tracks that touch on highlights from the duo’s discography as well as newly (re)discovered music drawn from a vast archive of unreleased pieces, sketches and extended jams recorded between 1993-1995. MLO’s ambient explorations began when Pete and Jon, having first met in rival punk bands during the late ‘70s, found themselves with unlimited access to an incredibly well-equipped studio, having been hired to produce an Icelandic pop star’s record in the early ‘90s. Particularly charmed by the Korg PS 3300 and an Emulator 2, Smith and Tye were also deeply fascinated by outer space and set about developing a musical landscape informed by both this new state of the art musical equipment and what lay beyond the Earth’s limits. Painting with a palette informed by classical minimalism, new age and the works of Cluster & Eno; the duos primary colours were drones, sustained tones, washes, calming tides, gentle temple bells and soft angelic voices with flickering glimpses of percussion and drums that hinted at the possibilities of a dance floor. ‘Oumuamua’ is a collection of music to get lost-in, a wander down the mazed, mirrored corridors of the subconscious. Peaceful, flowing, fresh-water patterns, drawing the listener toward a mediative, inner space. Not strictly ambient, rather the music rests temporarily within the boundaries between drum ‘n’ bass, library music, soundtracks and Techno. Or how Jon Tye himself puts it: “It really feels like music from a different place, a different time, made by different people.”

Nicolini is back with the next installment of stripped-down drum workouts and sound system madness. Spread across seven tracks and as many tempos, the dutch multi-instrumentalist and producer veers effortlessly between looped-up sax riffs (with a Twin Peaks ambience), dubby wave, mutant dancehall, low-slung steppers and manic 180 bpm experiments. Along with guest appearances from Nushin Naini and Martha de Barros, Sopratutto is an adventure through bass cones above and beyond what Nicolini has laid down before. Plays on 45rpm

British musician, multi-instrumentalist, producer and DJ cktrl returns with the release of his new EP ‘yield’. Born from a desire to change the narrative around contemporary Black British music, the boundary-pushing musician aims with this project to prioritise the art of bonafide musicianship. A stark departure from cktrl’s previous work, ‘Yield’ is a celestial and palpably more inward body of work that harkens back to the pre-electric age of modal jazz while simultaneously pulling in elements from the disciplines of classical and baroque music. Speaking on the project’s sonic identity, cktrl says: “I want to be able to show that you can make things from scratch again that have that feeling and beauty without having to sample an old record. Even though that’s an art-form within itself, I want to show raw orchestration and instrumentation can be the sole source” The origins of the title came from a period where cktrl was looking to find solace in himself after an introspective period of grief and heartbreak. As an intentionally instrumental project with minimal vocals, cktrl wants prospective listeners to see these new songs as guided meditations where they can wholly insert themselves in it. Eliciting and reaping whatever feelings come to the fore. Speaking on what ‘Yield’ means to him as a concept, cktrl explains: “Some people who I've asked to define the word ‘yield’ have looked at it from a harvest point of view, whereas others have seen it as something to submit to, to render, like you're giving up yourself. I see it as a barometer for how you feel - no matter if you're at your lowest or your highest vibration, you still need to show up for yourself. You still have to be present. It’s about getting the best from yourself no matter where you are in life” The new project is the follow up to last year’s ‘Zero’ which featured collaborations with esteemed contemporaries like the GRAMMY-nominated Mereba and anaiis. Upon the project’s release, it was met with a plethora of critical acclaim from highly regarded publications and platform such as British Vogue, Dazed, CRACK Magazine, Resident Advisor, NOTION, Harper's Bazaar and ES Magazine for its sprawling and experimental scope, spanning avant-garde jazz, classical music, alternative R&B and electronica. Moulded by a unique blend of his West Indian heritage, years of classical training in both the clarinet and saxophone, cktrl strives to do what hasn’t been done before. His approach to creation is decidedly wide-ranging and broad. In fact, where sonic descriptions might fail to encompass the breadth of cktrl’s scope, three words surface when he unpacks his musical aims: freedom, range and feeling. Elsewhere, throughout his career, cktrl has been recognised and heralded by fashion and film VIPs as he firmly embeds himself within the black cultural renaissance emerging here in Britain. Acquiring a global network of creatives that include the late Virgil Abloh, Bianca Saunders, Tremaine Emory, Saul Nash, Maximilian Davis, Ahluwalia, Stephen Isaac Wilson, Sean Frank, Campbell Addy, Ib Kamara and Jenn Nkiru who secured him a cameo in Beyoncé’s ground-breaking film ‘Black Is King’.

Quiet Voices is a collaborative musical and sound art project, mixing ambient & electronic music, cinematic atmospheres & spoken word, founded by Jean-Yves Leloup, featuring musical pieces he composed with Hélène Vogelsinger, Villeneuve & Morando, Wild Anima, François-Eudes Chanfrault and Maxence Cyrin. Most of the composers involved in this project are all working in the field of cinema, composing music using electronic and acoustic instruments. All these musicians are also working in the field of modern classical, ambient and electronic music. Through the use of spoken voices (some of them coming from films), the Quiet Voices project can be heard as a tribute to the power and emotion of cinema. Each track can be heard as a short film, or a scene, fostering the listener's imagination. All the pieces from the record are dealing with the themes of time, memory, death or loss, and often dealing with the idea of an imaginary intermediate dimension between life and death. Jean-Yves Leloup is a Paris-based french sound artist/DJ, curator and music writer. He is the curator of various music exhibitions (Electro at Paris Philharmonie, London Design Museum and Düsseldorf Kunst Palast) and the author of various books such as " Digital Magma ", " Global Techno ", " Techno 100 ", " Music Non-Stop " and t " Ambient Music : avant-garde, new age, chill-out & cinema " (2021). He teaches sound in cinema at Paris Esra cinema School, and has released four albums with the RadioMentale duo.

After two 12 inches, the legendary Mick Harris (Scorn, Napalm Death,Lull) steps up with his first full length double lp for L.I.E.S. under his FRET moniker. Over 10 tracks, "Because of the Weak" displays Harris in his most intense sonic form to date, blasting through the red with reckless abandon and destroying all weakeners and sound systems in his path. This is the definition of black hole industrial techno and while it's completely pulverizing, Harris' heavy trademark dubstyle elements are strongly present, coupled with deeply psychedelic textures swirling within the deadly onslaught of this album. While others have softened up through the years, Mick has upped the ante, staying true to the unrelenting intensity he pioneered behind the drum kit back in the 80s. Turn on the TV, witness the demise of humanity, put this album on and watch it all fall to pieces minute by minute. Never more could music of this magnitude be more relevant. Not recommended for those with medical conditions!

A bearhug of chill-out room gouching gear from MFM spanning the golden era of ‘90s ambient dance music with gems from David Moufang, LFO, Global Communication, Kirsty Hawkshaw, Sun Electric and many more notables of that era. Since the world turned into a big chill out room in early 2020, albeit with a heavy sense of anxiety, this set could hardly be better placed for downtime in the comfort of your own home, rolling out mystic highlights such as LFO’s MDMA-tingle arps and pads in ‘Helen’ and the sublime suspension systems of Global Communication’s remix of ‘Arcadian’, along with Move D’s early nugget ‘Sergio Leone’s Wet Dream’, and the lush pads of his close spar Jonah Sharp’s Spacetime Continuum, plus a strip of killer slow acid in Sideral’s ‘Mare Nostrum’, and the blissed romance of ‘Love 2 Love’ by Sun Electric. One for the lovers and the ravers.

From the viscerally punishing and nerve wrecking, to the wistfully sublime, Kevin Drumm‘s work often yield a ferocious intensity through the timbres of minute details. On ‘Battering Rams’, sinister forces interlope with sanguine glimmers of respite and contemplation, while recurring drones ceaselessly crescendo to near paralysing effect, only for the album's final moments to offer a lofty reprise of boundless oscillation, dispelling all the pent-up tension into a sanguine state of bliss. Once again, underpinning Kevin Drumms’ genius of transforming seemingly trivial sounds into elongated microtonal worlds that stay etched deeply in your conscious, often long after the work's final reverberations have subsided. Now, throughout this series of archival works dating from 2000 to 2022, his mastery is once again on full display and available via two new remastered formats.

In 1992, Autechre first gained attention for his participation in Warp's "Artific ial Intelligence" compilation, which presented a new way of thinking about techno music, and made a strong impression on the scene with his first album "Incunabula" in 1993, followed by "Amber" in 1994. In the 2010s, when IDM/electronica underwent a further metamorphosis, Autechre has remained an isolated artist and a representative of IDM/electronica ever since, releasing Oversteps (2010), the 2-CD set Exai (2013), the 5 CD set "elseq 1-5" (2016) released on their own website, and the 8 CD 12 LP blockbuster "NTS Sessions." (2018).

In contrast to "NTS Sessions.", which lasted over 16 hours and was considered a "single work", this album is the essence of the current Autechre in 11 tracks, and is called "SIGN The album is called "SIGN".

In an age when pop music has become more accessible and has retreated into the background music of daily life, Autechre continues to encourage the listener to have an active listening experience. Outeka has never stopped the evolution of sound, and they have never changed in their thorough defiance of the consumption of music. SIGN" is the latest result of this work, and a credit to man's continued active engagement with music.

Recorded in Lary 7’s legendary apartment studio Plastikville over nearly a decade, Larynx is the first full-length retrospective of the East Village icon’s hybrid music and engineering practice. The record mobilizes 7’s array of homemade instruments, which he ‘frankensteins’ together from offcast and outmoded bits of technology. An ode to the long-lost Canal Street junk shops he frequented in the 1970s and ’80s, Larynx brings together numerous thrift finds and sonic inventions used in his theatrical performances and installations. To play “le concretotron,” a board covered with twenty years worth of unspooled magnetic tape, 7 runs a tape head topographically over the flattened strips, picking up snippets of their recorded contents. The spring tree, another of his contraptions, is simply turned on and left to its own devices; feedback loops cause the amplified coils to resound in space and slowly increase in volume. The track “Mechano-Bleep” features a pattern generator constructed from a telephone sequence switch, 150 oscillators from an electric accordion, a sewing machine motor, and an early computing system called a “select-a-board.” Meanwhile, antiquated electronic instruments abound—7 employs the Ondioline, a precursor to the synthesizer; a Philicorda organ; and a homemade Trautonium, among other gadgets. Following Delia Derbyshire of the BBC Radiophonic Workshop and Raymond Scott of Manhattan Research, 7 adopts a painstaking editing process that is entirely analogue. With lacquer cut directly from reel-to-reel and mastered by Paul Gold, Larynx is, in 7’s words, “the sound of the twentieth century going haywire.”

"Berceuse Heroique returns with a new album by one half of the mighty Pilotwings crew. Guillaume Lespinasse creates a beautiful seance of pure ambience, invoking the spirits of Jon Hassell and Terry Riley but also creating a mood that would easily fit as a soundtrack to Jacques Rivvette movie. Imagine a release on Les Disques Du Crepuscule meets the more experimental side of peak time ECM. Enjoy"

The Gerogerigegege, the Japanese avant-blues music that has been attracting noise music lovers all over the world, is now available on long-awaited vinyl from The Trilogy Tapes, a limited edition cassette released last year by the popular fashion brand CAV EMPT.

This summer, I read Kenji Miyazawa's children's story (illustrated by Takeshi Motai), "Gauche the Cellist" (1934, illustrated by Takeshi Motai, 1956). Just a few days before I made this recording, I was on stage. As a result, I had to be in the same state of mind as Gauche at the beginning of the story. It was not a good feeling, but I knew it was not a coincidence that this book was in my possession, so I read it again and again, looked at Mr. Motai's picture of the raccoon boy again and again, and headed for the park before dawn. The only instrument I used was a Hapidrum, and the sticks were mallets that looked just like the ones the raccoon boy was holding...Juntaro Yamanouchi

"Oblivion Hymns rewrites [Hammock's] script, bringing strings to the fore in a manner that would make composer Max Richter or Hammock’s peers in A Winged Victory For The Sullen proud." —MAGNET "...some of the most blissful music Clash has ever had the luxury of bathing in. [Hammock] has gone on to become one of the foremost purveyors of affecting ambient post-rock on the scene." —Clash Music "Hammock’s music draws out such powerful emotions that one can be blinded with joy even while tears blur your vision."

100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound — a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues — felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around” — and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: “Original in every sense — unknown, unheard and unbelievably good.” In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents’ cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every ​​electronic music magazine he could find at the local Borders Books store. In excerpts from the 100% GALCHER liner notes, Lustwerk looks back: "My dad drove me to this shop on the westside Bent Crayon, where I would get anything the blogs told you to get + whatever the clerk recommended. CDs stayed in their packaging, there was always an overflow of vinyl stacked on the floor. I was too shy to listen to anything before buying." As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday Night in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. The first sessions were loose. “I wanted to feel like you were tripping, maybe having a bit of heatstroke, or dehydration. Your body feels detached, your jaw clenched. People become furniture. Light becomes the main character, surfaces show their age in real-time. Wabi-sabi shit.” Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. "I was able to generate moods quickly now, a pad crying like a dozen detuned french horns. Frequency dithering towards red. An 808 comes to the forefront." Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. "In his straightforwardness + my willingness at the time to take the opportunity for what it's worth, I decided to go for broke and finish a lil mix, sort of like a rap mixtape you'd find off Datpiff.com." 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like “Fifty” and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run — the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lustwerk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favorite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can’t let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express loneliness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you." 100% GALCHER was by all accounts a game-changer when it landed in 2013 as an hour of original music from a relatively unknown producer ushered in by the beloved mix series Blowing Up The Workshop. Galcher Lustwerk's signature sound — a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues — felt like an epiphany, impossibly hypnotic and complete. Resident Advisor writes, "100% GALCHER laid out a louche, lysergic and resolutely black take on deep house." Pitchfork remembers the music's immediate impact: "It's the sort of gem you felt inclined to pass around” — and by year-end list time, word-of-mouth intensified. It was Resident Advisor and Juno's mix of the year, and earned a top-ten placement in FACT Magazine's albums list, as well as Philip Sherburne's personal rundown for Spin." Since then, select songs from 100% GALCHER have seen small-run pressings, while the album has lived primarily on SoundCloud and YouTube as a low-key cult legend. The gateway into Lustwerk's now well-established catalog, known for its reliability as a late-night listen and its prophetic vision for the near future of underground dance music. RA would later name it a mix of the decade, citing its influence and imagination: “Original in every sense — unknown, unheard and unbelievably good.” In late 2022, marking ten years since he first recorded the material, Lustwerk returns to Ghostly International to release 100% GALCHER as a remastered limited-edition double LP. Lustwerk is a product of the Midwest. Growing up in Cleveland, he'd tape over his parents’ cassettes and spend hours at his family computer recording loops and designing artwork for the jewel cases of burned CDs. In high school, he turned to Ableton Live and absorbed every ​​electronic music magazine he could find at the local Borders Books store. In excerpts from the 100% GALCHER liner notes, Lustwerk looks back: "My dad drove me to this shop on the westside Bent Crayon, where I would get anything the blogs told you to get + whatever the clerk recommended. CDs stayed in their packaging, there was always an overflow of vinyl stacked on the floor. I was too shy to listen to anything before buying." As a college student at RISD, he played in noise bands, plugged into Providence's DIY scene via Myspace, and started DJing weeknights at bars downtown. There he connected with Young Male and DJ Richard, who would go on to found White Material Records and offer their third release to Galcher Lustwerk, an alias realized via CAPTCHA test, a perfect artifact of its internet age. By 2012, Lustwerk had drifted to New York City and settled into a graphic design job, quickly growing disenfranchised by office culture. "Some days I felt like a token, other days I felt invisible." At night, he and his friends were carving out their own space, throwing parties in small basements, office buildings, and off-beat karaoke bars in Manhattan, influenced by series such as Mr. Sunday Night in Gowanus and The Bunker at Public Assembly. The lifestyle started to bleed into Lustwerk's musical vision. He remembers the night it clicked in Providence, partying and listening to tunes with Morgan Louis and Alvin Aronson. He went back to New York and pieced together his bedroom setup: a Dave Smith Tempest drum machine, a Waldorf Blofeld synthesizer, and a TEAC cassette recorder. The first sessions were loose. “I wanted to feel like you were tripping, maybe having a bit of heatstroke, or dehydration. Your body feels detached, your jaw clenched. People become furniture. Light becomes the main character, surfaces show their age in real-time. Wabi-sabi shit.” Early snippets went straight to SoundCloud, where Lustwerk tested the crowd. "I was able to generate moods quickly now, a pad crying like a dozen detuned french horns. Frequency dithering towards red. An 808 comes to the forefront." Comments and messages offered instant feedback. One DM proved to be the greenlight: from Matthew Kent, an invitation to his burgeoning mix series Blowing Up The Workshop. "In his straightforwardness + my willingness at the time to take the opportunity for what it's worth, I decided to go for broke and finish a lil mix, sort of like a rap mixtape you'd find off Datpiff.com." 100% GALCHER traveled fast and far. A phenomenon he could only enjoy for a short period before discovering that nearly all the masters of the tracks got wiped by water damage to his computer. "The only copies were now on the 192kbs mp3 mix I sent Matt." Until now, after Lustwerk revived the lost tracks and handed them to Josh Bonati for remastering. "The original mix was never mastered so I hope older fans can find something new here." Hearing the enhanced set for the first time delineated by tracklist reveals this was a proper album all along. Sly synth interludes (all titled "Stem") clear the air for raspy house anthems like “Fifty” and "Parlay," the set's original breakout. Themes present across Lustwerk's catalog first materialize in this iconic run — the link between the meditative state of Midwest driving and the solitary comedowns of nightlife. Lustwerk, the narrator, is an elusive character, a secret agent of the club, embodied by the hooks: "One minute I'm on / next minute I'm gone," he reminds us on cult-favorite "Put On." These narcotic, one-line refrains stick with you; look no further than the original YouTube upload of "Kaint" to know that fans can’t let these phrases go. While recorded alone, 100% GALCHER was a collective moment. A decade later, Lustwerk sees the legacy as shared: "Making music can be an alienating experience, especially for DJs who travel a lot, it's all super isolating. It's easy to express loneliness in the music itself, but when it comes down to getting things done, putting music out, you def should go on that journey w other people, friends, or maybe just a group of people online, build things with your friends then they can build to help you."

She's back with yet another masterpiece album, overflowing with emotions, musical ideas and mysterious atmospheres. With Halo, Juana Molina picks up where she left off with her previous acclaimed album Wed 21, and shows once more that she really is "on an evolutionary journey of her own devising" (Pitchfork), which has brought the "eerie, hypnotic" music on each of her albums "to increasingly haunting heights (Spin).

Halo is Juana Molina's seventh album, it contains twelve songs and was recorded in her home studio outside of Buenos Aires, and at Sonic Ranch Studio in Texas, with contributions by Odin Schwartz & Diego Lopez de Arcaute (who have both been playing live with Juana for a number of years), and Eduardo Bergallo (who has taken part in the mixing of her previous albums), with Deerhoof's John Dieterich making a guest appearance in a couple of tracks.

Arrestingly singular and deeply moving, this 1988 album by Choctaw, Assiniboine, and Texan poet, journalist, artist, activist, and musician Roxy Gordon (First Coyote Boy) (1945–2000)—whose long out-of-print work has been acclaimed by friends such as Townes Van Zandt, Leonard Cohen, and Terry Allen—sets his cold-blooded, bone-lean reflections on the complexities and contradictions of American Indian (and American) history and identity to atmospheric, synth-damaged country-rock that skirts ambient textures and postpunk deconstructions. The gatefold package of this first-ever reissue—a decade in the making and the first in an archival series—includes new and restored artwork and a chapbook, featuring forty-eight pages of lyrics, essays, photographs, and First Coyote Boy's extraordinary drawings for each song. (The chapbook is included in the LP edition only and also available for purchase separately.)"Roxy Gordon is a brother of mine. I don’t like the word 'poet'; it is usually used too lightly. Roxy, however, is a real one. God bless him and the buffalo he rode in on." – Townes Van Zandt"His work is strong. The word goes out. Can a change come on dove’s feet?" – Leonard Cohen"Roxy Gordon is one of the great outlaw artist American misfits. He writes like an angel and sings like livin' hell. His voice is as stone, true as the history of blood and dirt." – Terry Allen"Someday maybe Steinbeck will be my favorite writer again but, right now, it's Roxy Gordon." – John Stewart

Soave Records dusts off in limited edition the psych/synth album by Doctor Steven T. Birchall recorded in 1973 in Indiana, U.S.A. with the following equipment: VCS-3 (The Putney) by EMS, Ampex MM-1000 16 trk, dbx noise reduction, SpectrasSonics Console, Studer A80 Recorder, Eventide Clockworks, Instant Phaser, Cooper Time Cube, EMT Reverb. The absolutely penetrating high tones of the opening track 'Music Of The Spheres' announce us that we are on board, passengers in the hands, or perhaps better to say in the mind, of Birchall who aims to go beyond those "normal" boundaries that we call reality. It is a new world of music that still amazes after half a century. A higher stage of truth projected into the cosmos. Cover art by Earl. E. Hokens..

talia Synthetica 1981-1985 represents the musical mutation that occurred after the post-punk hangover gave way to more frigid emotional shores, in-line with the synth-wave moment that was sweeping Europe and the white cliffs of Albion. This scene flourished in Italy between 1981-1985, and the musicians that came out of it are still revered today (particularly in the US). Robotic rhythms and intuitions that, besides sharing common ground with the electronic movements that had come before, also knew how to fill up the dancefloor. Featuring four previously unreleased tracks by Der Blaue Reiter, along with tracks by Modo, Actor's Studio, and La Maison, as well as the still fresh sounding contributions by true pioneers of the genre Neon and Naif Orchestra. Also features Ein-st-ein, Scortilla, Eurotunes, Oh Oh Art, and 2+2=5 featuring Paolo Mauri. LP includes CD which includes five bonus tracks from the Italia New Wave LP (SPITTLE 031LP). Included CD features Jeunesse D'Ivoire, Fockewulf 190, State Of Art, N.O.I.A., and 2+2=5.

In process of stocking* Brainticket was an obscure Krautrock band born out of a 60's jazz group featuring Belgian born keyboardist Joel Vandroogenbroeck, based in Switzerland. The leader went for a fortunate solo career after the former group disbanded, reaching a cult status especially in Italy with a series of sought after libraries. Released in 1978 on Cenacolo, Images Of Flute In Nature is pure magic translated in music. Conceived by Joel with a little help from vocalist Carole Muriel (an American performer already involved in Brainticket and Drum Circus), the album is literally a deep connection between kosmische music, ambient and ethno-global rhythms.

Vladislav Delay presents the second EP in his "Hide Behind The Silence" series with five 10" releases coming throughout 2023. Intuitive and raw music, momentary and reflective, released on Ripatti's own label "Rajaton". Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me. Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness. Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’ The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in. A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size. It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms. **Q&A with Sasu Ripatti:** *1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?* Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction. Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on. It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective. *2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?* Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet. *3) What kind of thoughts or experiences gave inspiration to this series?* Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet. *4) Is it easy for you to be in silence, or around silence?* Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

We’re thrilled to announce NAFF017, “To / Deep”, by Chicago trio Purelink “To / Deep” comprises four tracks, two of which –Maintain the Bliss and Head On A Swivel– were previously released as a digital-only EP in 2021. Here, Purelink return to form with an updated sound, adding crystalline angularity and dialed precision to their warm, enveloping style. Blissed break abstractions flutter and gasp like shifting light through variegated glass. Rhythms arise within rhythms, the breath resounds throughout. “To / Deep” carries the uncanny feeling that home has changed, or that home is change.

Bog Bodies - the band consisting of Robert Stillman, Anders Holst and Seán Carpio delve into deep time to carve sonic abstractions across their self-titled new album on MIC. Navigating the “liminal territory between noise and signal, chaos and control, form and abstraction,” the trio recorded and mixed the album on an 8-track cassette machine. Bog Bodies is a searching inquiry into the mythologies and magical undercurrents that knit together our existence in the information age. Bog Bodies opens with a leftfield homage to Superman III, exploring the mythical qualities of technology through a series of angular horn lines that dissolve into the mire of feedback noise on the album’s raking, anthemic title track. Reverberating in tectonic sheets of sound on ‘One That Is Reflected In The Image Becomes All’ and Bog Bodies reaches its climax on the 11-minute ‘Cave Painting 2019’ - a subterranean epic of mystic force, drawn up from the earth in sweeping drones. Bringing together their combined experiences playing with the likes of Manuel Göttsching, Luke Temple, The Smile and more recently Coby Sey.

Arovane's acclaimed 2004 album »Lilies« has been out of print on vinyl for nearly 2 decades now. It finally gets a well-deserved reissue through the Berlin based Keplar label. The new version has been remastered by Kassian Troyer at Dubplates & Mastering and comes with a brand new cover artwork. *2023 remaster* "Lilies" was a follow-up to "Tides" in every sense, exploring a trip to Japan and drawing on shimmering textures and the sort of melodies that you might need some time to recover from. There's a hugely evocative sense to these tracks, emotionally driven, free of complexity or conceit, piano melodies providing the central focus for a twilight cascade of light that seems perfect for the Tokyo skyline - just as the sun sets. It's an album that radiates warmth and vulnerability, fusing the technological might at the heart of each track (and at the heart of the city) with an age-old understanding that certain echoes of sound, small melodic changes and cushioned lullabies can imprint sounds on your mind like childhood memories - remembered forever. Like a dreamlike score, or maybe even an alternate soundtrack to "Lost in Translation" - the sort of music that intertwines with images and stays in your mind indefinately. After coming back from Tokyo and completing the production of "Lilies", Uwe Zahn disassembled his studio in the big flat in an old building in Berlin's Prenzlauerberg district and stored it away in boxes. He needed a break from making music. "Lilies" was the last album prior to a nine-year hiatus for Arovane, ending in 2013 with the release of "Ve Palor".