Electronic / Experimental

Los Angeles-based vocalist, composer, and producer Sharada Shashidhar has a deep awareness of the cosmos. There's a distinct tug-of-war in her music, an understanding that scanning the heavens to answer existential queries isn't quite enough; there are internal depths to plumb as well. Shashidhar's first album, 2020's Rahu, found her voice billowing out of smoky, post-beat-scene soundscapes, meditating on the collective unconscious and the energy exchange between all living things. Her newest work, Soft Echoes, is a bold step forward, echewing her work's hip-hop tilt for expansive compositions that blend jazz and Indian classical influences into a swirling, spiritual whole. Though she has an extensive resume as a collaborator in LA's previous experimental jazz scene, notching work with the likes of Carlos Niño, Zeroh, and the Pan Afrikan Peoples Arkestra, Soft Echoes marks Shashidhar's first outing as a bandleader. Gathering an ensemble that includes Anna Butters on bass, Julius Rodriguez on keys, Devin Daniels on saxophone, and Timothy Angulo on drums, Shashidhar sought to create a band that ostensibly functioned as an extension of herself. Her primary goals in writing these songs were to “let [her] body do what it wanted to do,” to trust her intuition, and “play without judgment.” Through that process, making Soft Echoes became a practice of presence and exploration, a chance to unlearn rigid structures and rediscover the joy of creating for oneself. Recording took place over three brief, distinct sessions at Altamira Sound in Alhambra, California. Though the full band wasn't ever present at the same time, Soft Echoes sounds like the work of a group in complete, mind-meld focus. Splashy drums nudge up against skronkingsaxophone on “Canyon Song,” while mushrooming synth tones stack up behind rippling Rhodes piano on “Luckiest.” Shashidhar's elegant voice is the anchor for each of these tracks, sometimes gracefully stretching between instruments like a lithe dancer's limbs, other times scattering through psychedelic delay. She describes the album as having “two poles, ” illustrated by the whimsical, buoyant opener “Soft Echoes” and the darker, more anxiety-ridden closer, “New Echoes.” The songs in between may come from different emotional spaces, but “it's all really reflective,” she explains. album can play like a loop, with Shashidhar entering a portal “into the endlessness” during “New Echoes,” only to be transported back to the beginning, full of gratitude and pondering “how strange it is to be alive.” On Soft Echoes , Shashidhar leads us on a journey through her mind, traversing its peaks and canyons in search of greater connection. “I want to take people places,” she says, pausing thoughtfully. “I can’t always guarantee that they’re good places, [but] hopefully you’ll feel something.”

all music by G. Di Domenico (SIAE/SABAM) E. Ishibashi (Jasrac/Space Shower Network) J. O’Rourke (Field Code Music/BMI) J. TaliA (APRA) T. Yamamoto recorded in studio W (Brussels) Atelier Eiko, Steamroom Completamente TAZ (Tokyo) Good Mixture (Berlin) mixed by Jim O’Rourke at Steamroom (side A & B) Joe Talia at Good Mixture (side C) Tatsuhisa Yamamoto at Completamente TAZ (side D) mastering & cut by Frédéric Alstadt AT Ångström MASTERING, Brussels Cover photo by François Moret «Between Deauville and La Rochelle» Courtesy Of Spazio Nobile Gallery, Brussels Graphics & layout by Cedric D’hondt

Mana Records, the experimental label run by Andrea Zarza, curator of the British Library's Sound Archive, and Matthew Kent of Blowing Up The Workshop, has released their latest mixtape on the cult cassette label Good Mana Records, the experimental label run by Matthew Kent of Blowing Up The Workshop, has released its latest mixtape on the cult cassette label Good Morning Tapes! Six years in the making, Mana has released 20 mixtapes, ranging from a reissue of music concrete/acoustic poetry by Luc Ferrari to contemporary American synth music by Madalyn Merkey, Japanese film soundtracks by Hiroyuki Onogawa, and killer Indonesian rhythms by the Uwalmassa collective. The Uwalmassa Collective has made a strong impression with 20 outstanding releases ranging from fourth world fantasy to lilting Indonesian rhythms. From fourth-world fantasy to lilting optimism, from ambient lullabies of unknown origin to soaring electronic rhythms, this is a scenic, 95-minute long ambient trip through atmospheric, experimental, and blissful zones carefully selected from around the world.

These sounds came to me in a stage of my life when i was learning to seek nothing...to be nothing.....Grasp the formless form and the world comes to you....All come to you unharmed for peace, security & rest.

"Joe McPhee's first international release, Black Magic Man, was issued on the newly formed Hat Hut imprint in 1975. It was a watershed moment for the 35-year-old musician. Based in Poughkeepsie, New York, he was too far away from Manhattan to have participated extensively in the Loft Jazz happenings of the decade. European exposure, however, would give McPhee an alternative circuit, something of an escape route from the trappings of American cultural myopia. "In support of the new record for this Swiss label, McPhee invited John Snyder on a European tour in October 1975. Snyder was a synthesizer player with whom McPhee had made the duet LP Pieces Of Light, released a year earlier on CjR. The two musicians developed an extensive repertoire, playing diverse spaces in the Hudson Valley. Geographically close gigs were a plus, since it took extra energy to hoist Snyder's ARP 2600.

Yoshi Wada's Lament For The Rise And Fall Of The Elephantine Crocodile, originally released in 1982 on India Navigation, remains one of the most remarkable flowers to grow in the rarefied air of American minimalism – akin to Terry Riley's Reed Streams and Pauline Oliveros' Accordion & Voice, yet with a wild, liberated energy all of its own. After graduating from Kyoto University of Fine Arts with a degree in sculpture, Wada moved to New York City in 1967 and quickly fell in with the community of artists known as Fluxus. In the early '70s, he began building his own instruments and writing musical compositions, studying with La Monte Young and Hindustani singer Pandit Pran Nath. Recorded during an epic three-day session in an empty swimming pool in upstate New York, Wada's first album brings together two of the oldest drone instruments – the human voice and bagpipes – to simple and glorious effect. A visit to the Scottish Highlands spurred Wada's interest in bagpipes, which the composer integrated into these sparse, otherworldly sounds heard on Lament. "That swimming pool was quite hallucinatory," recalls Wada. “It was another world. I felt it in terms of resonance. I slept in the pool, and whenever I moved, I woke up because of the reverberations.... The piece itself is an experiment with reeds and improvisational singing within the modal structure." This first-time vinyl reissue is limited to 750 numbered copies. Comes with poster.

This is the latest EP work by Kaoru Inoue, a DJ, musician, and music producer who has been internationally renowned for his activities under the name Chari Chari and Kaoru Inoue for 30 years since his debut in 1994.

Saltern presents a thrilling new live recording of Naldjorlak for solo cello, composer Éliane Radigue’s first piece for an acoustic instrument, paired with a remastered version of the long out-of-print, original 2006 recording. Composed in 2005 in close collaboration with cellist Charles Curtis, Naldjorlak marked a striking shift in the music of Radigue, who has since composed exclusively for instrumentalists with her celebrated Occam series. This album brings together two complete performances by Curtis, recorded nearly 15 years apart (Paris in 2006 and Los Angeles in 2020), drawing attention to the evolution of the piece and to its inherent mutability. The sound and spirit of Naldjorlak are centered around the re-tuning of the entire cello to the wolf tone, a uniquely unstable frequency, creating a haunting, almost feedback-like resonance within the instrument itself.

From Gascia Ouzounian’s liner notes: “Even as it expands conceptions of what sound is, and thus what music can be, to understand Naldjorlak only as music would be to limit its scope. It is music, but it is also physics and philosophy. Naldjorlak is a detailed investigation of the physical properties of resonating bodies and dynamic systems; it is a meditation on the condition of instability; it is a metaphysics of chaos and uncertainty.”

"In bringing these recordings together, the album presents the composition as a living, breathing document, illustrating how Radigue’s music embraces time’s unpredictability in both structure and performance." —Vanessa Ague, Pitchfork 
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After a limited self-release in 2022, Extravision, the deeply therapeutic musico-psychonautic offering from experimental guitarist Guy Blakeslee has received the Leaving Records “all genre” re-release treatment, with the understanding that more listeners should hear with this vulnerable and graceful document. The record is, in a word, a balm. Like a window flung open on a sweltering day, Extravision occasions the sudden awareness of space, of calm, of context, of possibility. The record also catalogs a musician’s search for meaning and healing in the wake of catastrophe. Since its initial run, Blakeslee has been bracingly open about Extravision’s genesis. On March 13th, 2020, while walking across the street, Blakeslee was struck by a car. Upon regaining consciousness the following day, the hospitalized Blakeslee found both the outer world and his inner world suddenly transformed. As lockdowns took effect, it was immediately clear that the brain injuries Blakeslee sustained had not only affected his vision but altered his very consciousness and would inevitably affect his music-making. From Los Angeles, to Virginia, to Baltimore, he pursued physical and spiritual recovery with music as his primary medicine. Sitting for hours at the piano, the man for whom guitar had always been the primary instrument now intuited the riddles and patterns laid out neatly before him in black and white. Armed with beginner’s mind and a cassette 4-track, Blakeslee began to experiment with wordless, impressionistic songcraft. Extravision is the transcendent result, an hour-plus compendium of humble and fiery dalliances with the musical and psychical unknown—a record from a lifelong musician rediscovering the joys and vexations of learning. Throughout Extravision, the guitar exists as both specter and reference. A majority of the album’s tracks notably do not feature any discernible guitar—the songs functioning as emotive, drone-based exercises in texture and duration. And yet, one never doubts the extent to which Blakeslee’s practice has been (and continues to be) informed by a uniquely American folk guitar idiom. We are, with Blakeslee as our guide, gladly charting the vast and newest horizons of so-called “American Primitive” music, now often referred to as “Cosmic American.” And when Blakeslee’s interdimensional guitar does eventually emerge — see the album’s fittingly final title track, “Extravision”— the sweetness, not untinged by loss, is palpable. Blakeslee has stated that his goal, with Extravision, is to induce in the listener a trance-like state, to inaugurate the conditions under which time might function “differently.” To be sure, the drones and gentle recurrent phrases that comprise much of Extravision are a welcome antidote to the now commonly felt acceleration of time. But it is the experience that Blakeslee is transmitting with and through and beyond these musical gestures—the experience of non-linear time, of total time-loss, of starting again, of retracing one’s steps and rerouting one’s journey—that challenges and rewards us.

Delight, Arushi Jain’s follow-up to 2021’s seminal Under the Lilac Sky, out March 29 2024 on Leaving, carries, at its core, the simple proposition that delight is accessible and that the practice of cultivating it is a necessary endeavor. Weaving together emotions, imagery, and a sense of yearning for beauty, Jain aims to instill belief in the ever-present nature of delight, asserting the need to actively seek it when not readily found. The enhanced perception of this elusive emotion, Jain asserts, comes through extended observation of the present - the longer we look, the more we see - an idea that serves as a guide in her quest for delight. The introduction of cello, classical guitar, marimba, flute, and saxophone plus rich Indian classical vocals, all layered with modular synthesis, expands her sonic vocabulary to a lush textural landscape and signals new areas of creative focus. Jain, for the uninitiated, is a multi-hyphenate artist/musician (composer, vocalist, engineer, modular synthesist) . As has been widely noted, Arushi Jain deploys the sounds and aesthetics of contemporary experimental electronic music to channel, celebrate, iterate upon, and interrogate traditional Indian idioms. Under the Lilac Sky, her first LP (also released on Leaving), constituted an offering of sorts: a six-song suite intended to accompany the listener as they watched the sun’s setting. But while Jain’s last record was concerned with time, space, and our outer environment, Delight is reflective, occasionally approaching the autobiographical—simultaneously a record of an artist’s inward journey, and an invitation/roadmap for the listener to embark on their own search for delight. Each of Delight's nine tracks were inspired by Raga Bageshri (a raga being a melodic framework particular to Indian classical music). Bageshri is said to convey the feeling of waiting to reunite with one’s beloved. It possesses an innate longing, colored by potent fantasies of reunion. “Bageshri embodies the realization that you have unknowingly fallen deeply in love. It triggers within me immense devotion, juxtaposed with a poignant acknowledgement of suffering; for love as immense is often challenging to reciprocate”, Jain writes. “We come into this world alone, and we leave alone. Despite this knowledge, the human capacity for love is without reservation, which I find generous.” She sings of connection to a past and future self, and the creative practice (see the meditation on intimacy, “Our Touching Tongues”), but her longing feels more expansive. The beloved Jain invokes throughout Delight is not a lover, as Bageshri calls for, but delight itself. Stirred by Raag Bageshri during a creative fallow, Jain decamped to Long Island, where she composed and recorded the core of her new album. She assembled a makeshift studio in an empty house on the seaside, a house suffused with light and art and surrounded by wildlife. This ambience has clearly seeped into the album, drenched as it is in the warm sun as it is in the cold October rain. In her self imposed isolation, Jain experimented with vocal compositions, building songs out of short sung phrases. Jain ended her solitary writing by entering a previously unexplored territory of collaboration, working with acoustic instrumentalists to incorporate classical guitar, cello, marimba, flute, and saxophone into her sonic vocabulary. The result is a collection of songs that are often slower and sparer than those featured on Under the Lilac Sky, yet audibly richer, embracing the transcendental potential of repetition and the nuance of sampling live instruments on her synthesizer. Phrases, lyrics, and notes recur, but the feelings they evoke are consistently novel; Delight is diverse and fluid. Each song documents, by Jain’s own account, a tussle with the void, a journey into the unknown. She has opened an unmarked door and returned with small things that bring delight, precious and unexpected; we catch their glimmer in each recording. Indeed, Delight serves as an abject reminder that, through attention, openness, and practice, we are all capable of tapping into this necessary human sensation.

Rezzett come hungry for the club with a volley of thizzing ghetto-tech and breakbeat hardcore hot on the heels of their debut album For the DJs, dancers, and anyone needing to extend the pleasures of their eponymous LP, ‘Boshly’ sees Lukid & Tapes’ razz out from a corkscrewing mutation of jungle tekno in the title tune, to thee most febrile takes on ’93 hardcore gnash in the delirious ‘Dots’ and the free-handed jungle of ‘Kermit’, with an appropriate come down in ‘Extra Redundant’, each treated to their patented, astringent tekkerz.

"Just want to emphasize that Detroit is my heart. That’s the environment of my imagination. From the beginning." Gerald Cleaver Drummer-Turned-Techno Manipulator Gerald Cleaver Transforms the Evolution of Detroit’s Music Scene into Infectious Electronic Music in Fourth Album with 577 Records and Positive Elevation The electronic album you’ve all been waiting for has arrived! Detroit-born drum slayer Gerald Cleaver is making this summer even better with the upcoming release of a new, mysterious electronic ensemble that takes us to the next level of his unique avant-garde approach. The Process is brought to you by 577 Records and its sub-label, Positive Elevation, which is focused exclusively on electronic experimentation and avant soul. It marks his fourth collaboration with the companies. Known for his ability to use the unpredictability of improvisation to deliver an unbelievable experience, Cleaver explains that the theme of The Process is the “celebration of the freedom and power of the Black American male.” Its very name bears the idea of persisting, of becoming everlasting. He likens The Process (both the album and his methods) to the evolution of Detroit’s robust music scene, highlighting the importance of reaching a younger audience to keep its “Electrifying Mojo” alive and thriving. “I want this record heard like a long mix because this inspiration came from my song, ‘El Permanente’, which you hear near the end,” the musical genius says. “The joy in it ([and in] every electronic album) for me is it plays off of my heart’s passion: improvising. I create an inspiring sound, then I start improvising. That’s the legacy of Roscoe Mitchell. For me, it’s one of the most profound lessons (musical and otherwise).” The son of beloved drummer John Cleaver, Gerald picked up percussion effortlessly at an early age. You may recognize him from his involvement in projects like Welcome Adventure (also featuring Daniel Carter, Matthew Shipp, and William Parker) and Into the Wilderness (with Hprizm a.k.a High Priest and Brandon Lopez). He’s performed and collaborated with diverse artists, including Roscoe Mitchell, Tommy Flanagan, Eddie Harris, and many others. He introduced the world to his mesmerizing electronic creations as a composer and producer in 2020. Every note on The Process weaves together Gerald’s deep love and appreciation for the city that shaped him, its rich culture, and his relentless passion for creating transcendent yet relatable music that is to be felt (not only heard). Enjoy it on LP, CD, and digital download beginning August 16, 2024.

We are pleased to reissue the masterpiece cassette of the early Acid Mothers Temple, which is an exquisite mix of psychedelic and noise that creates an unidentifiable sound. The reason for the mysteriousness of the sound is the editing that forms the composition and development of the sound in a way that would normally be unthinkable, and will reaffirm the uniqueness of Acid Mothers Temple.

(advaita records)

Superb collaborative effort between Irish ambient master and WRWTFWW's favorite Gareth Quinn Redmond (Laistigh den Ghleo, Umcheol, Ar Ais Arís) and Polish producer, multi-instrumentalist and sound engineer Albert Karch. Experimental sessions inspired by Mark Hollis and Satoshi Ashikawa featuring piano, drums, synthesizers, and strings.

In celebration of its 30th anniversary, Plastikman, aka Richie Hawtin, has remastered his groundbreaking second album, Musik, from the original tapes for a new limited bio-vinyl edition. The record was first released in November 1994 through NovaMute and Plus 8, following the debut Plastikman album, Sheet One (1993). A masterclass in minimal techno, Musik quickly propelled Hawtin to new levels of success. The release followed Plastikman’s first-ever live performance in a black vinyl-encased room at a semi-derelict Packard Plant in Detroit, where Hawtin was central to the burgeoning underground scene. Before the full album hit the shelves, the track "Plastique" (which was later described by Q as “...the flipside to Hawtin’s early singles, all ticking percussion, feline acid tweaks, and cushioned sub-bass”) set the stage for a more dance floor-friendly album, albeit one with an unsettling and sinister side. The album, described by The Guardian as “music as you've never heard it before” and by The Wire, who made it one of their Albums of the Year, as “... a masterpiece”, defined a moment in techno that still echoes today. Now, 30 years later, the album has been remastered from the original tapes, reminding us why Plastikman is a name that still resonates and that the album’s intensity – on and off the dance floor – has lost none of its potency in the intervening years.

Producer Pieter Kock, active also as a DJ under his DJ Peacock guise, is known for being one of the people behind the legendary O Tannenbaum bar and club, a haven of sorts in Berlin nightlife for years, and the newly opened second O Tannenbaum called Schankwirtschafft O Tannenbaum. He has released some of his own music on labels such as Musikii, RIO, Full Body Massage, Fantasy Fiction Records, Moonwalk X, and Invisible Inc, and has extensively collaborated with people and projects such as Meeuw and De Fabriek. His new Bright Bars From The Stars album on Meakusma is a dizzying amalgam of moods and influences. From ghostly and contemplative tracks to spaced-out and dubbed-out dark dancefloor psychedelia infused with melodics, phrasing, and percussive patterns reminiscent of pop and avant-garde alike, Bright Bars From The Stars features a full album on vinyl, with an extra CD included. Kock is a versatile chronicler of the night, capturing the beauty, loneliness, and endless possibilities of wide avenues pining for neon lights, futuristic descents into past moods and modes, and all. 14 tracks in total, Bright Bars From The Stars is a cosmic, at times gentle, at times confrontational affair that brims with ideas and influences. Combining sounds, rhythms, melodies, and textures from a wide variety of sources and meanings, Pieter Kock brings all of his influences together, intent on finding new paths of thinking and feeling. His pictures printed in the CD booklet give some kind of indication of his artistic process, without ever wanting to push things in any kind of direction. Cocktail bars of a dystopian future, unite! Bright Bars From The Stars is the soundtrack to a very encompassing and transformative night out. All compositions by Pieter Kock except Bright Bars From The Stars by Pieter Kock and Dominik Peacho Noé Mastering & Cut by Rashad Becker Art by Pieter Kock and Meeuw

Roger Robinson is one of the most versatile voices in the dub poetry scene today, seamlessly blending the power of the written word with the raw energy of the soundsystem. Teaming up once again with Dub wizard Disrupt to conclude an album trilogy that began with “Dis Side Ah Town” and “Dog Heart City“, Robinson pulls a wide range of riddims straight from the Jahtari vaults to create “Heavy Vibes“, a killer fusion of bass, poetry, and social consciousness. With a voice oscillating between soulful falsetto and deep poetry thunder Robinson’s verses hit as hard as the bass, challenging the listener to confront uncomfortable truths, while Disrupt’s richly textured, dub-heavy production ensures the music moves both body and mind. You’ll find yourself dancing, but more importantly, you’ll find yourself thinking. Coming with stunning cover art by Kiki Hitomi and featuring deadly riddims by Tapes, Naram, Jura Soundsystem, Maffi and Bo Marley, “Heavy Vibes” balances the weight of oppression with a glimmer of hope – the belief that change is possible, that the beat goes on, and that through solidarity and art, new futures can be forged.

„The record tells of oases of trust.“ (Viola Klein) Viola Klein’s records are supremely earthy and astrally inclined. In her DJ sets, she navigates with harmonies through a music selection that combines experimental house from the US Midwest, West African polyrhythms, and music in the tradition of Can from Cologne. Klein was invited to shape the sound of a club night alongside Kampire and Nídia. She has collaborated with Unity Fellowship Church New York, Georgia Anne Muldrow, Ndongo Samba Sylla, the James and Grace Lee Boggs Center in Detroit, Julion De’Angelo, and Whodat. For her own party series, originally called Bring Your Ass and later No Adoration, No Humiliation, she invited artists such as Aaron Carl, K15, and Kyle Hall when he was just 18 years old. Her latest solo release, Confidant, offers a fresh approach to deepness.

UEVPD - Usage/Efficiency/Variance/Platform/Domain - is the solo project of Dominic Goodman, a former member of Mosquitoes and currently one half of Komare. The self-titled UEVPD debut LP, released on 22nd November via World of Echo, consists of eight sequentially numbered electro-acoustic tracks made over approximately five years, living recordings that have morphed in shape over time, each systematically stripped back to their elemental form before being deemed complete. From the outset, Goodman purposefully deployed a relatively limited array of equipment and adopted a determinedly minimalist approach to composition, a practice in restraint that privileges detail and nuance. Field recordings, made using a combination of dynamic, condenser, contact and electret microphones, geophones and hydrophones, were allied to a basic modular/analogue synth setup, allowing for little in the way of excess or indulgence. The results are markedly defiant, displaying an expert exercise in control and restraint that lets in little light but plays a great service to space and time. This is patient, claustrophobic sound design that bears out the value in attentive listening, a meditation on the acceptance of passing time, change, growth, death and regeneration. As such, listeners might connect associative lines with the likes of Pan Sonic and Mika Vianio’s solo work, Emptyset and Civilistjavel (who’s Tomas Bodén shows up on mastering duties here), though this remains distinctively Goodman’s vision, a continuation of his interests shown in Mosquitoes and Komare that further pushes out into the murky unknown.

Downtempo, Folk, Pop … Just a little over two years since the release of his debut album Opening the Door, Jack re-emgerges with a new full length album. On Blue Desert, the Australian-born Vancouver-based multi-instrumentalist, singer, songwriter and producer wades deeper into the stylistically prismatic pool of his own creation.

Fan Club Orchestra (FCO) has its roots in collaborative performances and recordings that began taking place in the late nineties in Brussels. These continued into the second decade of the new millennium around Belgium and neighbouring countries. At a time when large contemporary arts spaces were less professionalised, less obedient to funding and attendance numbers, and still attuned to their founding DIY impulses, FCO were able to nurture their nebulous cast of players with their unconventional ensemble of instruments to their own ends. The apparent informality of their performances, mixed with the sheer spectacle of their unfolding, transplanted the experimentalism of New York's downtown scene of the 1960s into the cracked consumer electronics period of new media art at the turn of the century. A newly regrouped FCO now present their album 'VL_Stay' on 12th Isle. This iteration of FCO sees Baudoux joined by Ann Appermans on guitar and bass, and Zéphyr Zijlstra on trumpet. Appermans is an original FCO member as well as a frequent collaborator with Baudoux. Zijlstra is a jazz student at the Royal Conservatoire of Brussels. Recorded in just two weeks, the trio invoke the pedigree with which FCO first toyed, while sketching a continuity with new references.

2nd wave dub techno staple Stephen Hitchell meets new wave producer Federson in a back ’n forth of timeless originals and versions. San Francisco’s Chris Kelly, aka Federsen’s Alt Dub label hosts this passing of the baton/torch with CV313 and Echospace figure Hitchell a sits 2nd release after the ‘Positive Charge’ EP christened the vessel in earlier ’24. Federsen fronts the session with a smoky, night-driving dub of CV313’s ‘Skycrossing’ in properly classic Maurizio style, especially that scooping bassline, whilst shutting it down with the more air-stepping levity of his dusted congas and distant dub chords to ‘Skyway’. CV313’s original ‘Skycrossing’ places his mastery of constantly shifting, ever the same, dynamic within its unfurling envelopes, alongside a remix of ‘Skyway’ that plunges upward, outward into billowing electro-acoustic dub techno dimensions.

2021 reissue! Don't miss it. Arthur Russell (1951-1992) is a cellist, a composer of contemporary music, a devotion to disco music and a variety of faces. The unreleased / demo sound collection released in 1993, the year after he died of AIDS, is still a masterpiece that still fascinates many fans, "Another Thought" is trusted. The long-awaited CD / LP reissue from . This album was released as the first collection of Russell's works, and although it has been reissued many times due to its popularity, it is a gem that is now rare. A masterpiece full of masterpieces with timeless charm that will not fade, such as "Another Thought", "A Little Lost", and "This Is How We Walk On The Moon". Gatefold sleeve specifications with insert / original liner notes. Of course, it is a fierce recommendation for this person's introduction.

Long before becoming the global techno mastermind that he is today, alongside his F.U.S.E. alias for Warp's recently reissued Artificial Intelligence series, Richie Hawtin was also best known for his Plastikman project, amassing a huge, era-defining body of work. Now an undisputed classic Sheet One was the first Plastikman album to surface, originally released in 1993 and now resurfacing as ever on Mute's own electronic and dancefloor focused subsidiary, NovaMute for a much needed 30th anniversary remastered reissue. The album makes fine use of prominent Roland 303, a staple on the acid house scene, and utilised in exemplary fashion alongside laser-cut minimalist structures and driving echo-box acid lines. Long before Richie Hawtin became the global techno mastermind that he is today, he was best known for his Plastikman project initially defined by debut album and now undisputed class Sheet One.