MUSIC

Oro Azul is a new collaborative project from Michael Red and Ultima Esuna. Water Seeds takes us through 4 shades of an aquatic garden. Dembow floats underneath the waves while woodblock melodies bubble up through the weeds. Sub bass shifts the tide. Some sounds are mosslike, a protective balm. Other tones come through as minerals and metals, shining in the refracted light from above.

FELT welcomes back Civilistjävel! with Följd, the follow up to last year’s Brödföda. 7 tracks further chronicling his melancholic murk, ever drifting towards that faint dub glow. Features a collaboration with Thomas Bush.

Uncanny are the nocturnal sounds that ebb patiently from Tomas Bodén and his machines. His music continues to uncover equal parts beauty and dread from isolation, a purposeful slow pace guiding those gentle noises through the arctic air surrounding its author. No matter the weather, these expressions as Civilistjävel! continue to find a loving home on Fergus Jones’s FELT imprint.

On Följd, he naturally develops on the inclinations found on Brödföda. XIII’s unsettling warble melts into the dusky spurts of XIV. Further on, the dew-glowed ambience of XV precedes XVI’s dub trudge which casts a hypnotic grey shadow. XVII’s wind-swept acid redux then quietly transitions into the stunning introspective drone of XVIII before closer XIX comes into view, its positive dawn enacted through Thomas Bush’s croons lilting amongst organs, guitars and tempered sound design.

Civilistjävel! continues to emote a great deal with very little, a reliable abstract practitioner that posits Följd as an arresting audio tale within his celebrated oeuvre.

Exclusive unheard live extracts from cv313's live performance at Glass City Record Store release party in Detroit, USA. Recorded from 16 channel Mackie mixer, performed entirely on analog/digital hardware, samplers and sequencers. NO COMPUTER INVOLVED. Recorded in May, 2001 @ a warehouse somewhere in Detroit.

Thoughts:

Live Excursions is the third in the cv313 Live series, this time a recording of a gig performed by Hitchell at the 2001 DEMF Festival for the Glass City Records release party. As the earliest recording in the series to date it is in many ways Live @ Primary‘s opposite number, a fact reflected in the vastly different material featured, as well as the negative-print artwork that adorns the gatefold Eco friendly wallet.

It is perhaps the most easily recognizable as a cv313 gig in particular, featuring many staples of early cv313 material with very few of the diversions into Soultek, Intrusion or other housier archive material that characterizes other live cv313 sets. Live Excursions focuses heavily on on tightly looped, mesmerizing, repeated grooves soaked in delay and reverb, with warm, fuzzy textures and soft, through-the-walls beat-work that one can imagine anesthetizing many a wearied festival-goer seeking a final, hazy chill out session.

The tracks on Live Excursions are all simply named “Glass City Session” with a numeric suffix, but a bit of digging into the cv313 back catalog does at least reveal the origins of some of these tracks. It opens, for example, on a live version of the twenty-two minute long “Subtraktive [Intrusion’s Enchantment] Extended Version,” and yes, that makes it a live variant of an extended version of a remix of “Subtraktive,” proof of how deeply meta the whole echospace [detroit] catalog can be.

The original mix can actually be found on the second “Subtraktive” disc of the 2xCD edition of Dimensional Space, and this live version doesn’t deviate drastically from it. It’s a stunning opening to the set, the hovering drones, rolling congas, and earth-shaking sub-bass making for a truly hypnotic, head in the clouds twenty-two minute opus.

“Glasscity Session III” is a particular surprise, as it turns out to be none other than a live version of “Durveda,” a hitherto unreleased track fully of atyipically dark and disturbing drones and textures that makes it proper debut on Dimensional Space. This alone makes Live Excursions enough of a historical curio for fans to warrant investing.

Pre-orders of the Live Excursions disc on the echospace [detroit] Bandcamp site also came with an immediate download of four tracks that were stated to be on the CD itself. In actual fact it appears that the second and fourth tracks appear on the main disc, but the first and third do not, making them digital exclusives. Sadly, these tracks are not mastered to anywhere near the same quality as the main disc, the sound quality muddy and muted.

Live Excursions is hopefully not the last in the Live series of cv313 sets we’ll see, as they frequently offer unique takes on the material, and each has it own distinctive character. This is definitely one for armchair listening, an intoxicating opiate best experienced on headphones with a spacious sound stage. -Igloo Magazine

If you missed out on the pair of cv313/ Echospace [detroit] Record Store Day CD’s then why not attempt to heal your pain by picking up this disc of ‘Live ‘Excursions’ from Detroit’s Stephen Hitchell and Rod Modell (DeepChord). Arguably the finest dub techno practitioners outside of early productions from Moritz Von Oswald and Mark Ernestus, you know; Basic Channel etc.

These tracks are extracted from a live session at a warehouse somewhere in Detroit and serve as evidence these guys can cut it live - all hardware/ no computers. Outside of that there’s nothing revelatory here just straight up chilled cv313 shimmering dubbed out magic. Metallic clouds that seemingly float into infinity, steady beats and a vibe that’s hypnotic throughout. Repetitious? On the surface for sure, but once inside - the nuances reveal themselves and all is not as it seems. These guys go deeeeeeep and I want some of what they’re smokin’. Originally this was issued in an edition of 100 copies but we have a limited amount of the reissue available in different packaging/ artwork.

Oh and while you’re at it there’s also limited copies of their deeply immersive ‘Seconds To Forever’ disc available and totally worth grabbing. -Norman (UK)

Rod Modell and Stephen Hitchell's glacial dub techno project cv313 release never before heard live extracts from a session they performed at a Glass City Record Store release party in Detroit. Performed in a warehouse entirely on hardware, its a characteristically deep and otherworldly release from the pair, pillowy kicks swimming in infinite layers of spidery static and hallucinatory pads. It's music that is involving and immersive to the point of disorienting, and shows cv313 as a powerful live act - even when experienced on headphones long after the event has taken place. -Bleep

Having recently released the impressively in-your-face Live at Primary CD, it's something of a surprise to see CV313 dropping another live recording so soon. To be fair, Live Excursions first surfaced digitally last year via their own Bandcamp site, and now makes its way onto CD for the first time. The recordings themselves are vintage too, having been captured at a warehouse party in Detroit back in 2001. According to the Echospace website, the tracks were performed live using only outboard kit and a 16-channel mixer, with no computer trickery. Whatever the method, the resultant tracks are long, trippy, and immersive forays into dub techno and ambient in CV313's trademark style. -Juno

"[Live Excursions]" shows American masters of dub-techno at the beginning of their joint experiments.

A separate chapter in the work of Rod Modell and Stephen Hitchella are performances. Their music becomes then a slightly different dimension - it is less clarified, it has a more raw sound and marked by a strong element of improvisation. We can convince listening to the album, "[Live Excurcusions]", containing songs recorded during spontaneous sessions organized in a record store Glass City in the Motor City as part held there in 2001, the Detroit Electronic Music Festival.

The show starts slowly pending roll, combining tarry sound straight from Jamaican dub with reduced rhythm of techno style. All of this is immersed in a corroded shafts of grainy sound, behind which regularly emerges rudimentary melodic motif ("Glassity Session 1"). After twenty minutes of psychedelic music, Rodell and Hitchell hit more dance party - combining, for minimalowym backing billowing sheets and deep bass ("Glasscity Session 2").

When the club energy falls, US producers are turning to ambient. "Glasscity Session 3" is quite unusual composition in their repertoire. Its center are the mechanical rhythms borrowed from Kraftwerk, which overlap with towering waves of synthesizers monochrome pierced corrosive loop. In contrast - the next composition is actually techno pure form. This time the silent any noise and echoes, and remains the only motor pulse, braided rozwibrowanymi chords ("Glassicty Session 4").

The next two parts of the show in detroitowym shop again wprzęgają dub sound processing techniques to create a psychedelic dance music. In the "Glassity Session 5" measuring impacts bit bulky accompanied by distant explosions zbasowanych effects, and "Glassity Session 6" withdrawn rhythm resonates thicket of sewage reverb. Record ends with another nod to the ambient aesthetics - rozwibrowanymi cascades of chords intertwined with the majestic tone ("Glassicty Session 7").

"[Live Excursions]" shows Rod Modell and Stephen Hitchella at the beginning of their joint experiments. But I can be heard on the album germs of ideas that will be later developed into brilliant Echospace plate. Rough and raw sound recordings show an obvious kinship with the canonical achievements of Basic Channel - but slowing rhythm, sound radical corrosion, extending the length of recordings, music saturating the psychedelic mood, it indicates that this is just born into our ears completely new vision of dub-techno. Thus, this album is a very interesting document for all lovers of this timeless music. -Nowamuzyka Magazine 

There's been a world of hurt in regard to this album, the original masters recorded from 1996-2010 were submerged underwater due to the flood in our home studio where boxes of old reel's were never to be recovered again. Finally, years of restructure on live recordings and pain staking undulation in the restoration process have lead us to finally accomplish what so many expected wouldn't happen: an awakening of sagacious spirit: With that being said It's our distinct honor to present the sonic world of "dimensional space" the highly anticipated debut album from cv313. This album has taken a cosmic eclipse where two events collide for Unison. The culmination of this project lead to synergy, creative experience re-invented and re-imagined, flow of an astral vortex.

A repress of a classic that was ranked among the RA Best 2018! Originally released on cassette as a post-party (or pre-party) chillout with friends, it follows in the footsteps of the current ambient crowd in the club vein, such as Huerco S. and Terekke, with a deep mix of free-form ambient, house, and dub. This album delivers an experimental sound with a very pleasant cosmic deep electro that is perfect for embedding. It is a perfect representative of his work.

The long-awaited CD version of the album includes two newly remastered bonus tracks that were only included on the cassette tape version! Japan’s KAKUHAN deliver a futureshock jolt on their incred debut album ‘Metal Zone’ - deploying drum machine syncopations around bowed cello and angular electronics that sound like the square root of Photek’s ‘Ni Ten Ichi Ryu’, Arthur Russell’s ‘World of Echo’, Beatrice Dillon’s ‘Workaround’ and Mica Levi’s ‘Under The Skin’ - or something like T++ and Errorsmith dissecting Laurie Anderson’s ‘Home Of The Brave’, her electric violin panned and bounced relentlessly around the stereo field. It really is that good - basically all the things we love, in multiples. While "Metal Zone" might be their debut, KAKUHAN are hardly newcomers. Koshiri Hino is a member of goat (jp), releasing a run of records under the YPY moniker, and heading up the NAKID label, while Yuki Nakagawa is a well known cellist and sound artist who has worked with Eli Keszler and Joe Talia among many others. Together, they make a sound that’s considerably more than the sum of its parts - as obsessively tweaked, cybernetic and jerky as Mark Fell, frothing with the same gritted, algorithmic intensity as Autechre's total-darkness sets, stripped to the bone and carved with ritualistic symbolism. The album’s most startling and unexpected moments come when KAKUHAN follow their 'nuum inclinations, snatching grimey bursts and staccato South London shakes and matching them with dissonant excoriations that shuttle the mind into a completely different place. It's not a collision we expected, but it's one that's completely melted us - welding obsessive rhythmic futurism onto bloodcurdling horror orchestration - the most appropriate soundtrack we can imagine for the contemporary era. By the album's final track, we're presented with South Asian microtonal blasts that suddenly make sense of the rest of the album; Nakagawa erupts into Arthur Russell-style clouded psychedelia, while wavering flutes guide bio-mechanical ritual musick formations. It’s the perfect closer for the album’s series of taut, viscous, and relentless gelling of meter and tone in sinuous tangles, weaving across East/West perceptions in spirals toward a distinctive conception of rhythmic euphoria with a sense of precision, dexterity and purpose that nods to classical court or chamber music as much as contemporary experimental digressions. Easily one of the most startling and deadly debuts we’ve heard in 2022; the louder we’ve played it, the more it’s realigned our perception of where experimental and club modes converge - meditative, jerky, flailing genius from the outerzone. Basically - an AOTY level Tip.

This is the third volume of the Space Program's Space Elements series. In this series, each volume features guests and is focused on a compositional function. The Space Program is a long-term project launched in 2004, for performing music with a post-free jazz mind-set but using strange sounds from electronic instruments. Playing physically, the body is involved in making decisions. The Space Program is about articulating silence and sound, structuring musical flow on experimental instruments with a simple and clear sonic identity.

All these instruments are different but have a few things in common. The first is that they don't have a conventional interface, which means that for all of them i have to find out what they do and develop technique to play them. The second is that none of them respond accurately to performing action. So there's always a live tension between an accurate decision and its somewhat unpredictable outcome. I meant to play music technically free from any school and teachings, but beyond that i also wanted the music somehow to escape my own self, playing instruments with a sort of life of their own, never allowing complete control and making any repetition virtually impossible. Space Elements Vol. III by Rafael Toral

Limited 50 copies. 40mins sonic meditation by Ocean Moon and aus.the sun is shining.the magic is real.good times.

Originally released in 1993, Quique (pronounced “keek”) was the first album by UK band Seefeel. A landmark album, it’s unique blend of shoegaze fuzz, abstract electronic sounds and sparse minimalism made it a must have for any collector of ambient techno. Released by too pure, the album was reissued in expanded form as Quique Redux on cd in 2007. About it, Pitchfork wrote that “Quique showed how the oceanic end of shoegaze could be found in a purely electronic world” and called the album “timeless”.

"Quique was very much a product of its time in terms of who we were as people, the social world we inhabited and the technology available to us. I think the album was very much restricted by the relatively primitive technology we were using by today's standards, but that very restriction is I think partly what gives it its flavour."– MARK CLIFFORD

We are excited to make Quique and Quique Redux available again, newly remastered by Geoff Pesche at Abbey Road.

QUIQUE REDUX will be available on vinyl for the first time via a limited edition 4XLP set through the Beggars Arkive webstore and bandcamp only. The release is housed in a slipcase with new artwork. The cd version is not limited and will be available everywhere. Quique Redux is comprised of Quique plus 9 bonus tracks of alternate versions and material that wasn’t included on the original album.

QUIQUE will be available everywhere on double LP, remastered.

Newdubhall, a Newdubhall organized by Undefined, releases left-field modern electronic dub artists from Japan and abroad, including Kazufumi Kodama, Deadbeat, Janka, etc. The 7th Newdubhall will feature Babe Roots, an icon of electronic modern dub after 5 years. Babe Roots, an icon of electronic modern dub.

originally released on Main Street Records in 1999, and repressed in 2025.

originally released on Main Street Records in 1996, and repressed in 2025.

originally released on Main Street Records in 1995, and repressed in 2025.

remastered and released by Moritz von Oswald himself in 2004, repressed in 2025. Originally released on Planet E in 1993.

Originally released in 1995 as the M series, Vainqueur's outstanding and universal masterpiece of minimal techno has been repressed in 2025 and includes a remix by Maurizio.

A miraculous union of techno and dub reggae. The outstanding universal masterpiece of acoustic dub / techno released only on CD in 1995 by the Basic Channel of German Mark Ernestus & Moritz von Oswald is vinylized with a full-length version longer than the original cut.

Klara Lewis’ latest offering is undoubtedly a heartfelt tribute to her friend, mentor and former label boss, Peter Rehberg. The opening track Thankful resides as a direct tribute to the track recorded under his PITA moniker, the timeless ‘Track 3’. A track of which the impact has been vast and deep, still rattling the walls of the now enormous worldwide experimental electronic scene. Countless new youth carve and project wildly distorted melodic digital matter which all falls back with a knowing or unknowing wink back to this original ground zero monster. Klara’s take on this is one that resides as a tribute to Rehberg with a cascading emotional melody gradually succumbing to a euphoric digital abyss. Thankful also comes across as a farewell gesture to her deceased friend with its beautiful, almost funerale tone. The abrupt ending is not only a method Rehberg would have relished but also a signifier of a life suddenly cut short. Lewis was 21 when her first album Ett was released by Editions Mego in 2014. Now at 31 years of age Editions Mego is very proud to present Thankful, a profoundly mature and emotional peak in Lewis’ career thus far. The track Ukulele 1 is another tender tribute within an album made by a human, utilising contemporary technology with absolute sincerity, surprise twists and sublime emotion. The sound of the instrument in the title gently loops and deconstructs in a recording replete with the sound of the room it is recorded in. A human element appears at exactly the point an increasingly inhuman approach is becoming the forced raison d'etre today. Top! One of Peter’s many repeated phrases was the word ‘top’. One he used at any occasion to agree with a vast array of subjects. With this musical tribute to Rehberg’s favourite phrase, Lewis conjures a short blast of mutant acid techno which shrivels and thrives as much as it lives and dies. Following Top we have the reflective and deeply moving 4U. No words. Just sounds. As it was. And lives on. Ukulele 2 sits at the end, as an epilogue of sorts, fashioning itself as an ouroboros with the return of the initial methodology of the previous track Thankful (track 3 tribute). This time around the sublime melody of the previous Ukulele 1 plays out in returnal as it is gently swarmed by all manner of digital play. Thankful is an emotionally considered and precise homage to the methodology and spirit of Peter Rehberg. A new work which inhabits the spirit for what this was written for and the general guise devised with the launch of the original MEGO label many moons ago.

We have the attached ACTRESS TRANZKRIPT 1 release on Modern Obscure Music available in a CRYSTAL CLEAR vinyl edition, exclusively for Japan, limited to 100.

First ever vinyl release for the cozy ambient jazz gem from the brilliant mind behind Home Decor and Shower. Originally released in 2021 on cassette only. Desert music inspired by the city. A serene soundtrack of contemplative synth and mini pleasure-grooves, sure to gently pacify the emotionally conflicted. For fans of: finding solace in this world of madness.

Full HD re-creation/restoration of the legendary soundtrack for 1994 Exploration / Action-Adventure / Sci-Fi / Alien video game Super Metroid by Louisiana-based composer and producer Jammin' Sam Miller. Jammin' Sam Miller explains: "Composed by Kenji Yamamoto. Recreated by me. This was made possible by locating the original instrument samples from workstation keyboards and drum machines before they were put into the game and rebuilding the soundtrack from the ground up, applying some modern mixing techniques along the way to lift the veil of 16bit compression and create an updated listening experience." *For fans of Video Games, SNES, Samus Aran, Atmospheric Sounds, Zebes Music*

From Daisuke Hinata, Grammy nominated artist/composer/producer and member of Japanese ambient, environmental, synthpop band INTERIOR.

Daisuke Hinata - Tarzanland (1989)

First Vinyl Release Ever.

Comfy Environmental Music for a Cozy Life and the Heartwarming Companionship of Beloved Pets.

Like Steve Winwood on the Synclavier and Steely Dan on the MPC60.
Or Like John Hughes Meets Japanese Ambient.

*Music You've Never Heard Anywhere Else Before*</p><iframe style="border: 0; width: 350px; height: 373px;" src="https://bandcamp.com/EmbeddedPlayer/album=1275567063/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://wrwtfww.com/album/tarzanland">Tarzanland by Daisuke Hinata</a></iframe>

Music Promenade (1964–1969), 20’29


Electroacoustic Music
World premiere for the Théâtre de la musique, March 16, 1970
« Hétéro-Concert »
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Permanent version for four stand-alone tape recorders. A series of colliding realistic sounds and sonic images. Whilst walking, a man is struck by the violence of his surroundings.
 Nature has disappeared in a whirlwind of warfare and industry in the midst of which he encounters a dying folklore and a lost young girl.

The "Installation" version is used to sonify a place in which walkers are free to choose their musical itinerary.

Unheimlich Schön (1971), 15’40


Musique concrète made in 1971 in the studios of the Südwestfunk in Baden-Baden.
Voice: Ilse Mengel.

“How does a young woman breathe when thinking about something else ?”
To be listened to at a low volume.

In the midst of the UK house rave-olution of the early-’90s, London’s V4 Visions imprint documented the confluence of street soul, deep house, swingbeat, and jungle sounds emanating from the clubs and pirate radio signals. Over the course of half a decade, V4’s unparalleled 12” output referenced every significant Black British music scene; from lovers rock to jazz-funk, sound system reggae to hip hop, new jack swing to garage, from artists Ashaye, Julie Stapleton, Maureen Mason, Rohan Delano, The Wades, and Endangered Species. This 18-track double LP is the first critical overview of the label, with extensive notes by Simon Reynolds, era-defining photographs, and fresh remasters, all housed in a glorious foil-stamped gatefold tip-on sleeve. Is this a dream?

In the fall of 2022, celebrated UK chill-out institution Seahawks landed in Los Angeles for the first time in their 15-year history, with plans to record a sweeping new age downtempo “exploration of visionary California.” Instead, they immediately fell ill with flu (Fowler collapsed next to a taco truck; 911 was called), and were bedridden for the better part of a week. Upon recovering, they resituated at the synthesizer sanctuary of Brian Foote (Peak Oil, Kranky, Leech), channeling their post-sickness psychedelia into one of the band’s lushest and most elevated creations to date: Time Enough For Love. Inspired by the “groove and mood” of Harry Nilsson demos, as well as its wider 70’s wavelength – Rhodes, Wurlitzer, wood paneling – Seahawks transposed their classic post-rave ambient exotica onto a warm and woozy Golden State palette. Buoyed by the liquid touch of English maestro Kenny Dickenson on keys, the results rank high among the duo’s smoothest and most multi-sensory voyages. “Sail Across The Moon” delivers on its title, a simmering, phaser-smeared cruise through the beauty of the night. “Messengers” echoes the cosmic lounge of Air’s Moon Safari, shuffling, weightless, and ethereal, while “Falling Deep” reaches for the stars, pure cascading bliss, the ecstatic moment writ large. The album skews steadily more astral as it progresses, drifting towards jazzy, galactic outer reaches. “Like A Grain Of Sand” opens with a spoken sample by the celebrated late American poet Rachel Sherwood (“The children watch, breathless / with the birds / They feel an emanation / from this shuddering place”), before taking flight on a Balearic trip through island house, PM Dawn gold dust, upright bass meditation, and kaleidoscopic light. A remix of the title track by Chicago trio Purelink closes the record in a suitably subdued and skittery state of mind. Time Enough For Love radiates color, complexity, and positivity, infused by the “life enhancing” nature of the band's time in Los Angeles – sunsets, sound systems, and sativa, framed by coastlines and cloudbanks, the city’s mystic sprawl glittering beneath purple dusk.