MUSIC

My Noise is Nothing’ is the collaborative LP between Lord of The Isles and Scottish poet Ellen Renton, set for release on the 29th September 2023. For the pair, both the poems and music came to them in a quick and concentrated period. Renton's poems were written during 2020 and capture something of that time- that feeling of having no obstacles between ourselves and our emotions. Especially the feeling of anger, which is expressed by Renton as a feeling that is not wholly negative but complicated, necessary, unifying and even joyful. Likewise, Lord Of The Isles’ dusky and unfurling production refuses obstacles- embracing experimental live recordings using pedals and vintage synths. It is warm and fuzzy, but most importantly organic, with all the imperfections and character of a living entity.

“Spuren & Gegenworte” began with a quasi-telepathic collaboration between KM and RW. Both recorded a track on May 3, 2021, from 8:00 PM to 8:10 PM. These recordings were subsequently transformed, combined, juxtaposed, and further modified over the course of several months, resulting in the completion of the four pieces on the CD.
“Spuren & Gegenworte” can be translated as “traces & antonyms”, opening up a wide range of interpretations. “Traces” may refer to the remnants of the original sounds that have been transformed in the process of reworking, or it can symbolize the cultural and musical influences that can be discerned. “Antonyms” oscillates between contrasting/contradictory and complementary meanings. Of course, other interpretations are also possible.
The 4 titles are indicated as Japanese terms on the cover:  痕跡、対立、変動、補完. They stand for the themes of traces, confrontation, fluctuation, completion.
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Kohei Matsunaga is a musician and illustrator, born in Osaka in 1978. He has been actively making music since 1992, with notable releases on labels such as Raster Noton, Wordsound, Mille Plateaux, Important Records and PAN. He has collaborated with many artists, including Mika Vainio, Sean Booth from Autechre, Conrad Schnitzler, Merzbow and Asmus Tietchens. He lives in Osaka and Berlin.

Ralf Wehowsky is one of the most respected electronic composers of our day and was also a founder member of the seminal German group P16.D4 and label Selektion whose ground-breaking releases influenced many working in today’s experimental music scene. His work is split between solo releases (under the moniker RLW) and collaborations, exploring all fields between media exchange and realtime presence recordings. His music is impossible to pigeonhole into one simple bracket. It is neither industrial or musique concrete, nor computer music nor improvisation. In fact, it could be all of these.

2024 repress. A great score by the maestro, Ennio Morricone for Umberto Lenzi's 1974 cult thriller Spasmo. Here Morricone creates a disorienting and disturbing effect, using an unusual and almost avant-garde like combination of sounds, music and instruments.

Korpses Katatonik was a musical solo project of Zoe DeWitt during the years 1982 and 1983. Unlike DeWitt's later project Zero Kama, the work of Korpses Katatonik remains entirely within the realm of electronic music and shows an uncompromising experimental style comparable to that of other industrial bands like Throbbing Gristle, SPK, or Cabaret Voltaire. Like many other exponents of industrial culture Korpses Katatonik was inspired by dark psychiatry, pathological abnormalism, necrophilia, and other types of paraphilic aberration. These served as a metaphor for the dark side of a dehumanized society that seeks to maintain control by the suppression of anything that could be regarded as dark, sinister, deviant, or unpleasant from the viewpoint of popular mass culture. As a means of escape from this totalitarian pressure - thus a statement by Korpses Katatonik - there remains only self-destruction, murder, or the withdrawal into catatonic schizophrenia. Korpses Katatonik's first release was a Nekrophile Rekords cassette entitled subklinikal leukotomy aphrenia spasmophiik lyssophobo asphyxia sinister lethal anorex. The titles on the album were: shatok, schmertzlabor, enzephallik mortuor, nekom, kcok transzlant, kaltfleisch corporor, skarzisko and okzipital slash. The terminology of psychopathological disorders was used by Korpses Katatonik in a subversive way for its own poetic value and many of the rare vocals and track titles (as for example shatok, enzephallik mortuor and kaltfleisch corporor) were taken from writings of patients of Viennas famous psychiatrist hospital in Maria Gugging (dissolved in 2007). The title skarzisko refers to a national socialist concentration camp in the polish town Skarżysko-Kamienna. The upcoming influence of occultism within the postindustrial underground of the 1980s is finally reflected in the last track of Korpses Katatonik, Choronzon, which was published on the Nekrophile cassette compilation The Beast 666. This track, which refers to a ritual performed by Aleister Crowley and Victor Neuburg in the desert Sahara in 1909, anticipates the strong occult implications of Zoe DeWitt's musical follow-up project Zero Kama. In 2012 all recorded tracks by Korpses Katatonik have been released under the title Oeuvres complètes by the Viennese label Klanggalerie. Currently, the remastered album is reissued on IFP on VINYL, CD, TAPE, and ultra-limited collectors box. Recorded in 1982 by Michael Zoe Dewitt (synth, guitar, voice, tape loops) and mixed at the Institute for Composition and Electroacoustics at the University for Music and Performing Arts Vienna (Wiener Konzerthaus studios). First published as audio cassette NRC01 on Nekrophile Rekords in 1983. Remastered by Zoe Dewitt for Infinite Fog Records in 2022.Korpses Katatonik was a musical solo project of Zoe DeWitt during the years 1982 and 1983. Unlike DeWitt's later project Zero Kama, the work of Korpses Katatonik remains entirely within the realm of electronic music and shows an uncompromising experimental style comparable to that of other industrial bands like Throbbing Gristle, SPK, or Cabaret Voltaire. Like many other exponents of industrial culture Korpses Katatonik was inspired by dark psychiatry, pathological abnormalism, necrophilia, and other types of paraphilic aberration. These served as a metaphor for the dark side of a dehumanized society that seeks to maintain control by the suppression of anything that could be regarded as dark, sinister, deviant, or unpleasant from the viewpoint of popular mass culture. As a means of escape from this totalitarian pressure - thus a statement by Korpses Katatonik - there remains only self-destruction, murder, or the withdrawal into catatonic schizophrenia. Korpses Katatonik's first release was a Nekrophile Rekords cassette entitled subklinikal leukotomy aphrenia spasmophiik lyssophobo asphyxia sinister lethal anorex. The titles on the album were: shatok, schmertzlabor, enzephallik mortuor, nekom, kcok transzlant, kaltfleisch corporor, skarzisko and okzipital slash. The terminology of psychopathological disorders was used by Korpses Katatonik in a subversive way for its own poetic value and many of the rare vocals and track titles (as for example shatok, enzephallik mortuor and kaltfleisch corporor) were taken from writings of patients of Viennas famous psychiatrist hospital in Maria Gugging (dissolved in 2007). The title skarzisko refers to a national socialist concentration camp in the polish town Skarżysko-Kamienna. The upcoming influence of occultism within the postindustrial underground of the 1980s is finally reflected in the last track of Korpses Katatonik, Choronzon, which was published on the Nekrophile cassette compilation The Beast 666. This track, which refers to a ritual performed by Aleister Crowley and Victor Neuburg in the desert Sahara in 1909, anticipates the strong occult implications of Zoe DeWitt's musical follow-up project Zero Kama. In 2012 all recorded tracks by Korpses Katatonik have been released under the title Oeuvres complètes by the Viennese label Klanggalerie. Currently, the remastered album is reissued on IFP on VINYL, CD, TAPE, and ultra-limited collectors box. Recorded in 1982 by Michael Zoe Dewitt (synth, guitar, voice, tape loops) and mixed at the Institute for Composition and Electroacoustics at the University for Music and Performing Arts Vienna (Wiener Konzerthaus studios). First published as audio cassette NRC01 on Nekrophile Rekords in 1983. Remastered by Zoe Dewitt for Infinite Fog Records in 2022.

Korpses Katatonik was a musical solo project of Zoe DeWitt during the years 1982 and 1983. Unlike DeWitt's later project Zero Kama, the work of Korpses Katatonik remains entirely within the realm of electronic music and shows an uncompromising experimental style comparable to that of other industrial bands like Throbbing Gristle, SPK, or Cabaret Voltaire. Like many other exponents of industrial culture Korpses Katatonik was inspired by dark psychiatry, pathological abnormalism, necrophilia, and other types of paraphilic aberration. These served as a metaphor for the dark side of a dehumanized society that seeks to maintain control by the suppression of anything that could be regarded as dark, sinister, deviant, or unpleasant from the viewpoint of popular mass culture. As a means of escape from this totalitarian pressure - thus a statement by Korpses Katatonik - there remains only self-destruction, murder, or the withdrawal into catatonic schizophrenia. Korpses Katatonik's first release was a Nekrophile Rekords cassette entitled subklinikal leukotomy aphrenia spasmophiik lyssophobo asphyxia sinister lethal anorex. The titles on the album were: shatok, schmertzlabor, enzephallik mortuor, nekom, kcok transzlant, kaltfleisch corporor, skarzisko and okzipital slash. The terminology of psychopathological disorders was used by Korpses Katatonik in a subversive way for its own poetic value and many of the rare vocals and track titles (as for example shatok, enzephallik mortuor and kaltfleisch corporor) were taken from writings of patients of Viennas famous psychiatrist hospital in Maria Gugging (dissolved in 2007). The title skarzisko refers to a national socialist concentration camp in the polish town Skarżysko-Kamienna. The upcoming influence of occultism within the postindustrial underground of the 1980s is finally reflected in the last track of Korpses Katatonik, Choronzon, which was published on the Nekrophile cassette compilation The Beast 666. This track, which refers to a ritual performed by Aleister Crowley and Victor Neuburg in the desert Sahara in 1909, anticipates the strong occult implications of Zoe DeWitt's musical follow-up project Zero Kama. In 2012 all recorded tracks by Korpses Katatonik have been released under the title Oeuvres complètes by the Viennese label Klanggalerie. Currently, the remastered album is reissued on IFP on VINYL, CD, TAPE, and ultra-limited collectors box. Recorded in 1982 by Michael Zoe Dewitt (synth, guitar, voice, tape loops) and mixed at the Institute for Composition and Electroacoustics at the University for Music and Performing Arts Vienna (Wiener Konzerthaus studios). First published as audio cassette NRC01 on Nekrophile Rekords in 1983. Remastered by Zoe Dewitt for Infinite Fog Records in 2022.Korpses Katatonik was a musical solo project of Zoe DeWitt during the years 1982 and 1983. Unlike DeWitt's later project Zero Kama, the work of Korpses Katatonik remains entirely within the realm of electronic music and shows an uncompromising experimental style comparable to that of other industrial bands like Throbbing Gristle, SPK, or Cabaret Voltaire. Like many other exponents of industrial culture Korpses Katatonik was inspired by dark psychiatry, pathological abnormalism, necrophilia, and other types of paraphilic aberration. These served as a metaphor for the dark side of a dehumanized society that seeks to maintain control by the suppression of anything that could be regarded as dark, sinister, deviant, or unpleasant from the viewpoint of popular mass culture. As a means of escape from this totalitarian pressure - thus a statement by Korpses Katatonik - there remains only self-destruction, murder, or the withdrawal into catatonic schizophrenia. Korpses Katatonik's first release was a Nekrophile Rekords cassette entitled subklinikal leukotomy aphrenia spasmophiik lyssophobo asphyxia sinister lethal anorex. The titles on the album were: shatok, schmertzlabor, enzephallik mortuor, nekom, kcok transzlant, kaltfleisch corporor, skarzisko and okzipital slash. The terminology of psychopathological disorders was used by Korpses Katatonik in a subversive way for its own poetic value and many of the rare vocals and track titles (as for example shatok, enzephallik mortuor and kaltfleisch corporor) were taken from writings of patients of Viennas famous psychiatrist hospital in Maria Gugging (dissolved in 2007). The title skarzisko refers to a national socialist concentration camp in the polish town Skarżysko-Kamienna. The upcoming influence of occultism within the postindustrial underground of the 1980s is finally reflected in the last track of Korpses Katatonik, Choronzon, which was published on the Nekrophile cassette compilation The Beast 666. This track, which refers to a ritual performed by Aleister Crowley and Victor Neuburg in the desert Sahara in 1909, anticipates the strong occult implications of Zoe DeWitt's musical follow-up project Zero Kama. In 2012 all recorded tracks by Korpses Katatonik have been released under the title Oeuvres complètes by the Viennese label Klanggalerie. Currently, the remastered album is reissued on IFP on VINYL, CD, TAPE, and ultra-limited collectors box. Recorded in 1982 by Michael Zoe Dewitt (synth, guitar, voice, tape loops) and mixed at the Institute for Composition and Electroacozustics at the University for Music and Performing Arts Vienna (Wiener Konzerthaus studios). First published as audio cassette NRC01 on Nekrophile Rekords in 1983. Remastered by Zoe Dewitt for Infinite Fog Records in 2022.

Chicago OG, Specter unleashes four cuts of deep house psychedelia that have been marinading in the archive, dedicated to his pal Brutus, pictured on the cover. R.I.P. little one. One of Sound Signature’s MVP’s, Andres Ordonez first really broke thru circa 2009 with a killer EP on Downbeat and his debut for Theo Parrish’s label, ‘Pipe Bomb’ in 2010 that really put him on the map. This new/old suite hails the singular producer during that era, and up to a few years ago, across four tunes that play to his wonkiest and jazziest machine tekkerz, comparable to waviest gear by Theo, Jamal Moss, Detroit’s Howard Thomas or even Michael J. Blood in their loose and dare-to-differ steez. Running in ever increasing circles, the vibes get progressively looser from the stop/start sequencer fuckry of ‘The Birth’, with its mazy B-line and intricate arps, thru to fizzing deep techno like MJB meets Legofeet on ‘The Spirit’, to a pair of 10 minute+ jams where he really gets lost in his thing, from the clipped strut and midi jazz spritz of ‘The Death’ to an outstanding finishing move of slow-mo cubist jazz house calculations in ‘The Ascension’.

Brooklyn-based DJ and producer Ben Bondy follows releases on Good Morning Tapes, West Mineral, 3XL and Quiet Time Tapes with Por, the second release from his k2dj alias. It arrives on Montreal label NAFF with six tracks of pristine, crystalline electronica with the notable presence of processed vocals which create a sort of metallic, shimmering futuristic alien pop music.

Downtempo, Experimental, IDM … Knopha steps out on Mood Hut Records with ‘Kwong’. Ranging in tone from downtempo drum and bass to Herbert-like cut up house tunes, from esoteric pop to digital abstractions.

Tthe main alias of René Pawlowitz (aka EQD, Hoover1, STP and many more) capping off a fruitful year on his own The Final Experiment imprint with a new 2xLP entitled The 030 Files. A heads-down trip through a handful of deep and dark techno techniques, Shed nonetheless keeps you engaged throughout with his clever sound design and chilly detours into downtempo and more headphone-oriented affairs. Early album highlight ‘Shot Rhythm’ forego the atypical jackhammer kicks for some hip-swinging drum breaks, and the simmering, skeletal ‘Let Yourself Go’ provides a nice respite, as well.

In the midst of a wave of hybridizing ambient, drone, folklore and experimental electroacoustic music, Roxane Métayer has gained a cult following with only a couple of releases to date. Following her debut album (Éclipse Des Ocelles) for Morc with a split EP and a limited cassette for Wabi-Sabi, Roxane now turns to Marionette with her intimate narrative based multi-instrumental recordings, a match made in the heavens if you ask us. With her violin, woodwind, voice and various effect pedals, Métayer takes the listener on a newfound journey into the ancient, medieval, and primordial. Perl​é​e de s​è​ve is Métayer’s second full length, a sophomore to the critically acclaimed Éclipse Des Ocelles, where Métayer continues to sonically realize the map of the fictional habitats that inhabit her mind. Coming from a background of studying narration and different animation mediums, it’s no surprise that her recordings evoke vivid imagery and carry a trace of the environment they were conceived in. The instruments morph as extensions of her body and ultimately become new organs, a means of communicating these bio-memetic stories and creating a dialogue between herself and her surroundings. Meandering melodies intertwine with accompanying drones, mantra-like fragments and a handfeel percussion lend themselves as living and breathing elements in Roxane’s beguiling and spellbinding anecdotes. Roxane is an observer of the world, her projects conceived from elements that inform her reality, such as the organic imagery and sounds of nature, then transforming that into a strangely familiar parallel universe that would not exist otherwise. Whether it's active research or taking her instruments to the forest, Métayer opens up her imagination by taking this mental journey to discover locations, creatures, and time periods then channeling that into her own fairy tales. The album and track titles act as a portal into those worlds, like chapters in a book where the protagonists are animalia, plantae, and fungi. As Métayer wrote in an interview: “Stories are a privileged way to create an awareness of a specific subject.”

Maestro melodist Christophe Petchanatz (aka Klimperei) and all around music fanatic David Fenech engage remotely in a repetitive exchange of recordings and overdubs on their debut album titled ‘Rainbow de Nuit’, sporadically spanning over the last decade. Evocations of experimental and improvised jazz, chansonesque songs, bluesy folk, and outsider music undulate harmoniously across the record. From music boxes and walkie-talkies down to plastic straws, plucking various stringed instruments such as the charrango and banjo, kazoos and snake-charmer ocarina and flutes, all the way through the sweet accordion and melodica, found and traditional tuned percussion - there is far from a shortage of sound sources on this freakishly inviting record. What germinates as an imaginative and emotional chord progression played by Klimperei, evolves with Fenech layering additional recordings, which would then find their way back home to Klimperei yet again, and so on, and so forth. This recursive compositional and improvisational loop, combined with Fenech’s musique-concrete-like mixing and editing techniques, transforms the acoustic recordings by way of compression, saturation, and reverberation or simple pitch changes - resulting in the duo’s recordings seemingly sound like they may very well be an octet in real time. While the majority of the recordings have been ping-ponged remotely, David and Christophe unite under one roof to record the closing track of the album.

The pieces presented on ‘Rainbow de Nuit’ treat the ears to a carousel ride waltzing through a multiverse made up of surrealist puppet theaters, dramatic film noir act changes, and a mosaic of polyphonic instruments and toys alike. In other words, a score to a fable brought to life with haunting yet charming melodies and occasional hallucinatory voices reminiscent of laughter and infantile epiphanies which we hear on Tarzan en Tasmanie and Madrigal for Lola. This is taken a step further by Fenech, to a brief libretto of incomprehensible tongues on Pocarina. Amid the mysterious and dark (Septième Ciel and Rugit Le Coeur) also lies tender and simple compositions (Rainbow de Nuit and Chevalier Gambette), murky suspenseful melancholy (Levy Attend and Eno Ennio), and casually slipping into pensive psychedelic backdrops (Un Cercueil à Deux Places) - forming a colorful blend of sounds. A world of echoes. A tale of tales. One persistent earworm that you’ll likely be whistling and humming along to on a first listen.

Mix Mup & Kassem Mosse mark a decade since their rudely offbeat debut with a 19-track, 1hr+ payload of woodcut drums and groggy samples tessellated in beatdown mode for fans of Theo Parrish, STL, Actress Back in 2012, MM/KM’s s/t maiden voyage was a staple round our ways, beloved for its odd bag of skewed grooves. After leaving us with only a 3-track EP ‘Have You Seen Them’ in the interim, the German duo return with ‘Ich sehe Vasen’, or ‘I See Vases’, making up for the big pause in duo production with a heavy satisfying session of loping, peg-legged rhythms, off-the-cuff keyboard lines and hiccuping ambient wobbles that feel right back at home amid the screwballs on TTT. The expanded run time of ‘Ich sehe Vasan’ allows for a far mazier and demonstration of their intuitive, lo-fi style, peppered with numerous beatless nuts and bolts that join the up the club workouts like a game of snakes and ladders on K. Roll the dice and expect to encounter the haziest, Theo Parrish-like Detroit house one minute, then trip down wormholes of lush ambient, or whirling percussive derives the next, popping out along the line at wheezing Actress-like grog, all primed for slinging on at the afters to regular calls of “what the fuck is playing, man?” until the sun goes down again.

picnic follow up their self-titled debut album with ‘creaky little branch’. 

A love for early 00's electronica guides the listener as it sits somewhere between familiarity and the unknown. However, this isn’t an exercise in nostalgia, instead foreground for the here and now.

With contributions from Alejandra & Aeron, el2, Kindtree, Nico Callaghan, samb_rules, Craig Tattersall (The Humble Bee, Hood, The Boats, etc.), Theodore Cale Schafer and Ultrafog.

Kitchen sink Scuzz n’ Bass from 1998 Tokyo. Existing somewhere between Drum n Bass, Musique Concrète, Free Jazz and Noise,
Jigen (aka Taro Nijikama) ran the cult Shi-Ra-Nui imprint and was a lynchpin of Tokyo's underground music scene, working as much behind the scenes as in front of them.

There is an inherent grit to the work on display here. Jazz-inflected
drums, echoing bells, dissonant flutes, and haunting piano work coarsely interact with skipping breaks and industrial atmospherics, punctuated by tense gasps of silence. Samples disintegrate and reappear, creating a kind of elliptical narrative, and the 9 tracks here perhaps trigger a disorienting sense of dèjá vu.

Originally released on CD by Shi-Ra-Nui in 1998, Double Circumflex is
proud to present the first officially licensed reissue of Stone Drum Avantgardism by Jigen and introduces the prescient sound of Shi-Ra-Nui for deeper excavation into its shadowy fissures. Remastered and cut with maximum precision by Beau Thomas at Teneightseven.

This album starts the journey of Unruly Records by featuring some of the early tracks and artists who helped shape the sound of "Club Music". These songs were originally released between 1991 & 1995 and took dance-floors in Baltimore by storm. There is also a full color insert which paints a picture of that moment in time. In support of Baltimore City's Inaugural "Baltimore Club Music Day" on June 17th, we put together this anthology to kick off our "Anthology" collection/series which will initially start with 3 installments. Be on the lookout for "Anthology 1996 double album next year!

Recorded in correspondence throughout a calamitous and uncertain 2020, “Eye of the Sea" is a collaborative record made by Tom James Scott of the United Kingdom and Svitlana Nianio of Ukraine. Active since the late 1980s, Nianio has released a treasure trove of diverse and beguiling music under her own name, as a member of the legendary Ukrainian experimental unit Cukor Bila Smerť, and in collaboration with the late musician and instrument maker Oleksandr Yurchenko. For his part, Scott has steadily published solo recordings since the mid aughts on labels such as Bo’Weavil, Students of Decay, and Where to Now?, and worked often in collaboration with kindred spirits like Andrew Chalk and Timo Van Lujik. “Eye of the Sea” began as a series of intimate, muted piano sketches put to tape by Scott, which Nianio embellished and re-contextualized with voice and instrumentation before returning them to Scott for further overdubbing, editing, and mixing. Listening to these recordings, I’m struck most by their patience, frailty, and beauty. Soft piano lines unspool alongside Nianio’s weightless voice on tracks such as “Slowly Turns the Spring,” which achieves a richly devotional air, and “Lotus,” a piece that all but halts the passage of time as it slowly blooms into expression. But despite their elusive, gauzy palette, there is a startling directness to these recordings that feels unique in the oeuvres of both musicians. Much like Nianio’s wonderful “Lisova Kolekciya,” (reissued by Scott on Skire in 2017) there is the sense that this music, particularly the vocal arrangements, is firmly rooted in some hermetic, primordial tradition. Ultimately, “Eye of the Sea” is a work of romantic, phantasmagoric beauty shot through with morning light; one which draws deeply on 20th century classical, chamber and liturgical musics, and ambient minimalism to arrive at a distinctive voice of its own. - Alex Cobb (Students of Decay/Soda Gong) credits

Calmly atmospheric electro-acoustic and new age ambient trips by Santilli, recorded on Eora land in Australia and faithfully echoes aspects of Waak Waak Djungi's hypnotic music or even The Necks’ soundscapes. "The Eora-based multi-instrumentalist is one half of Angophora, but his solo work exists in the lineage of electro-acoustic visionaries like Steve Tibbetts. With each subsequent release, Santilli strikes the balance between mining his well-defined personal aesthetic and expanding his vision. The instrumental palette of this record is centered around guitar and synthesizer, bolstered by an incredible array of idiophones and membranophones. There is no shortage of spellbinding moments, like the glacial synths that pan across “Mirrors”, the cascading beauty of “Colours” or the woodland symphony of “Hollow” - the latter even recalls the environmentally-focused work of Waak Waak Djungi’s Peter Mumme. There’s a common thread across this album in the way it evokes the expanse of nature that Santilli spends much of his time in. All 9 tracks feel like a glimpse into an exquisitely realized scene and across all of them, Santilli's music is suffused with an unhurried sense of ease. The music here feels immersive and panoramic as a result, and we’re grateful to share a glimpse into the worlds Santilli captures."

Swaying & icy ELECTRONIC DUB compilation straight from DELODIO STUDIO SESSIONS. " An iceberg crusing the Jamaican coastline."

ハード・ディガーVišeslav Laboš & Zeljko Luketić監修！現在のクロアチア・ザグレブを拠点に、現地の大衆音楽やルーツ・ミュージックのみならず、ディスコ、プロト・ラップ、ニューウェイヴ、ポスト・パンク、インダストリアルに、初期電子音楽、前衛音楽まで幅広い作品が遺された旧ユーゴスラビアの最大級のレーベル〈Jugoton〉（現・Croatia Records）に残されたエレクトロニック、ミニマル・シンセ、アヴァン・ウェイヴを一挙コンパイル。当初、2014年にCD発売されていた画期的な編集盤の〈Everland Music〉からのアナログ・ヴァージョン。1964年から1989年に至るまでの全47曲・150分以上！オリジナル・マスターテープから修復された音源を収録しています。ゲートフォールド・スリーヴ仕様。23年にはPart 2がリリース予定とのことです。

Oren Ambarchi’s recent Editions Mego release 'Hubris' gets the remix treatment courtesy of electronic music legend Ricardo Villalobos. Villalobos expertly tranforms Ambarchi’s layered web of countless sustained and pulsating palm-muted guitars into a funky, mesmerising and propulsive long-form piece.

In 2018, Rian Treanor left his home in Rotherham, UK, and headed to Kampala for a residency at Nyege Nyege's villa studio. The mind-expanding experience inspired his critically acclaimed 2020 full-length "File Under UK Metaplasm", but that wasn't the end of the story. Treanor also spent time working alongside Acholi fiddle player Ocen James, developing an improvisation-heavy collaboration that would push both musicians' idiosyncrasies into completely new places. Treanor wanted this collaboration to be as tactile and reactive as a live performance with traditional instruments, so he set about working on a digital process that would synchronize with James' approach. Using physical modelling techniques, Treanor created an instrument that explored the tunings and sounds of the a'dungu, an arched harp, and the nah or nag. With Ocen playing his rigi rigi, a single string violin, they intuitively experimented with the spectral properties of sound, using texture and acoustic contours as their structural framework. They were able to develop a sound together that was unconventionally rooted in traditional Ugandan culture, but shuttled into different dimensions of noise, computer music and radical UK rave. "Saccades" is the buffer between two vastly different sonic universes, united in respect and sprightly curiosity. Treanor's hyperactive computer-controlled rhythms are immediately identifiable on opening track 'Bunga Bule', but the sound palette is distinct: it's more flexible and less digital. James' expressionistic fiddle strokes are a revelation, contorted into hoarse squeals and rough vibrations that rub and flex off Treanor's tin can shuffle. The fertile back and forth continues through the ruff DSP tumble of 'As It Happens', before James cracks open the melodic core of his instrument on 'The Dead Centre', allowing Treanor to dispense with rhythm and meet his fiddle strokes with heavenly drones. Each track steps down a different avenue for the two artists, from the nightmarish microtonal twang of 'Memory Pressure' to the 4AM inverted sci-fi club pressure of 'Naasaccade' and the folky dancefloor swing of 'Rigi Rigi'. And when the album closes on a cacophonous remix from Vienna laptop noise pioneers Farmers Manual it's an unexpected gift that makes perfect sense. "Saccades" is a cross-cultural collaboration that swerves simplicity but refuses to over-complicate itself - it's about interaction, improvisation and passion.

The music could score a romantic drama, an action thriller, or a modern twist on a classic film noir. The spare, cascading vocals accentuate the lush instrumental orchestrations composed, performed, arranged and produced by multi-instrumentalist Seth Applebaum, whose latest brainchild was conceived and conceptualized during The Great Pause of 2020, a time of tension, bewilderment and isolation. Evoking the grooviness of an era which preceded his arrival on earth, Applebaum draws upon sonic devices of mid-century exotica and the succinct but dense arranging style of the leaders of the pop orchestras which dominated the hit parades of the 60s and early 70s. He blends impressions of this bygone era with an expression of his actual experiences as a young filmmaker coming of age in the 21st century, citing influences such as Sharon Jones and The Dap Kings and Antibalas. A New Kind of Love encompasses a reverence for the past without attempting to recreate it. I Each song on Ghost Funk Orchestra’s 3rd album, A New Kind of Love, due to be released on Colemine Records … 2022, resonates like the soundtrack to a scene from an imaginary movie. The music could score a romantic drama, an action thriller, or a modern twist on a classic film noir. The spare, cascading vocals accentuate the lush instrumental orchestrations composed, performed, arranged and produced by multi-instrumentalist Seth Applebaum, whose latest brainchild was conceived and conceptualized during The Great Pause of 2020, a time of tension, bewilderment and isolation. Evoking the grooviness of an era which preceded his arrival on earth, Applebaum draws upon sonic devices of mid-century exotica and the succinct but dense arranging style of the leaders of the pop orchestras which dominated the hit parades of the 60s and early 70s. He blends impressions of this bygone era with an expression of his actual experiences as a young filmmaker coming of age in the 21st century, citing influences such as Sharon Jones & The Dap Kings and Antibalas. A New Kind of Love encompasses a reverence for the past without attempting to recreate it. In the tradition of the “production forward” discographies of such record makers as David Axelrod and the Mizell Brothers, it’s easy to visualize Applebaum as a “mad doctor” figure, hunkered down in a studio channeling this musical representation of his inner world into the 12 compositions which make up A New Kind of Love. His writing stretches his psyche to explore a terrain in which to capture emotional notes of love going well, love gone sour, manifesting love songs based in ghostly affairs. While the studio is obviously a wondrous happy place of experimentation and creativity for Applebaum, he’s a band guy too (having actually fronted punk outfit The Mad Doctors). Applebaum has the wherewithal to bring his dreamy material to the 10 piece all star Ghost Funk Orchestra, leading them to breathe life into this sophisticated body of work which heralds the celebration of a new era for the group. Ghost Funk Orchestra will be touring in concert this summer and fall to celebrate the release of A New Kind of Love, an album which is sure to stand the test of time.

“All of humanity's problems stem from man's inability to sit quietly in a room alone.” —Pascal Graham Lambkin (of Shadow Ring fame) returns with a long awaited epic double LP, Aphorisms, his first major solo outing since Community (Kye, 2016). Recorded mostly during the early winter months of 2022, in post-pandemic New York and post-Brexit London, Aphorisms assembles the sonic detritus of daily life into hauntingly intimate aural soundscapes. Made between Lambkin's residence in East London and Blank Forms in New York, Aphorisms superimposes the two spaces onto one another creating an imaginary stage where his musical dramas unfold. A transatlantic mediation on the rooms where Lambkin has lived and worked, Aphorisms summons up hallucinatory vistas by way of the composer’s collage technique, layering field recordings, piano, guitar, percussion, vocal fragments, and repurposed elements on top of one another in double, triple, and quadruple exposures. Like the Shadow Ring’s Lindus (Swill Radio, 2001)—recorded between Folkestone and Miami—Aphorisms ruminates on estrangement and displacement, catching Lambkin as he returns to London after two decades of living in the States, in his words, “leaving home to return home.” Aphorisms continues Lambkin’s synthetic-naturalist approach to sound-making, twisting disparate and unique elements together to create the sensation of a coherent sonic space. At the heart of his practice is the illusion of form, whereby Lambkin combines sonic elements, documenting the moment that they coalesce into music only to disintegrate back into incidental sound. The album is centered around two pianos, one in New York and one in London, sounding together as if through the ether, creating a spectral atmosphere that Lambkin fills with melodic snippets, fragments of songs, spoken-word musings, and guttural barks or “the animal purity of voice,” as he has it. The superimposition of the two spaces is maximized in the album's closing titular track, where, much like on earlier works such as Salmon Run (Kye, 2007) and Softly Softly Copy Copy (Kye, 2009) fragments of familiar melodies float through the mix as though being played from afar. Aphorisms is Lambkin at his best, extending methodologies only hinted at previously and taking his now-idiosyncratic mission statement to a new chapter. If it ain’t broke don’t fix it.

Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning this year with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions is conducting a systematic retrospective of the storied group, including a multi-year LP reissue effort and a forthcoming comprehensive CD box set and an over five hundred page book. Recorded and self-released by the group’s own Dry Leaf Discs in 1993, City Lights is the debut record of the then duo Graham Lambkin and Darren Harris—an assured arrival statement teeming with stripling angst and ambition. Lifelong chums Lambkin and Harris were barely nineteen and living at home in the seaside town of Folkestone, Kent, with few overhead expenses. The two were freshly employed as a forklift operator at a hardware store and an aide at a home for children with disabilities, respectively, affording them the time and funds to commit to a proper full-length release. Frontman Lambkin describes the album as a “microscopic examination of leisure activities, this time centered around a nightclub,” a conceit surging through its lyrics, song titles, cover art (depicting an audience of cats and mice at the Leas Club, a Folkestone fixture), and flip side (replete with fictional bandmates and pseudonymous liner notes). On a recently-acquired secondhand guitar, Lambkin plays repetitive, brooding licks that form the record’s backbone, weaving in and out of sync with Harris’s free-form percussion and the pair’s sing-song poetry. Tracks range from unraveling nursery-rhyme ditties to extended jams awash with Casiotone and toy piano noodling. The duo’s musical hobby-horses work themselves in: the influence of Mark E. Smith’s breathless deadpan, the headless outer-edges of ESP-Disk’s back catalog, the eerie atmospherics of Hirsche Nicht Aufs Sofa, and the deconstructed rock tunes of the Dunedin scene are all detectable, although there is a sui generis quality to the Shadow Ring’s artless temerity. “I’ve got to see and taste those city lights,” intones Lambkin on the album’s title track—indeed, this is a record of naked drive and pent-up desperation, and a shimmering glimpse of what’s to come.