MUSIC

Guitar and bass duo Gong Gong Gong (工工工) charge out from Beijing’s underground scene with a distinct vision and uncompromising sense of purpose. The duo taps into a wavelength uniting musical cultures, drawing on inspirations ranging from Bo Diddley to Cantonese opera, West African desert blues, drone, and the structures of electronic music. Gong Gong Gong’s debut LP, Phantom Rhythm, is their mission statement: between the locomotive chug and banjo twang of Tom Ng’s guitar and Joshua Frank’s thumping bass harmonics, an aura of ghostly snare hits and timpani overtones emerges. Over Frank’s enigmatic melodies, Ng sings in Cantonese, piecing together abstract tales of absurdity and doubt, desire and lust. Formed in 2015, the band’s earliest shows were in Beijing underpass tunnels and DIY spaces. Ng and Frank are both outsiders who call the city their home: Ng, who was born in Hong Kong, defiantly sings in his native tongue, while Frank, originally from Montreal, has lived in Beijing on and off since childhood. (He is the English translator of Ng’s lyrics, adding another layer to the duo’s close collaboration). A compact, almost telepathic unit, Gong Gong Gong use their minimalistic tools and idiosyncratic playing style to challenge the notions of rock n’ roll, stripping the form down to its bare essentials: rhythm, melody, and grit

Ricardo Villalobos - modular synths, drum machines, keys Samuel Rohrer - drums/percussion, electronics, modular synths, keys The Ricardo Villalobos / Samuel Rohrer partnership has yielded increasingly interesting results over the past few years, with the former’s remixes of the latter’s trio Ambiq being supplemented by further reinterpretations of Rohrer’s solo work and live meetings at selected events like Berlin’s Funkhaus. As should be the case with any strong collaboration, this partnership has been based on mutual challenge rather than compromise, seeing each participant shuttle key technical and emotive aspects of the other’s work to previously unexpected places. Those who have been closely following this relationship will notice a definite sense of continuity between previous outings and the new collaborative release entitled MICROGESTURES. As with those earlier Villalobos / Rohrer pairings, these five new pieces are defined by a special quality of being many things that once: that is to say, depending on the listener’s own level of focus, these can feel very tightly constructed and disciplined, or playful and freely wandering. That the tracks are equally engaging regardless of one’s chosen listening “mode” is a testament to the level of thought put into them; you could almost imagining the creators poring over some elaborate sketched set of architectural blueprints rather than coolly monitoring the usual multi-track editing software. Altogether the music here is firmly a-melodic and percussive, but within these deliberate limitations there is still a greater variety of individual sounds than most would bother with. Each track is its own observatory of micro-gestures clustering together into a dense communicative fog or a sort of robotic sound swarm. Yet while all these tracks are variations on that theme, each one has its own character and, consequently, its own rewards in terms of the exact sectors of the imagination that it activates. Take for example “Cochlea” and its twin “Helix,” on which the magnetizing, busy layers of percussion are tempered with mischievously disruptive blossomings of digital noise, as well as sampled radio communications (which again bring us back to the idea of listeners’ attentiveness changing the meaning of this music - these curious transmissions can either be taken as a purely aesthetic element or as something to be actively decoded). Club-oriented elements are also not absent from this suite, particularly on “Incus” with its traditional sequenced baseline, crisp synthetic trap and hats, and dizzily sliding set of bell-like tones laid on top. Yet this track, too, is powered as much by its restless desire to deviate as by its rhythmic consistency: throughout the eleven-minute running time, a mass of ambiguous and restless machine sounds build a parallel narrative, and will maybe prompt the occasional glance over the shoulder as they seem to be taking on their own life. “Lobule” rounds out the program with the most rhythmically eventful sound set of the five. What this all adds up to is a confident music which builds that quality from its faith in possibilities rather than firm conclusions: it’s an inspiring addition to both the musical landscape and reality in general.

• Brilliantly remastered picture LP/CD with new stunning artwork! • Unique tribal dub-trance music influenced by arabic culture with a touch of post-industrial. • Hypnotic rhythms mixed with with eastern vibes. • Muslimgauze at it's best! • Released as picture LP in gimmix cover limited to 500 copies • Also available as black vinyl and CD A1 taken from VA - 110 Below - No Sleeve Notes Required (110 Below, 1995) A2 taken from VA - Assemblage Volume Two (Extreme, 1996) A3 taken from Nonplace Urban Field – Golden Star (Incoming!, 1996) B1 taken from VA - Le Sacre Du Printemps (Gonzo Circus, 1994) B2 taken from VA - X-X Section (Extreme, 1991) B3 taken from VA - Directions 2 (Direction Music, 1989)

Living Room (faitiche 28) is the third solo album by Roméo Poirier and, following his much praised Hotel Nota, his debut for Faitiche. The French musician and producer transforms the layering of different times into a free-flowing pulse that sounds both nostalgic and mysteriously ahistorical. Poirier takes music seriously as a time-based art – not just in the sense of duration, but also in the way time is refracted into autobiographical experience, historical dimensions and stages of evolution. By immersing and reflecting himself in these different layers, he creates a succession of new balances between various tempos, iterations and developments. Poirier’s music emerges from a continual questioning and reformulation of his own oeuvre and thus of his own past, drawing on an ever-expanding archive of self-recorded loops. “I always resample myself, using fragments of a track to make a new one, as an ongoing process,” he explains: “The sound is evolving with me in parallel and the loops carry in their DNA all transformational stages, filled with previous tracks, sedimented.” Originally a drummer, Poirier connects his various sources almost without a clearly identifiable beat. He prefers an organic pulse, mutable like the human sense of time and its fluidity. The aquatic feel of certain tracks on Living Room is no coincidence: among other devices, he uses a waterproof loudspeaker and a hydrophone to play back and rerecord tracks in the bathtub. Drawing on a sample collection assembled by his father, also a musician, the human voice enters Poirier’s music for the first time. But it remains free of overly unambiguous signifiers. Besides its link to time, the fascinating thing about music is that it has meaning without needing to be decoded. Living Room goes back to the private but universal origin of human experience: “I liked the idea that a possible quest for a musician could be echoing the first encounter we had with language, in a prenatal state: its prosody, melody and tones, without being cluttered with meaning.”

Domestic Exile warmly welcome the return of Grim Lusk, coming full circle to follow up 2018’s ‘SUNP0101’ after releasing under their Dip Friso and Sunny Balm aliases in the interim. ‘Diving Pool’ is a hallucinogenic concoction of marshy, aquatic, oscillated dubs and skittering, microtonal beat experiments. Grim Lusk's signature production style is in full effect, often occupying some liminal space nearing offbeat discordancy, but beautifully pulling together on the brink. Gelatinous machine funk rhythms and sweet, syrupy dub bass ooozing with a vibrant convergence of bright psychedelic greens, yellows and oranges, akin to bubbling sulphur pools and lava lakes, are present throughout the 6 tracks; Nuovo takes late 80’s drum machine patterns and twists them up with rough-cut vocal chops and long-form sampling of a 60’s film on the first iteration of ‘​​Il Gruppo”. Striding into the turbulent sea, Partans is kept jovial by rim shots, cymbals and snares fed back over the forward bass buzz. Not Enough is a bizarre, primordial, stretched-out gloop sludge half-speed version of the B-side track Too Much, twisted into new rhythmic territory by an off-kilter breakbeat sample. Diving Pool takes crushed, bouncing drum machines and loop-focussed experimentation to find incidental interplay between the two, whilst somehow retaining ebullient make-you-movable gusto. Angular rhythm and zealous sample manipulation seep through in Too Much, live drums patched, extrapolated and pulled further out in the mix, where jump cuts between familiar vocal chops and distorted tape delay contort manically- a warped, swinging echo of Slum Village's ‘I Don’t Know’. Wazoo rounds things out with the most club-leaning moment of the record, a saturated, throbbing atmosphere hanging over a beat-up, lurching drum sample layered with malleable pitched percussion and fuzz guitar. Peculiar shapes, fragmented shards of rhythmic patterns, crushed, crystallised snares, and congealed, jelly-like dubs; the music embodies a sense of carefree fun and playfulness, where dissolving layers of organic echoes, warm, slippery reverbs, and expansive phaser EFX stretch out into nebulous space…

“Clockworks”, composed in the 1970s by computer music pioneer Laurie Spiegel at Bell Laboratories on the GROOVE digital/analog hybrid system, is a mesmerizing and mathematical polyrhythmic number. Machineries of Joy is proud to present two remixes of this seminal piece of electronic music. On the A side, SØS Gunver Ryberg turns in an intense and atmospheric interpretation of the original, while on the flip side, David Morley crafts an elegant, focused and hypnotic excursion.

Since his Beat Diary debut (a 12xLP box set comprising 365 beats recorded daily over the course of a year), Julian Sartorius has immersed himself in unique and ambitious projects - trekking the path not travelled to arrive at rhythmic life forms through found objects and prepared instruments. Equally as mighty are his two other escapades, the most recent being Locked Grooves - 112 beats cut as endless loops on vinyl spanning 56 dense 1.8 second compositions per side. Preceding that is his auditory hike into the mountains (Hidden Tracks: Basel - Genève), wading through and playing the landscapes around him like a lithophone. While Julian’s previous releases focus on innovative and conceptual approaches to realizing an album, his new venture on Marionette (titled Mux) is a culmination of all his efforts thus far to mimic a synthesizer and drum machine. This impossible feat challenges Julian to experiment and develop a musical language that bridges the gap between organic timbres and electronic music. When listening to Mux, one might simply forget that the seemingly electronic sounds are only constructed organically via hand movements. The common thread in all his works is that the drums are treated as resonant bodies - free to flow and form rhythm and harmony in spacetime. This is Julian’s second outing for the label, the first being (the long out of print) Sulla Pelle with Valentina Magaletti in 2019. Other collaborations include prolific artists such as Matthew Herbert, Sylvie Courvoisier, Gyda Valtysdottir, Dimlite, Shahzad Ismaily and Dan Carey (Speedy Wunderground).

The latest offering from 12th Isle collects a variety of recordings from Vasily Stepanov and Vlad Dobrovolski as part of their on-going S A D project (Udacha/Muscut). As part of their process, S A D sample and distort old de-magnetised tapes, constantly adding to and reworking their own sound-world. Layers of kosmiche synthesisers, off-kilter woodblock percussion and lysergic field recordings interplay with dense ambient textures in a true collage-style approach to music making. Across the nine tracks, multiple collaborations and aliases coalesce to present a thorough look at both artists approach to communicating the world around them. Drawing influence from nature and the outdoor concerts of Vladislav’s band Kurvenschreiber as well as late night free jazz shows and a similar ‘hauntological’ approach seen in Dobrovolski’s recent ‘Playbacks for Dreaming’, the pair express a unique genre-traversing attitude. More from the 12th Isle due very soon!

»Tides« marked a radical change in direction for Arovane. After Uwe Zahn had made a name for himself with cutting-edge IDM rhythms and slick ambient textures on a slew of releases, his sophomore album saw the prolific producer opt for a sample-based approach that resulted in a more organic sound and laid-back downbeat grooves. Having reissued Arovane’s seminal »Atol-Scrap« as a double LP in 2021, the Berlin-based Keplar label now makes »Tides« available on vinyl for the first time since its original release in 2000 through the legendary City Centre Offices. The new version has been remastered by Kassian Troyer at Dubplates & Mastering and comes with a brand new cover artwork. It shines a new light on a release for which Zahn quite literally ventured into previously unknown territory — »Tides« is an album that emits a timeless, quiet calm and nonetheless stays constantly in motion. »The idea for the album came to me after a vacation in France«, says Zahn. Inspired by the landscape, especially the coastline and the sea, he made field recordings throughout his trip that were also used on the record, giving it its sensual feel. The foundation of the album however, the loose yet gripping grooves at the heart of every track, result from Zahn working extensively with samples. »I wanted to make use of drum sounds and small excerpts from old jazz vinyl records«, he explains. He maintained the unique sound signatures and rhythmic flutter of the source material while building intricate beats with them. Most of the material was culled from the record collection of Christian Kleine, whose spontaneous guitar improvisations over the first musical sketches were recorded and edited by Zahn and can be heard on four tracks. Also employing the occasional cembalo or spinet sound, he worked with a hardware sequencer and a delay to integrate the different, discrete elements into nine tracks that feel both dense and light at once. What’s astonishing still 22 years later is how spacious »Tides« sounds. This is due to the fact that Zahn not only paid close attention to the sonic idiosyncrasies of his source material, but also to what happened in between those sounds. »Mark Hollis’s solo album was a huge inspiration at that time«, says Zahn. »What I find fascinating about it until this day is how silence and the subtle hiss of the mixing boards were being used on that record.« Silence was also an important stylistic element on »Tides« and adds greatly to the overall atmosphere of an album that with the appropriately named »Theme« immediately sets the mood with intricate spinet melodies: Zahn opens a door for his listeners and invites them to follow him to see a specific part of the world through his very own lens. As a whole, the album mirrors Zahn’s trip that took him along the steep cliffs on a foggy day (»Seaside«), to an abandoned house in which he found old maps (»A Secret«), along the coastline during a long car ride (»Deauville«), to a sleepy village and the slowly moving sea (»Tides«) and finally back home to his native Germany where he started reflecting upon his experiences, ultimately deciding to translate them into music (»Epilogue«). »Whenever I listen to this album now, the images and memories it evokes are incredibly vivid and vibrant«, he says. It’s not hard to see — or rather hear — why. »Tides« may have been a deeply personal project, but it effortlessly evokes universal feelings by (re-)building an entire world in the course of only a few pieces of music.

Pontiac Streator mints a solo debut for Brian Leeds’ (Huerco S.) West Mineral Ltd. label with a bouquet of plasmic ambient lobe strokers, dusted with the guest charms of Ben Bondy, Perila, Nikolay Kozlov, and Protozoa Project. Arriving as a more personalised pursuit of the genteel themes that bound his pair of albums with Ulla in 2018-19, ’Sone Glo’ portrays the Philly-based ambient avatar at his most slanted and enchanting with a sandman suite of late night ambient blissouts. It’s an effortless listen, lathering aqueous textures and wistful melodies into a therapeutic hush, blessed with a prized sensuality that has placed him at the bosom of the neo-ambient love-in over the past five years. A good handful of those ambient lovers chime into his sound here too, drizzling whispered vox and smudged hooks into his vaporous matrix with results that ooze across variegated strains of balmy to gruff ambient dembow with a deeply seductive appeal and mind-drift pathos. Streator steers clear of any tricks or stunts in favour of slow-burn textural depth and subliminal rhythmic hypnosis. He cuts straight to the heart on opener 'Atlas Obscura' with Protozoa Project’s soothing glossolalia suffused to a sloshing dembow groove that underlines the whole album’s subtle pressure changes. He patently cares for your downtime, gently EQ’ing the chakras with the tongue-tip lather of ‘Picture of the Woods’, and later placing Perila’s narration over liquid electro pulses on album standout ‘I Want Something’, while Ben Bondy lends a reverberant touch to ‘Purp Thread’ and Folder’s Nikolay Kozlov brings a thawed ambient thizz to ‘Heliacal’. Still, Streator is the inventive star of his own show, effectively doing for dembow what Kassem Mosse did with deep minimal house on the irresistible sway and heavy-lidded pads of ‘Ixora’, before liquifying limbs with the slinky roll of his instrumentals on ‘Surge XL’ and the eyes-down delicacy ‘Red Kings’.

Donato Dozzy and Milanese veteran Stefano Ghittoni mint a new series on Dozzy's Mage Circe Musica imprint, channeling Daniele Baldelli's cosmic disco manifesto and exploring screwed rhythms, psychedelic electronix and blunted dub atmospheres. So good - imagine a half-speed Shinichi Atobe or Rrose spliced with GRM-damaged concréte FX and percussion courtesy of Konono No.1. Basically it's peak Dozzy syrup - Tip! Alicia Carrera and Donato Dozzy's Maga Circe Musica label has quickly established itself as an outlet for some of the most impressively tight experimental slop we've heard in ages. Dozzy and Ghittoni's first La Petit plate is no different, using the enduring influence of Northeastern Italian electronic music (think Baldelli and Marco Dionigi) to help transform and repurpose dub techno, folk, ambient music, jazz and global sounds. If Baldelli and Dionigi were best known for pushing disco's tempo down to a crawl, Dozzy and Ghittoni do the same with their wealth of diggers' influences, dipping hollow 4/4 percussion and syncopated hand drums to a chug on 'Sukia' and slowly building an atmosphere with low-slung bass and spooked electronics. Imagine holding down the pitch slider on a Badalamenti score and a Funkadelic 12” playing at the same time, for the gist. On 'Lanquidity' the duo pull in horizontal dub pads and place them against a resinous thud and swirling dub FX, played slower than it should be and somehow operating in the same gloopy zone as Newworldaquarium to emphasise mood and texture over technical trickery. 'Niento’ is even better, using smeared LM1 claps for a sort of assymetric, purple funk played at -8 while taking a fourth world-inspired rhythm and welding it to lysurgic synth drones and nipped kicks - it's a mid-point between vintage bleep techno, cosmic disco and rhythmic psychedelia. 'Le Petit' is over too soon, but gives us plenty to chew on: anyone who enjoys Dozzy's genre-agnostic DJ sets or the fertile area between hazy ambience and half-speed dancefloor zones - this one’s a killer.

Burnt Friedman has been collaborating with German rock giant Jaki Liebezeit of CAN, who has been a close friend of his for years, and experimental drummer João Pais Filipe, who has worked with Rafael Toral and Lafawndah. João Pais Filipe, a drummer in the experimental field who has worked with Rafael Toral and Lafawndah, has released a split EP on his own Nonplace label. It's another astonishing work...! This is the first time I've ever heard a track from the band, and I can't wait to see what they come up with next... "Out Of Ape" is a trancy, avant-garde electro track that completely removes the distinction between the otherworldly and the real, while filling the track with ultra-colored psychedelia. Eurydike", and the cosmic ambient/tribal dance "Star Wars", which was inspired by Jaki Liebezeit and recorded together in 2004.

Workshop caretaker Lowtec returns with two extended, collage-like tapestries of abstract house and disjointed electronics spanning early electronic intimations and hazy house structures. Stitched from studio research over the past few years, ‘Old Economy’ is presented as a reflection “of the end of the old economy” according to the pivotal Berlin producer and label owner. A sort of last signal from the transition between two eras, it balances classically searching, radiophonic optimism, with a more melancholic, even foreboding feel that could be taken as a Janus-faced metaphor for the artist’s feelings on the precariousness of a new decade. Perhaps more akin to Burial’s collage tekkerz or a long lost ambient house mix from Berlin’s halcyon days than a typical album, ‘Old Economy’ deeply absorbs in the lokey nuance of its layers and eddying flow. On the first side we hear him transition from intercepted dream signals and outta reach field recordings to plumb depths of murky house abstraction with a wonderfully groggy logic that sloshes between all its aspects, pooling into lush passages and flowing out into odder parts, on the B-side’s untangled fronds of electro-dub, bleary-eyed dub chords and beautifully blunted Berlin-style sensuality.

Genius-level, fractal re-arrangement from Keith Fullerton Whitman on his first vinyl release in what feels like years, here blessing Japan’s NAKID label with a new instalment in his forever-evolving ‘Generators' project, arcing from bleeping post-Kosmische sounds into completely unexpected drum mutations in footwork and grime modes. It’s properly head melting gear that links the algorithmic mindgames of Laurie Spiegel with the floor-bending rhythmic experimentation of Mark Fell, Rian Treanor or Jana Rush, and the first in a three part series that offers some of the strongest gear we’ve heard from one of the very best in the game. Modular synth scientist, critic and historian Keith Fullerton Whitman first debuted his ‘Generators' set in 2009, using a modular setup to create non-repeating melodic patterns that basically came close to generating themselves. Over the course of hundreds of live shows (and a handful of releases on Root Strata, Editions Mego and other labels), Whitman glacially honed his process and allowed the concept to slither down different avenues, mutating as it picked energy from the various venues it was situated in. His rigorous method meant ‘Generators' was never played out the same way twice, veering from psychedelic Kosmische experimentation to obliterated, off-grid Techno. In 2019, on the tenth anniversary of the project, Whitman was invited by the GRM in Paris to set up in Studio C, where he avoided the arsenal of pristine, museum-worthy modular synthesizers and instead reprogrammed his classic ‘Generators' patch. Recorded in a single take using luxe analog-to-digital convertors, the result is a 45-minute durational piece, split into two distinct sides for this release. "Very little manual interaction happened," Whitman explains. The music is, as its title suggests, generative, and at this point basically sounds as if it reached its most advanced, final form. The first few minutes of the opening side mine the original theme, with clocked LFO shapes triggering oscillator blips in mind-expanding non-looping patterns. Soon, percussion enters the matrix, at first wrong-footing us with a 4/4 fake-out - possibly nodding to the piece's 2010 Root Strata iteration - before splitting into staccato polyrhythmic abstractions of the most loose-limbed and deadly variety. General MIDI drums can sound almost hilariously boxed-in, but handled by Whitman they show off a plastic cultural sheen to piercing effect, deployed in a way that re-draws the rhythmic bass music of someone like Jlin while nodding to Mark Fell and Rian Treanor's quasi-generative dance explorations. These comparisons take on even more weight on the second side, where Whitman opens up his filters to allow the synth bleeps to sing even more loudly, introducing that all-important clap/hat interplay that dialogues with Atlanta and Chicago simultaneously. KFW is without question one of the greatest contemporary artists to prize electronic music for electronic music’s sake, addressing its fundamentals and relishing its capacity to generate peculiar forms and trigger hard-to-place feelings. ‘Generators (GRM)’ is an ideal case in point, providing essential brainfloss for anyone who appreciates the concept, but ultimately connects to the visceral, fluid energy of anything from Parmegiani to Autechre to DJ Nate. Unreal.

The NetCast improvisation with Reynols (Miguel Tomasin, drums; guitarist Robeto Conlazo, guitarist Anla Courtis) Monique Buzzarté - trombone and Kevin McCoy-computer processing is my first International collaboration in this form. So far I have been involved in several multi-site improvisation NetCasts in the USA only. Through Pauline Oliveros Foundation I am interested in helping in the evolution of the INTERNET as an international venue where diverse collaborators can engage with one another. I met Reynols as a group in Buenos Aires a few years ago when I was leading a Deep Listening Workshop. I was impressed with this group when they played a serenade for me on my departure. All were playing brass instruments that they had never played before. It was clear that they understood and negotiated the element of risk in the kind of improvisation that I value. Reynols also has communicated with me since the workshop in many ways. I love the feedback and connection. My solo concert given at the National Library in Buenos Aires is remixed and released as the limited edition CD with hand painted covers Pauline Oliveros in the Arms of Reynols. How wonderful it is to be embraced by young people of South America.

The band project Drums Off Chaos was one of the central and on-going projects of the recently deceased drummer Jaki Liebezeit (who is normally associated first and foremost with the Cologne-based band CAN). In the early 1980s he had initiated an – at first – loose collective of drummers, who created a rhythmic concept on the basis of simple, strictly binding codes that enabled expansive improvisations.

Over the years the ensemble became smaller and refined its collaboration marked by repetitive patterns and their variation. “You have to play monotonous,” a member of the audience had already told Liebezeit in the 1960s. He took this to heart and there was hardly any other formation where he could bring this concept to life as regularly and with as much inspiration as in Drums Off Chaos.

During a development spanning more than three decades, this extraordinary band, which never saw itself as such, made numerous recordings but rarely any releases. However, in the last few months of his life Jaki Liebezeit, with colleagues Reiner Linke, Maf Retter and Manos Tsangaris, earmarked some tracks for imminent release on vinyl and CD – on different compilations. Liebezeit’s death is all the more reason to go ahead with this plan.

Recorded over the course of 4 years during late-night, afterhours sessions at RCA's Studio @ Calle Carlos Maurrás in Madrid (one of Spain's best and bigger studio around that time), it was the result of the duo's interest in unorthodox sound-sources which they manipulated in a sort proto-sampling collage technique based on random tape-loops and best heard in their original percussive studies; their dreamy, surrealist-like lyrical passages or the sort of deep primeval atmospheres first conjured by Cluster or Kraftwerk in the early 70's.The studio as an instrument: pure sound alchemy at work. The Wah Wah edition is the first ever vinyl reissue of this legendary LP reproducing the original gimmick cover, with sound mastered from the original tapes by Eugenio Muñoz, and featuring an insert with photos and info. It is a strictly limited edition of 500 copies only.

A welcome departure from their first effort, the record has gained greater reconection in recent years when contemporary audiencies could fully aprreciate the strenght and harsher direction the duo decided to take for their follow-up album. More rhythmically-oriented tunes whilst revisiting some old-favorites like Daguerrotipo or La Edad del Bronce (both off their first album, but albeit in new mixes). The Wah Wah edition has been mastered from the original tapes by Eugenio Muñoz, reproduces the original sleeve artwork and and features an insert with photos and info. It is a strictly limited edition of 500 copies only

Deadstock. A must-have masterpiece for fans of Basic Channel and Huerco S. German electro heavyweight Burnt Friedman, who also collaborated with German rock giant Jaki Liebezeit of CAN, released this masterpiece in 2016 as the only single in the Risque catalog, a sub-label of his Nonplace label. Two abstract minimal dub pieces of nearly 10 minutes each are included on each side. Mastered at Dubplates & Mastering to Rashad Becker's specifications, the quality of the vinyl is flawless!

Modern Obscure Music turns to Japan for inspiration. Suemori debuts on the Barcelona based imprint with an album of striking textures and sounds. From the first track, you can feel the influence of the Far East in both the melodies and rhythms created by Suemori. The music is complemented by Mayte Nicole Esteban’s impressive artwork. Suemori’s real name is Yoshinobu Hoshina. He previously recorded as Hoshina Anniversary. Under this alias, Hoshina released music on labels such as Boysnoize Records and ESP Institute. As Suemori he released the Maebashi album earlier in 2021 on Elena Colombi’s Osàre! Editions imprint. Tawamure is an album of richly textured compositions. Pianos and electronics are equally important. Some tracks are beatless and others have an unorthodox approach to percussion. We begin with the playful yet sombre pianos and strings of Mou Aenaindesune もう会えないんですね. Honshin 本心 has a magical beauty and Konton 混沌 Chaos is as chaotic as you would expect. There is so much to explore on this wonderful album from Suemori.