MUSIC

Loraine James has processed the last two years of turbulence through her art. The North London producer started a monthly show on NTS radio, shared several projects on Bandcamp, and recorded two Hyperdub releases, the Nothing EP and Reflection, the proper LP follow-up to her 2019 breakthrough, For You and I (which landed James, then a teaching assistant by day, the top spot on year-end lists by Quietus and DJ Mag). She also returned to a distinct creative terrain uncharted since her teenage years. In contrast to her club music sensibilities, this mode embraces keyboard improvisations and vocal experimentation, foregoing percussive structure in favor of shaping atmosphere and tone. From this divergent headspace emerged new coordinates and climates, a new outlet: Whatever The Weather. A longtime fan of ambient-adjacent Ghostly International artists such as Telefon Tel Aviv (who she’d ask to master the album), HTRK (whose singer Jonnine Standish features on Nothing), and Lusine (whom she remixed at the start of 2021), James saw the label as the ideal home for this eponymous album of airy, transportive tracks as they began to formulate. The titling on Whatever The Weather works in degrees; simple parameters allowing James to focus on the nuances as a mood-builder. Her suspended universe fluctuates; freezing, thawing, swaying and blooming from track to track. James describes her jam-based approach for the sessions as “free-flowing, stopping when I felt like I was done,” allowing her subconscious to lead. The improvisations have an intrinsic fluidity to them, akin to sudden weather events passing over a single environment — the location feels fixed while the conditions vary. The album opens at “25°C,” a sunshower of soft hums and keys. As the longest piece, it serves to establish stability, the inflection point where any move above or below this temperate breeze breaks the bliss. Given James’ proclivity for organized chaos in her production, this scene is fleeting, naturally. From that utopia, we plummet to the most melancholic read on the meter, “0°C,” its isolated synth line traversing a hailstorm of steely beats and static. Next, the dial jumps for the propulsive standout “17°C.” Like a timelapse of springtime in the city, the single accelerates across a frenzy of frames; car horns, screeching brakes, and crosswalk chatter fill the pauses between rapid jolts of multi-shaped percussion. For portions of the work, James leans neo-classical, rendering pensive vignettes of cascading piano keys and warm delay. “2°C (Intermittent Rain)” ends the A-Side on a short and stormy loop; a resulting sense of reset permeates the B-Side’s opener, “10°C.” The producer mingles intuitively on echoed organ, locking into and abandoning atypical rhythms that suggest her jazz-oriented interests. “4°C” and “30°C” display the range of James’ vocal experiments. The former chops and pitches her voice to a rhythmic, otherworldly effect, the latter reveals James at her most straightforward (she cites Deftones’ Chino Moreno and American Football’s Mike Kinsella as inspirations), singing tenderly and unobstructed for nearly the duration before beats collide in the climax. Whatever The Weather closes at “36°C,” while a sweltering heat by any standards the track eases along comfortably on a chorus of synth waves, acting as an apt bookend for this evocative, sky-tracing collection that started in a similar state. Cyclical, seasonal, and unpredictable, true to its namesake.

The next installment of MFM's popular multi-artist compilation Virtual Dreams: 'Virtual Dreams - Ambient Explorations In The House And Techno Age, Japan 1993-1999'. As with Part One, released in 2020, 'Virtual Dreams II' shines a light on house and techno-adjacent music that helped redefine the definition of ambient music during the 1990s.

The focus of Part One heavily fell on music from techno and house producers in Europe, eagerly exploring new soundtracks for chill-out rooms and re-imagining the potential future of club culture from new perspectives. For Part Two, we narrow the lens to focus on a unique time and place, namely Japan between 1993-1999. Despite missing out on the 'Acid House Fever', club culture was beginning to take shape in Japan during the early '90s. In contrast to the rest of the world, where ambient techno / IDM emerged as a by-product or response to the scene, 'listening techno', as it is known in Japan, was a central pillar of the culture right from the start.

'Virtual Dreams II' aims to shine a light on this unique moment in time where the thread of ambient music weaved its way through the music of an emerging club culture. This period saw the birth of many great Japanese techno labels such as Sublime Records, Transonic Records, Syzygy Records, Frogman Records, and Form@ Records, following in the late '90s. 'Virtual Dreams II' features ambient, chill-out, and intelligent techno from these leading labels alongside other lesser-known but equally influential imprints, as well as ambient deviations from Japanese house producers. Much of the music featured has only ever been released on CD.

'Virtual Dreams II' is compiled by Eiji Taniguchi and Jamie Tiller, who have worked closely together on previous Music From Memory releases such as 'Heisei No Oto' and 'Dream Dolphin - Gaia'. It is also the final project Jamie Tiller worked on before his tragic passing in 2023. Jamie had been researching, planning, and compiling this version of Virtual Dreams even before the first chapter was released, believing that there were many great tracks in Japan that fit the concept of the series. Knowing how much love and energy he put into compiling it gives it an extra special place in our hearts.

Compiled by Jamie Tiller and Eiji Taniguchi with artwork by Kenta Senekt, design by Steele Bonus and liner notes by Itaru W. Mita,

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1997 as M-Series by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1995 as M-Series by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1995 as M-Series by Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1995 as M-Series by German Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2023.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1992 as M-Series by Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.

Moritz von Oswald, who has created a foundation for deep interaction between authentic Jamaican dub and Detroit-style classic techno through his collaborations with Mark Ernestus, dub techno legend =Basic Channel and Rhythm And Sound, is creating ambient techno. Moritz Von Oswald Trio, a legendary trio teamed up with Max Loderbauer of Sun Electric, the pioneer of , and Vladislav Delay, a master of avant-garde electronic music from Scandinavia and Finland. Stock up on the first album "Vertical Ascent" released in 2009 from London's prestigious !

2026 repress. With Dub Techno firmly back on the menu in clubs the world over, Deadbeat, at long last, resissues what is perhaps his greatest collaborative work with Paul St Hilaire aka Tikiman. A true genre masterclass, as the name suggests, the album infinitely showcases two titans of the form at their very best, and 10 years on, remains a stone-cold classic. Re-cut by their old friend Stefan Betke aka Pole at Scape Mastering who first cut it to wax so many years ago, this 10-year anniversary edition is a crucial showcase of two masters at work.

The musician and DJ Ken Ishii sits right at the pinnacle of techno's most noteworthy, but although a game changer for the artist personally - and for Japanese electronic music in general - his 1994 album 'Reference to Difference' is something of an unsung gem today. Now reissued and remastered, released to mark the 30th anniversary of Musicmine / Sublime Records, and available on vinyl with its original track-list for the first time, this stunning, lesser-known classic is ripe for rediscovery.

An EP released in 2015 featuring an experimental concept of computer-controlled acoustic instruments. Its minimal, fragmentary compositions retain the physical resonance of piano and drums while crafting rhythms and phrases impossible for human hands. This peculiar sonic world, like a robot's improvised performance, possesses an avant-garde quality resonating with contemporary music and sound art. An important work regarded as emblematic of Aphex Twin's “experimental spirit.”

Ricky V runs wild on Mohammad Reza Mortazavi’s Persian tombak hand drum actions, expanding a 4 min kernel of inspiration into 24 minutes of mesmerising polyrhythmic traction. From an original 'Swamp' piece that practically recalls Ricardo’s style of slinky minimal techno sorcery to begin with, the Chilean-German maverick derives a more driving tract of rough hewn rhythmic grit bound to hypnotise dancefloors for the duration. Accentuating the undulating bass and dialling up the volume whilst retaining the frictional grind of the original, Villalobos gets right inside the groove with typically obsessive tekkerz, plucking out additional string motifs and tempering the flow with signature, taut but sinuous, loosey goosey flex that cross-pollinates cultures and gets right under the skin of the thing. Mohammad Reza Mortazavi (b. 1979, Iran) is a virtuoso percussionist known for his groundbreaking work with the tombak and daf, traditional Persian drums that he has radically redefined through new playing techniques and extended vocabulary. Mortazavi began playing the tombak at the age of six. By nine, he had already outpaced his teacher and won Iran’s national tombak competition — a distinction he would earn six more times. By his early twenties, he was widely regarded as one of the foremost players of the instruments. Since then, his music has continued to evolve, embracing new forms and vocabularies beyond tradition. Ricardo Villalobos (b. 1970, Chile) is a pioneering figure in minimal techno, celebrated for his hypnotic approach to rhythm. Raised in Germany after his family fled Pinochet’s regime, Villalobos was drawn early to percussion — he began playing congas and bongos at eleven, developing a tactile relationship to rhythm that would later inform his distinctive production style. Immersed in both Latin American folk traditions and the emerging house and techno scenes of late-80s Europe, he began DJing and producing in the early 1990s, quickly achieving cult status within global club culture. Swamp originally appears on the album Nexus, released in 2025 via Latency.

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

Intergalactic Music Is Of the Outer Darkness It is rhythm against rhythm in kind dispersion It is harmony against harmony in endless coordination It is melody against melody in vital enlightenment (Excerpt from The Outer Darkness by Sun Ra) From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a global recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music, a spoken-word album of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Invocations by Saul Williams, Anthony Joseph, Mahogany L. Browne, Abiodun Oyewole, Tunde Adebimpe, and Tara Middleton turn rhyme into rhythm and resistance into revelation. Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

Intergalactic Music Is Of the Outer Darkness It is rhythm against rhythm in kind dispersion It is harmony against harmony in endless coordination It is melody against melody in vital enlightenment (Excerpt from The Outer Darkness by Sun Ra) From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a global recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music, a spoken-word album of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Invocations by Saul Williams, Anthony Joseph, Mahogany L. Browne, Abiodun Oyewole, Tunde Adebimpe, and Tara Middleton turn rhyme into rhythm and resistance into revelation. Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

Intergalactic Music Is Of the Outer Darkness It is rhythm against rhythm in kind dispersion It is harmony against harmony in endless coordination It is melody against melody in vital enlightenment (Excerpt from The Outer Darkness by Sun Ra) From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a global recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music, a spoken-word album of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Invocations by Saul Williams, Anthony Joseph, Mahogany L. Browne, Abiodun Oyewole, Tunde Adebimpe, and Tara Middleton turn rhyme into rhythm and resistance into revelation. Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

Parisian label Latency presents "Without References / Cindy van Acker (Variations)", a new release by goat (JP) and legendary producer Ricardo Villalobos. For this project, Villalobos reinterprets two tracks – "Orin" and "Factory" – originally composed by goat (JP) for choreographer and performance artist Cindy van Acker’s dance piece "Without References". The release follows Latency’s recent publication of Villalobos’ variation on percussionist Mohammad Reza Mortazavi’s "Swamp" (Latency, 2025), continuing the label’s exploration of reinterpretation and rhythmic dialogue. goat (JP), led by Osaka-based composer Koshiro Hino (YPY, Kakuhan, Boredoms, Mark Fell), is widely regarded as a leading force in contemporary minimalist composition. In “Without References/Cindy Van Acker”, goat (JP) transforms non-tonal rhythmic patterns into intricate, hypnotic structures with remarkable depth. In this new version, the group’s simultaneously tribal and futuristic sound is reshaped by Villalobos’ distinctive production style, which draws from both minimalist techno and Latin American rhythmic traditions. Ricardo Villalobos is a pioneering figure in minimal techno, known for his hypnotic and deeply rhythmic approach to electronic music. Born in Chile and raised in Germany after his family fled Pinochet’s regime, Villalobos developed an early fascination with percussion, beginning to play congas and bongos at the age of eleven. This tactile engagement with rhythm continues to inform his production work today. Influenced by both Latin American folk traditions and the emerging house and techno scenes of late-1980s Europe, he began DJing and producing in the early 1990s and quickly gained cult status within global club culture. Cindy van Acker’s dance piece "Without References" features scenography by visionary choreographer Romeo Castellucci. The stage environment evokes a space that shifts between a waiting room, a train station hall, and a mid-century installation. Eleven dancers interpret Van Acker’s precise yet fluid movements, interacting with goat (JP)’s percussive, stripped-down compositions to create a visceral and immersive performance. The artwork features photographs by Magali Dougados from a staging of "Without References" at the Maison de la Culture de Seine-Saint-Denis.

Lena Willikens X Elena Colombi live at Lux Fragil, Lisbon 2026 Cover art + design by Alicia Carrera Mastered by Lottie Lou Poulet at Wysyng Arts Centre Manufactured at Tapeline, UK Limited edition cassette tape NO repress 💚 Once they're gone they're gone...

Silly track titles that are mostly in-jokes with my little brother, a.k.a. DJ Denim. A cliché unfair record deal. A conspicuously missing title track. A pretentious looking poem in French about the stupidity of poets. A grid of pillows on the cover that the Japanese audience mistook for bags of heroin, resulting in myths about my being a heavy user. Super nineties Photoshop swirls. A graphic overlay of a UFO turning into an oyster shell that opens to reveal a mountain inside? Those are just a few of the embarrassing things I had to come to terms with when preparing this thirtieth anniversary restored and expanded edition of my first full-length album, Tranquilizer. Originally released in 1994 by the New York label Instinct Records, Tranquilizer is admittedly a bit of a shit-show. The album followed up on my 1993 self-released vinyl EP debut, Comatonse.000, featuring "Raw Through a Straw" on the A-side, and "Tranquilizer" on the B-side. I put out that EP mostly for the experience of pressing a record, with no expectation of people actually buying or listening to it. Lacking a distributor, I loaded up my backpack and lugged copies to all the local record shops, a few of which took some on consignment. As I later found out, most shops never pay for consignment sales, nor return unsold copies, so in the end I basically gave away most of them for free. Then, to my complete surprise, David Mancuso began regularly playing the A-side, transforming it into a Loft house classic. Equally surprising, the B-side caught the attention of ambient producers like Mixmaster Morris and Bill Laswell. Those random bits of buzz caught the attention of Tak Uchida, a US-based buyer for the Japanese vinyl distributor Cisco Music, which would remain the leading supporter of Comatonse Recordings vinyl releases until they went under in 2008. All of that was just enough hype to catch the attention of Instinct, which offered me a textbook fucked up two album record deal. Not wanting to be taken for a sucker, I came in for a contract negotiation meeting with my bona fide real McCoy idiot lawyer who didn't give me an ounce of good advice, the paperwork was signed, and Tranquilizer was underway to becoming a reality. Instinct's plan was simple: grab control of as many tracks as possible on the off chance I (or anyone else they signed) might be the next Moby, who was their cash cow. With typical music industry sleight of hand, the album's title track "Tranquilizer" was cut and released separately on a compilation, contractually requiring me to come up with additional tracks to fill the album. So that solves the mystery of the missing title track. The majority of tracks on this album were actually already done before signing with Instinct. I recorded them as a hobbyist between 1993 and 1994 using heavily edited Korg M1 and E-MU Vintage Keys synthesizers, and two Casio FZ-10M samplers. Despite the silly titles and hobbyist approach, there were social messages to be heard. Many of them stemmed from my longstanding interests in constructivism, industrial ambient records, disco, and queer subcultures. All of these put me at odds with the new age spiritualism and "zippy" techno-hippy raver hooey that dominated ambient music in the US. For example, the opening track "040468," which is the date of Martin Luther King Jr.'s assassination, features a recording of the police radio during the chase and escape of his assailant James Earl Ray. Recorded at a time when King's "I Have a Dream" speech was still being dubbed over house anthems ad nauseam, it was an antithetical choice pointing away from dreams toward hideous reality. As one would expect, all of this was lost on music journalists who - assuming nothing could be more than a simplistic projection of the musician's ego - usually mistook the title for my birthday. "Fat Chair" is a critique of the colonialist fantasies latent in most ethno-ambient music of the time. Rather than taking the listener on a soothing armchair journey to a third world paradise, it focuses on a recording from the Nigerian-Biafran war during the late 1960s, in which a Western journalist's meddling gets a Biafran hostage killed. "A City on Springs" takes its title from a line in a constructivist manifesto calling for the prioritization of engineering over art. While I have never shared constructivism's optimistic faith in humanity's ability to achieve social equality, be it through communism or other means, it did inspire my career long criticism of the social and economic functions of art and music. And "Hovering Glows" features a monologue from a Hal Hartley film about scratched records as a metaphor for abusive family ties. I had planned on including a text on these themes in the original CD booklet to Tranquilizer, but Instinct quickly made it clear that wasn't going to happen. They feared it would alienate their audience. In response, I wrote the "anonymous" little poem against poetics above. Initially in English, I asked my friend/day-job-co-worker/Comatonse-Recordings-label-mate Erik Dahl to translate it into French so that the staff at Instinct would be less likely to understand it. In the end, they included it as a graphic element adding a bit of romantic flair. Still, it left me feeling dissatisfied. Two years later I managed to insert more meaningful imagery into the design of my second-and-last album for them, Soil, but I still was not allowed to include any text. In this thirtieth anniversary edition, disc one depicts the full-length album as I had initially intended it to be released, restored to include the title track, "Tranquilizer." Due to CD time constraints, this meant removing "Meditation of the Mountain Oyster." I also replaced the ending track "Fina•Departure" with its longer, original version. For the completists out there, the 1994 album versions of both tracks appear in their entirety on disc two. Additionally, the second disc includes a rare vinyl mix of "Hovering Glows," featured on Instinct's Untitled Ltd. Edition Ambient Double Vinyl Pack (US: Instinct Records, 1994, EX-291-1). Another rarity is "Get In and Drive," which found limited release through the compilations Muting the Noise (DE: Innervisions, 2008, IV CD02), and Comp x Comp (JP: Comatonse Recordings, 2019, CxC). "20min. Epoch," "Fina," "Fina•Departure (Original Long Version)," and "Hovering Glows (Little Guy Mix)" all get their first proper hi-fi physical release here, having been included as hidden MP3 bonus tracks in my Dead Stock Archive: Complete Collected Works (JP: Comatonse Recordings, 2009, C.018). Considering how few copies of the Archive exist, they are sure to be new to most peoples' ears. Last (and perhaps least?), "Pome" and "Day Off" are previously unreleased. Oh, in case you were wondering, Little Guy was the name of my cat. He loved sitting like a loaf in front of my speakers to feel the 808-style bass hits in "Hovering Glows." - Terre Thaemlitz, 2024

This is the second album after the transfer of the company, which was released in 1995, and is a compilation of songs created between 1990 and 1994. The album is a work that encompasses the dichotomy and diversity of the Aphex Twin, with acid, noise, and broken beats that could be described as "drill'n'bass," while following the ambient, IDM, and hardcore techno of the early days. The album contains 12 tracks, including the single "Ventolin," which is a strong industrial downtempo explosion, and "Alberto Balsalm," a song that is often mentioned alongside "Xtal. 180g vinyl.

‘Dimension Intrusion’ was the first full-length studio album by Richie Hawtin, who was 22 years old at the time and living in Windsor, Canada. It was first released in June 1993 under the F.U.S.E. name on Hawtin’s own Plus 8 Records imprint and again as the second release of Warp Records seminal ‘Artificial Intelligence’ series. 

The album compiled previously released F.U.S.E. EPs from Plus 8 complemented with new music specially recorded for this release. It would be a fundamental album for the young producer, who was experimenting with different themes and techniques to find his very own sound. Largely inspired by sci-fi movies he used a collection of synthesizers and drum machines, playing with their electronic yet warm sound effects and in turn discovering some of his favorite instruments. 

The tracks on ‘Dimension Intrusion’ range from club focused techno to soundtrack ambience and can be seen retrospectively as experiments leading to what would soon become Hawtin’s trademark acid laced Plastikman sound. 

It was on this album that he first collaborated with his brother, Matthew Hawtin, presenting an original painting completed in 1992 as the album artwork. In fact the album title was derived from this painting’s title ‘Dimension Intrusion’, demonstrating the reciprocal inspiration shared between the brothers. The acrylic painting oscillates between the one and two-dimensional. The composition of geometrical beams in bold primary colors and sharp lines evokes electrically charged movement and progression in and out of different dimensions. The visual tension corresponds with the energetic rhythms of the music, furthermore, the abstract painting and techno music share machine-like precision whilst producing a sensual and emotionally triggering experience. 

Dimension Intrusion’ is an iconic album in the history of electronic music that sets Richie Hawtin on a path of exploration and interest in the connection of audio and visual expression. 

First time reissue. In 1992, Warp's participation in the compilation "Artificial Intelligence", which presented a new way of techno music, attracted attention. Autecha, who embarked on a daring experiment with 1999's Amber, has since become an artist representing IDM/electronica and has remained a solitary presence.

Aphex Twin's masterpiece “Windowlicker” was released by Warp in 1999.

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.