MUSIC

After releasing Undefined, Kazufumi Kodama and Babe Roots, the 4th release from a Japanese experimental dub label newdubhall welcomes the ever-evolving pioneer of minimal dub and dub techno Deadbeat, a solo project of Scott Monteith hailing from Canada. Side A 'Things Fall Apart' will feature a beatless dub ambient which shares a perspective of free jazz and 'Adieu Chez Cherie,’ an absolute knockdown four on the floor dub techno on the flip side. Though simple, both sides are layered with complexity, let yourself experience the profundity of newdubhall with this masterpiece.

Kindred the shop and radio station based in London mint a new in-house label, headed up by one of the store's founders, Scar. Up first is station regular, Alicia, with a 60 min hazy trip through dubwise ambient & downtempo niceness, really cracking listen this one. Limited edition c60 cassette.

On New Year's morning, Cousin took a weary-eyed walk... ‘HomeSoon’ he thought, whilst cutting to the path by the Angophora Forest. As he made it down to the overgrown sidewalk, he caught a sudden sense of warmth from the surrounding flora. On closer focus, it was as if the plants and flowers had come alive...pulsing forward down the path as they bounced, smiled, and sneered all around him. Against logic, he was struck by an almost Garsonian desire to communicate with them. This feeling lingered, persisting through several studio sessions. The music written over this period makes up this EP. How directly this experience informed the music is hard to say. What effect it had on the surrounding plant life is even harder to tell… we do hope, however, through listening to it, you’re a little more tuned in to them.

The KLF's 1990's great album that created ”Chill Out” zone and grew up ambient techno.

Tokyo deep house master Soshi Takeda returns with a long-awaited six-song sequel to 2021’s landmark Floating Mountains, surfing deeper into mystery, motion, and liquid dreams: Secret Communication. Recorded across 2022 and 2023 at his home studio with a unique assemblage of 80’s and 90’s hardware, the tracks cruise through a latticework of skyways on lush pads, bubbling bass, and blissed BPMs, dusted in sunrise acid and cosmic piano. His is a dance music of idyllic emotions and inner worlds, yearning for new horizons. Dramatic events overlapped with the album’s creation: “Wars broke out. On the other hand, my child was born. There were sad and beautiful moments in my life.” Secret Communication contains vistas, valleys, glimpses of lives unled, swirling above the grey noise of the city. From the jazzy daydream of “Can Imagination Transcend Distance?” to the sleek starlight house of “Rainstorm” to the farewell ecstasy of the title track, Takeda’s music touches and transports, a portal to places beyond. Fantasy and feeling, intention and inspiration, all become one: “When I listen to beautiful deep house, I feel a mysterious atmosphere. Dreamy scenes come to mind. I aim to create that sound."

Tokyo visionist Soshi Takeda’s second album took shape across eight months of the winter and spring, inspired by an iconic mid-80’s photography book of Chinese landscapes. Scenes of lantern-lit fishing boats on misty mountain lakes seeded a mood of hidden paradise, with ancient waterways snaking secret paths into the past. Recorded at his home studio using hardware synths and samplers from the 1990’s, the six songs of Floating Mountains (plus digital-only bonus track, “Deep Breath,” from the 2nd Life Silk compilation) evoke shrouded vistas of liquid skies and shining lakes, like some Li River twist on Balearic half-light house. Shades of cosmic drift and crystalline electronica ebb and flow within the nocturnal pulse, pagodas and pearls reflecting the waning moon: “I hope you can feel the cool and exotic atmosphere.”

In 1992, Autechre first gained attention for his participation in Warp's "Artific ial Intelligence" compilation, which presented a new way of thinking about techno music, and made a strong impression on the scene with his first album "Incunabula" in 1993, followed by "Amber" in 1994. In the 2010s, when IDM/electronica underwent a further metamorphosis, Autechre has remained an isolated artist and a representative of IDM/electronica ever since, releasing Oversteps (2010), the 2-CD set Exai (2013), the 5 CD set "elseq 1-5" (2016) released on their own website, and the 8 CD 12 LP blockbuster "NTS Sessions." (2018).

In contrast to "NTS Sessions.", which lasted over 16 hours and was considered a "single work", this album is the essence of the current Autechre in 11 tracks, and is called "SIGN The album is called "SIGN".

In an age when pop music has become more accessible and has retreated into the background music of daily life, Autechre continues to encourage the listener to have an active listening experience. Outeka has never stopped the evolution of sound, and they have never changed in their thorough defiance of the consumption of music. SIGN" is the latest result of this work, and a credit to man's continued active engagement with music.

Takayuki Shiraishi is no stranger to Camisole Records. With projects like BGM, MLD (CAM022) or Tristan Disco (CAM023) he is considered as one of the most prominent figures of underground Japanese music. Following those 80's industrial projects he continued his path and recorded numerous electronic tracks without forgetting his experimental roots. After an EP on the highly revered label Apollo with his alias "Planetoid", he released on a very limited run his first album "Photon" only on cd in 1997. Mixing Techno and Ambient, those works were recorded between 1987 and 1996 to create a trancey ride of dreamy tunes. A journey through spectral dances and afterglows, dreamy incantations and Solar rituals devoted to euphoria. Experimental techno who never forget to keep your mind and body aware. We are really proud to give this album the attention it deserves with a Double Vinyl LP reissue remastered by Krikor Kouchian.

United States Of Islam is the second part in a series of 4 outstanding double vinyl albums with bonus songs, previously released on CD between 1990 and 1994 on the Australian cult label Extreme Music. Armed with a cleverly provocative title, USoI showcases a moodier side of Muslimgauze. While the trademark blend of driving percussions and minimalism reigns supreme as always, the general feel is much more dreamy and mysterious than on some of Bryn Jones' more forthright pieces. The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards. New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues. All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.

Intifaxa is the first part in a series of 4 outstanding double vinyl albums with bonus songs, previously released on CD between 1990 and 1994 on the Australian cult label Extreme Music. Intifaxa is full of heavy percussion fire with deep tribal grooves, embedded in modulated field recordings. The album is a transcendental journey into Eastern soundscapes and a secret weapon for DJs who enjoy to tear down the borders of tribal underground house and psychedelic trance music. The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards. New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues. All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.

"Zul'm" is an album of contrasts. It is evocative of a culture caught up in a web of local and global politics.

The narrative appears as a slice of urbanity - up tempo, carefree soundscapes of human activity interspersed with digitized spatial rhythms. The boundary between East and West coalesces, melding and jutting into a changing whole.

Muslimgauze are from Manchester, forming in the post-industrial early eighties. Theirs is a world music based on western rhythms, integrated with ethnic instruments and atmospheres. The music is a minimal, polyrhythmic soundscape. A vision of unresolved cultural change.

"Zul'm" sees a further step in the interaction of two very different nations, with guest musicians Said Nasser on Arabic percussion and voice and Zorawar Singh on Indian percussion and voice. Also appearing on the album is Mark Lawrence on keyboards.

The title "Zul'm" is derived from the name of the Muslim prophet "Zulkifl", meaning fate. The plight of the Palestinian people continues to inspire the music of Muslimgauze.

Original press release from Extreme.

The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards.
New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues.
All 4 album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.

An official re-issue of the 1996 album, Beyond the Circle, from Dr. Osamu Kitajima presented by Forest Jams on vinyl for the first time. As the title suggests, Japanese music explorer Osamu Kitajima takes the listener beyond the known on a musical voyage into new territory where his compositions are a synthesis of Western electronics and ambient dance rhythms, tempered by the wisdom of ancient Japanese traditions. “Beyond the Circle” is music that is as energizing as it is spiritual and melodic.

Madteo is next for Accidental Meeting’s mixtape series, recorded live at an AM party at Spanners, London. NY drenched house oddities and disco curveballs, all served up raw, rough & ready in Madteo’s trademark style.

Dreams are made and displaced on Mark Fell & Rian Treanor’s oneiric electro-acoustic inception 'Last Exit', borne from long days in the family garden, and assembled into a mesmerising masterpiece of minimalist modal rhythm and atmospheric exploration, into rapt smallsound detailing in breathtaking form. It’s a bit like listening to Virginia Astley’s ‘From Gardens Where We Feel Secure’, with washes of Autechre seeping into the mix from outside. ‘Last Exit…’ originally appeared in a different form as a cassette release for our Documenting Sound series in 2021, and was edited this year by Mark and Rian for this new expanded and altered edition, mastered by Rashad Becker. It renders a painterly,psychedelic, and diaristic depiction of sublime atmospheric tension, occasionally ruptured by their typical, asymmetric rhythm impulses in a form that rudely transcends their respective aesthetics. Across four parts, they kern, juxtapose and diffract synthesised percussion and field recordings into polymetric arrangements riddled with timbral nuance of a highly unpredictable nature. While patently inflected with nods to Indonesian gamelan, Ugandan folk, Indian Carnatic classical, Morton Feldman-esque minimalism, free jazz improvisation and a sort of rhythmic cubism that speaks to their mutual, voracious listening habits and tastes, the results are arguably without direct compare. Attentive listeners will recognise, however, that ‘Last Exit’ effortlessly transcends their respective styles, achieving a new high watermark of imaginary future-hyperfolk expressed in a sort of personalised but highly relatable meta-musical language. Seriously, they’re working beyond known conventions here; opening to a sublime frisson of Feldman-esque keys, birdsong and distant car engines, and closing to a combo of just-intoned drone and wafts of distant ballroom music. The 80 minutes in between feel like returning to a dream, with flashes of FM strings dabbed to sloshing rhythms and domestic detritus, tilting into a nervously tentative tension ruptured with abstract dance dynamism and angular free jazz ballistics. The rejigged recordings also reflect the fidelity of memory recall, expressing an altered perspective on their time spent in the multigenerational family’s Rotherham garden during spring/summer 2020, replete with their mum/grandmother on piano and overheard singing and in convo, but now fraught with a more melancholic, distempered quality that makes for a genuinely unforgettable listening experience. A long-form isolationist fantasy, consider it crucial listening if yr into Robert Ashley's 'Automatic Writing', Graham Lambkin, Autechre or Nuno Canavarro.

Highly anticipated would be an understatement; since their inception Overmono have purposefully cultivated a fanbase that heralds them as one of the UK’s most original contemporary live electronic acts. A run of ground-breaking club EPs between 2020 and 2022 built momentum and culminated in their breakthrough club single, ‘So U Kno’, which encapsulated the hearts of clubbers and went on to become a bonafide phenomenon as dancefloors re-opened; featuring in end of year lists published by Resident Advisor, Pitchfork, DJ Mag and Mixmag.

Since then, Overmono have been named ‘Best Live Act’ at the prestigious DJ Mag Best of British Awards, taken their custom audio-visual live show to the most credible festivals across the globe, including Glastonbury, Movement Festival, Dekmantel, and produced innovative releases including their instalment of their ‘Fabric Presents’ DJ mix series and collaborations with Joy Orbison. Now, Overmono return to present their most ambitious release to date. Across the twelve-track project, Overmono journey through a powerful distillation of their musical career so far; incorporating “So U Kno” alongside new music that propels them beyond the dancefloor. “Good Lies” remoulds and interweaves captivating vocal cuts into a series of multi-genre electronic sounds that flits effortlessly between euphoria and melancholy in the same 4-bar loop.

During the early days of Deepchord Records, Detroit's transient and forgotten subculture musically inspired label founders Mike Schommer and Rod Modell in significant ways. The apex of Mike's creative fixation with the city was in 2001 when he recorded the Von Schommer album dc15. To capture the nature of the environment he found so fascinating, Schommer recorded the project at the Crown Motel in Detroit, Michigan. While overlooking the transient life displayed in the motel courtyard, Mike crafted lonely tones from his modular synthesizer and mixed them with his rudimentary DIY electronics. Still, most significantly, he allowed the music to become impregnated by the environment (much like the stains in the permanently soiled carpets of the motel room floor), creating a holistic experience that remains close to his heart almost 25 years later. Initially available as a limited edition preorder cdr to the Hypereal 313 maillist, the album has been remastered and is now available on color vinyl for the first time.

Original photography and treatments on tracks untitled 4 and untitled 10 by Rod Modell. 

Multidisciplinary artist Jermay Michael Gabriel and producer Giovanni Isgrò team up as Plethor X to present a debut EP of anti-colonial resistance, an unfolding experiment in self-determination. Colonial trauma has no linear trajectory, and neither does memory. It seeps and sinks into the fibres without a temporal pattern, crossing generations, back and forth between past, present and future. Plethor X channel the multifaceted dimensions of such phenomena, exorcising trauma through sound, embracing cultural legacies and collective memories as a form of healing. The driving force behind the record is the Habesha musical tradition, distinctive of Jermay's childhood - samples of the masinko, an Ethiopian and Eritrean one-stringed instrument, are used extensively - transposed into rhythmic structures onto which Isgrò playfully grafts elements of footwork, ghetto house, as well as gqom and singeli—a space-time gateway of complicity and experimentation. Plethor X’s soundscapes are Afro-futurist ecosystems of explicit messages—'Don't use the N word’ is distinctly heard in ‘Negro’—coalesced with frenzied percussive textures built through destruction. With ‘Bet’ we experience Muna Mussie's hypnotic recitation of Tigrinya words drawn from a set of nursery rhymes and words emblematic of Eritrean culture. The voice of Mussie, who shares the same origins as Jermay, serves here as a vehicle to express a certain identity melancholia, the repetitive mode sounding like a soothing process of reconciliation. PAN-affiliated producer STILL makes his own contribution by reworking Plethor X’s material in 'Fendika', raising the rhythmic tension with his signature colourful, plugged-in dancehall style. That with Europe is a bridge to an indefensible continent, with a predatory, plundering nature, sold as 'civilisation'. In ‘What You Mean’, Isgrò and Jermay conspire against their own Eurocentrism, regurgitating it from within. The package is complemented by remixes from OOH-sounds affiliated artists nobile, Losssy (formerly unperson), Glass and WEȽ∝KER. Their brilliant versions of 'Bet' are a further investigation of the evocative potential of Mussie's voice and expression of the collective nature of this project.

Once again it's quite difficult to pin down exactly what's going on through Herandu's debut album, Ocher Red, but its a little bit like Metalheadz meets Weather Report out on the Siberian steppes... Herandu are brothers Evgeny and Mikhail Gavrilov from Novosibirsk in Siberia. Mikhail and his brother have played music together since they were very young eventually forming the band FPRF together in the mid 2000's. Eventually the group split as the members dispersed around Russia, but Evgeny and Mikhail continued to make music, Evgeny under the alias Dyad and Mikhail under the name Misha Sultan (some of you may remember his excellent cassette, Roots, which came out on Hive Mind in 2022). Herandu was born in 2022 during several studio sessions they managed to grab whilst both visiting Siberia. They both quickly realised that together they were making music that didn't quite sound like either of their solo projects but which was influenced by the music of their formative years. Their friend Vladimir Luchansky was invited in to add saxophone and the result is an 'urban music' that's as influenced by the gritty cityscapes of '70s TV cop thrillers as it is by 21st Century urbanism. The paintings on the album cover are by Italian artist Mauro Reggio, who kindly allowed us to use his work, and whose paintings seem to convey something of the mood of Herandu...

Mbalax is a genre of dance music that is primarily performed in Senegal and The Gambia. Here we have re-interpretations of the mesmerizing master drumming rhythms from Holy Tongue, Beatrice Dillon, Lamin Fofana and LABOUR. Holy Tongue (Al Wootton, Susumu Mukai, Valentina Magaletti) take things in a heavy post-punk dub direction - think On-U Sound and 23 Skidoo. Beatrice Dillon electrifies proceedings in a Mark Fell/Gabor Lazar/Rian Treanor style. Meanwhile, Lamin Fofano hypnotizes with two psychedelic revisions and LABOUR ramps up the intensity with two perspectives on the same drum rhythm.

Originally made as a contribution to the Blowing Up The Workshop mix series, subsequently given a cassette release in 2019, now finally receiving a limited vinyl LP pressing. "A trip across the frequencies of Bristol's pirate radio stations via cut-ups of broadcasts, taken from the late 1980s to the early 2000s ~ also a love-letter to my childhood, an audio document of the years I spent growing up in the city."

A female project by Hermione Frank, an artist from France/Berlin living in Berlin who is also a famous producer of and who is also a member of and . rRoxymore. The latest album "Perpetual Now" in 2022, the first in 3 years, will be released analog from . An ambitious work packed with her spirit of pushing the boundaries of sound, blurring the lines between electronic and organic. Comprised of four extended soundscapes, each one takes the listener on a journey through tempos, textures and emotional states.

Milan's Palalido, 1981 crackles with Kraftwerk's Computer World tour. Robotic rhythms, neon lights, anthems like "The Model" and "Numbers" ignite. A time capsule of synthpop mastery, future sounds live.

Dub-infused post-punk treats from astonishing percussionist Valentina Magaletti (Tomaga, Moin, Holy Tongue) and Zongamin as V/Z. The basslines throughout really hit that sweet spot and the collaborations are killer; Coby Sey and Venus Ex Machina join the fun, along with Vanishing Twin's Cathy Lucas on 'Habadash' with a most appealing Seefeel flavour. Highly recommended.

Emerging from a generative paradox of laser precision and fluid dynamism, Metallur fuses percussive, metallic force with warping tempos and a field of ethereal resonance and debris. The result is an insurgent, elemental, time-smearing of hyperspace, where "tellurian beats merge with alien glossolalia and vocal samples blip tesseracts of human affect into a ghostly, melodic aether". Music for a crushed infinity.