MUSIC

Long Gone (Are The Old Traditions) is a label out of London . A label focused on DIY electronics, post punk, dub and techno from now and before. The first release is from West London artist, singer and songwriter Tutu Ta. A mini LP of out there, dubbed up, post punk mutations meeting old sounding industrial electronics following from his highly acclaimed debut album last year. Its already seen the light of day on soundsystems across the city and further afield as well as stations like NTS, Rinse & Tom Ravenscroft's BBC 6 New Music Fix.

Second Circle are excited to welcome another new artist to the label, ISOR29, with a six track mini-album titled ‘Moon Phase Gardening’. ISOR29 is a new project from Colombian musician Tomas Garcia Station and follows on from his highly regarded 2020 debut release under the ‘Irie Nation’ moniker. The title ‘Moon Phase Gardening’ (also referred to as Gardening by the Moon or Planting by the Moon) draws upon the idea that the lunar cycle affects plant growth. Just as the Moon’s gravitational pull creates the tides of the oceans, it also creates more moisture in the soil, which encourages growth. Evolving out of forced time off, individual confrontation and the love for someone close, ‘Moon Phase Gardening’ was recorded in the living room of an old flat in Lisbon during the first lockdown. Using only a microphone, computer, Korg MS20, hang drum and a field recorder, ISOR29 channels Tomas’ musical vocabulary via electronics to reflect an immersive and self-reflective story bound to a uniquely powerful time and space.

Carmen's new 3 track EP gives a sense of where she might be heading next on her musical journey. On Nutrition, the submerged influence of dub seen in a lot of her earlier work has risen more prominently to the surface. Carmen describes the tracks as "some dub studies born out of my continued fascination with the form. I’m in a period where I just keep going back to experimenting with beats and rhythms". Nutrition is set for release on 25 October 2024 through Smalltown Supersound.

A milestone in the history of ambient music! GAS, a very popular ambient project by Wolfgang Voigt of the famous KOMPAKT, released their masterpiece album "POP" on Mille Plateaux in 2000. From the depths of the ocean to the heavens... GAS's mystical ambient sounds move powerfully in a microcosmic soundscape with deep reverberations, a milestone album that fully demonstrates a solitary view of nature.

(Limited edition/High quality UHQCD/Japanese commentary/sticker set/poster/12-page booklet)Richard D. James, a.k.a. the Aphex Twin, released "Selected Ambient Works Volume II" in 1994 at the age of 22, a major ambient album that has gone down in music history. This monumental work, which was also the first album for the Aphex Twin after they moved to WARP, is now being released in a new expanded edition with additional material to mark the 30th anniversary of its release.

Actress marks an auspicious 20th year releasing music with a vinyl edition of his RA mix; a near hour-long collage or braque of some 100 unreleased cuts trawling his HD and traversing its depths of brisk 313 techno, silver haze synth noise and flashes of neo-classical beauty. Trailing ’Statik’ back in spring ’24, 'Дарен Дж. Каннінгем' is practically on par with the album for levels of engrossing and gritty noirish atmospheres, scattering a breadcrumb trail of puckered keys and teasing rave signals that go deep into the forest of his mind/sound at a strident pace that buckles into offbeats and practically stumbles, groggy and spangled to the close. As with all his work, an underlying, artful narrative thread ties it all together in an abstract storytelling style that has served him incredibly well thus far and continues to pique the imagination of listeners across the fields of hazed electronics and dance music who may not necessarily listen to one or the other style, yet can’t help but be snagged by his restless equilibrium of those vibes.

the debut release of shanghai based producer “knopha” on mule musiq. we loved his release “nothing nil” on eating music. our friend yusu introduced him to us and he sent us very beautiful musics. it’s an oriental beautiful new age music. kuniyuki made a magical remix. hope you like it

Black Truffle is pleased to announce a tenth anniversary reissue of Oren Ambarchi’s Quixotism, originally released on Editions Mego in 2014. Recorded with a multitude of collaborators in Europe, Japan, Australia and the USA, Quixotism presents the fruit of two years of work in the form of a single, LP-length piece in five parts. Quixotism takes the driving rhythmic aspect of works such as Sagittarian Domain to new levels, with the entirety of this long-form work built on a foundation of pulsing double-time electronic percussion provided by Thomas Brinkmann. Beginning as almost subliminal propulsion behind cavernous orchestral textures and John Tilbury’s delicate piano interjections, the percussive elements (elaborated on by Ambarchi and Matt Chamberlain) slowly inch into the foreground of the piece before suddenly breaking out into a polyrhythmic shuffle around the halfway mark, and joined by master Japanese tabla player U-zhaan for the piece’s final, beautiful passages. The pulse acts as thread leading the listener through a heterogeneous variety of acoustic spaces, from the concert hall in which the Icelandic Symphony Orchestra were recorded to the intimacy of crys cole’s contact-mic textures. Ambarchi’s guitar itself ranges over this wide variety of acoustic spaces, from airless, clipped tones to swirling, reverberated fog. Within the complex web Ambarchi spins over the piece’s steadily pulsing foundation, elements approach and recede in a non-linear fashion, even as the piece plots an overall course from the grey, almost Nono-esque reverberated space of its opening section to the crisp foreground presence of Jim O’Rourke’s synth and Evyind Kang’s strings in its final moments. Formally indebted to the side-long workouts of classic Cologne techno, the long-form works of composers such as Éliane Radigue and the organic push and pull of improvised performance, Quixotism is constantly in motion, yet its transitions happen slowly and steadily, often nearly imperceptible, the diverse elements which make up the piece succeeding one another with the logic of a dream. At the time of its first release, Quixotism was clearly a summation of Ambarchi’s work in the years leading up to it. Now, listening back a decade later, it also seems like an arrow pointing to the future, suggesting paths that would be explored further in works to come: the pulsating guitar layers of Hubris, the album-length collaboration with Jim O’Rourke and U-zhaan on Hence, Shebang’s joyous layering and percussive drive. Now sounding better than ever in a new remaster by Joe Talia, the time is ripe to rediscover its quixotic charms.

This release holds special significance as it captures MC Conrad’s final recording session, completed just days before his passing. On the day of the session, Conrad and DJ Prime Cuts laid down the chorus for Together, with plans for further writing that tragically never came to be. This release is both a tribute and a responsibility for DJ Prime Cuts, honoring Conrad’s last creative contribution and sharing it with the world. Proceeds from the single will go toward the MC Conrad Foundation and a GoFundMe campaign, supporting Conrad’s son and continuing his legacy. A-side Together is a vibrant electro-funk track combining chopped vocals, jazz-infused loops, and MC Conrad’s legendary voice. DJ Prime Cuts’ production masterfully blends the soulful essence of Roy Ayers with innovative, future-forward rhythms. The 130 BPM tempo breaks from Conrad’s typical work, but this track pushes beyond genres, creating a timeless piece that speaks to both artists’ versatility. The B-side, Our Time Is Now, stands as a high-energy tribute to Roy Ayers. It showcases DJ Prime Cuts’ prowess as a producer, blending deep basslines with techno-infused elements to create a track that’s both innovative and nostalgic. Originally conceived as part of the tribute to Ayers, the track celebrates the present moment and is a powerful homage to one of music’s greatest legends. With its infectious rhythm and dynamic production, Our Time Is Now is a must-listen for electronic music fans and Roy Ayers.

'Shardcore' is the debut full length from Myriad Myriads, aka Bass Clef, a return to the dancefloor refracted into ten thousand kind shards, revolving. "Those waves! Soon I'm going to try once more to draw something wavelike. But how can you simplify something as complicated as a wave in the open sea to something comprehensible?" Escher Recorded in The Hague. Elektron M:C and M:S / FMR audio RNLA and RNC.

The 006 on the imprint is "Versions Vol. 2" a new mixtape written and produced by NPLGNN Messing around with a big bunch of samples NPLGNN chops, resynthesizes and assembles them in a no-nonsense sonic collage flux 100% Sound-System fuckery Around 42 mins through MCs toasting, pitched amens, dub glitches, screwed recordings and moody red-eyed interludes

Originally released in 2018 in a very limited series of 50 cassettes the 003 of the Japanese legend Yousuke Yukimatsu is now repressed and restyled for a 2024 150 units edition. Six years later Yousuke has skyroked and now known all around the world for his amazing DJ skillz and unique music taste. We told you so back then and we are so happy to see that happen. --- 2018 press release: Founder of Zone Uknown, Dommune selector and recent affiliate of Asian Dope Boys, Yousuke Yukimatsu (Osaka, 1979) is a key figure in the Japanese electronic culture. If you see him playing is impossible to don't get caught by his unique and somehow visceral style of DJing. For MBE series he recorded 90 minutes of music made strictly by Japanese artists offering us an extraordinary wide-eyed perspective on the far east electronic culture. Imagine to be in Osaka or in Tokyo in an overcrowded obscure underground small cave listening to some sweating freaks playing distorted noise, or sitting on a bamboo mat in a machiya while Shigeo Tanaka is playing the yumi, or being in the Hozen Ji temple reaching the ascension with the chants of the priests, or getting lost into a cyberpunk scenario with DJs spinning dark techno into a foggy warehouse with just a low strobe light on.. well you can just get a glimpse of what this tape is.

Reissue of Bass music inspired new roots classic!

egowelt returns to Clone Records with yet another sonic journey that defies conventional electronic music boundaries, offering an album that is as eclectic as it is immersive. Blending different styles and textures seamlessly and proving that electronic music can still be creative and that function doesn't always prevail style. He delivers a collection that transports listeners through a kaleidoscope of retro-futuristic sounds, deep grooves, and cosmic melodies. Despite being in the music game for more than 25 years the music from Danny Wolfers remains playful and refreshing. Stylistically taking elements from his whole musical career and not commiting to the latest trend or any genre specifically, and low-key taking the piss with everyone who takes themself to seriously. While many electronic music artists are stuck in their own void, busy pleasing the big room, Legowelt meticulously crafts rich textured soundscapes, balancing between cosmic exploration and the dancefoor, that evoke both nostalgia and futuristic visions. His ability to fuse elements of house, techno, disco and electro with cinematic influences results in an album that is not only ready for club use but also gratifying at home. Each track offers something unique--whether it's the hypnotic rhythms, the lush synth lines, or the subtle, eerie undertones that creep in unexpectedly. Legowelt's attention to detail and passion for his craft shine through, making this album a worthy follow up to his last album on the Clone Jack For Daze series.

WRWTFWW Records is ecstatic to announce the first ever best-of compilation of Soichi Terada’s amazing project OMODAKA. including 14 songs never released on vinyl before. The 18-track ZENTSUU: Collected Works 2001-2019 album is available on double LP in heavy 350gsm sleeve with printed inner sleeves, as well as in CD and digital formats. Initiated in 2001 while trying to create a "boat racing song", the OMODAKA project features sublime music by veteran electronic/house/jungle/video game music producer/DJ Soichi Terada and the vocals of Japanese folk min'yō & enka singer Akiko Kanazawa for a never-heard-before colorful blend of retro game 8bit/chiptune sounds and traditional Japanese music with wet electro rhythms, joyful 90s house grooves, and slick downtempo vibes. Feel-good, sexy, and fun, Terada’s project brings forth one of the most unique sounds in recent memory. The smile-inducing sonic adventure is packed with irresistible hits and a good dose of dancefloor-ready gems: a well deserved delivery of good times for 2022 and beyond! Tokyo born genius Soichi Terada has built an impressive career in different music genres. He co-founded respected label Far East Recording with Shinchiro Yokata, composed the soundtrack for cult video game series Ape Escape, released tons of amazing house music records (some included in the beautiful compilation Sounds from the Far East released by Rush Hour in 2015), and has been a celebrated world-touring DJ.

Juan Atkins and Moritz von Oswald – the two indispensable protagonists of the Electric Garden – plug back into the wilderness. ‘Transport’ – the full length effort brings together a set of studio-refined sequences aimed at colonizing some of the dark energy that pulsates through those areas that are thoroughly electrified, even if not ‘on the grid’. The Detroit-Berlin axis triangulated to a third point which, like the atomic particle that lives in two places at once, flickers between a form of techno-charged ambience and a futuristic club-jazz which cannot be broken down into constitutive parts. Borderland remains caught in a state of enraptured stillness, invisibly moving between every imagined future for electronic sound making. The result: a font from which springs serene and exhilarating musical ideas that vibrate with refined energy for sixty seconds in every minute.

Did you come here to serve art and make sacrifices for its sake? Or to exploit your own personal ends? Over the past five years, Mark has forged a unique identity in underground drum’n’bass, alloying traditional junglist motifs and luminous electroacoustic ambience to devastating effect. Developing his sound through a series of singles and EPs on A Colourful Storm and Berghain’s Unterton imprint and collaborating with likeminded peers in both classical and soundsystem spheres, A Colourful Storm presents the culmination of his work and debut album: a two-part study in rhythm, timbre and texture of monolithic scale. Mark’s ambitions had been clear from the outset. Integrier Dich Du Yuppie (2017) and The Least Likely Event Will Occur In The Long Run (2018) are not titles of fleetingness but statements of grave philosophical heft. The relationship between—and division of—people, place and power animated Mark’s production and has remained a pertinent theme throughout his work: the mechanics of force, the cunning of reason, the invisible but crucial hand of chance. Within these groundbreaking sides lies a synergy between splintering rhythmic elements and extraordinary atmospheric passages—the latter most deeply explored in Not Kennt Kein Gebot! (2022), a heart-on-your-sleeve mixtape pitting post-Second Viennese School disciples like Luigi Dallapiccola against an era-fusing suite of compositions from Radulescu, Zemlinsky and Monteverdi. This direction is also explored on Mark's monthly NTS Radio show, True As Few. Bridging the sonic qualities of post-tonal composition and soundsystem frequencies is nothing new—the oeuvre of Christoph de Babalon immediately comes to mind—but here, Mark attempts to meet both poles on their own terms through two meticulously arranged longform pieces. Any suggestion of connection to dance music history has been thrown out for rhythmic arrangements that skirt the contradiction between strict logical coherence and human perception. What on the surface seems hostile reveals a welcoming catacomb of connections between elements that stake their claim, disappear, merge and finally reappear—their return sculpted by the intricate mediation of similar and dissimilar elements. The album is deeply personal, too. Following a Stanislavski-led path through fragments of his pre-maturity music history, Mark connects memories of free jazz drumming and modern percussion ensemble performance with the joy of choral singing, ad hoc kitchen-sink group improvisation and those moments where life seems to swing on a hinge of musical feeling.。

(Limited quantity/Includes Japanese obi/Includes Japanese commentary)Richard D. James, a.k.a. the Aphex Twin, released "Selected Ambient Works Volume II" in 1994 at the age of 22, a major ambient album that has gone down in music history. This monumental work, which was also the first album for the Aphex Twin after they moved to WARP, is now being released in a new expanded edition with additional material to mark the 30th anniversary of its release.

2 x 12”, black vinyl, 4C gatefold My studio is my shelter, I feel comfortable there, surrounded by wonderful inspiring machines. A small cosy room where ideas emerge, mature, morph, and solidify into their final shape. 'Studio' is the result of spending time in that space. The album's intention is simple: Presenting a beautiful personal musical journey. The creative process in itself matters to me, the interaction with my instruments, the accidental discoveries, the successful execution of a vision and anything in between. Most of the tracks on this album got revised countless times, and then even more, once I knew in which context and order I wanted to arrange them. I have been living with my music for months now, listening, thinking, changing, diving deeper and deeper into each piece. I love albums, they are a beautiful long-form format where each part has its place, a journey from the start till the end. Each piece has its own story, its own flavour and history. Some of them have been with me since a while already. There is material which I created years ago for installations and music derived from previous audiovisual works, all completely ripped apart and rearranged multiple times. During their creation my pieces often turn into something completely different, they repeatedly shift from one state to another until they become solid. What I consider a core element at the beginning might be later discarded completely, and a little detail in the background might become the essence. Many explorations ended in the trash bin before the results had a chance to be part of 'Studio'. Things did not fall into place, did not feel right. Other compositions had to fill the void instead, some created quickly in a rush of inspiration, some slowly, shy, questioning their significance. This album did not come into existence in a hurry, it took as long as it needed. I used the time to walk around my creations, to listen to them from the distance, physically, mentally, with friends, in all kinds of different contexts. I tried to understand what I just did. I started to see patterns, hidden motifs, things that were buried in between too many layers of sound. What is essential? What is ornament? I reduced, rearranged, added again. The closer I got to the final state of 'Studio' the more clarity I found. The inherent doubts and the nagging voices from the inside got more quiet, and a sense of achievement started to manifest itself. More and more details just fell into place. And now it is done. After making electronic music since almost thirty years I don't care anymore about genres, about how to label things. It is music, my own personal music, and that's it. Call it electronica if you wish. Process Notes The music on this album has been constructed in Ableton Live. Most of the sounds have been created with my collection of beloved hardware synthesisers and effects, often further processed until something completely different did emerge. Sometimes I spend days in the studio just recording sounds or creating new presets, without already having a composition in mind. A few selected musical instruments contributed significantly to the palette of this album; a New England Digital Synclavier II, which also served as inspiration for the artwork, a Sequential Prophet VS, which is present on all Monolake albums since 1996, a Yamaha SY77, Linn Drum, and the Oberheim Xpander. And then there is Operator in Ableton Live, which I developed in 2004 and still love to use, and a lot of the other effects and instruments in the software. And of course my Granulator III instrument, and the PitchLoop89 audio effect. The final sonic world is often the result of radical processing of these elements, via filtering, pitch shifting, time stretching and other types of processing, both in Live and with my hardware. The good old Alesis Quadraverb deserves an honorary mention here, so does the AMS RMX 16. Artwork The cover combines a few complex elements. A composition of various lichen photographs, and a computational noise field that cuts rivers into the structure, where the inner artwork of the album shines through: The inside of the CD package and the gatefold vinyl cover shows a non-existing musical instrument, based on the user interface of the Synclavier II. I've always been fond of its futuristic button matrix with red LEDs, which conjures a sense of nostalgia for early computer systems. But I wanted more than just a photograph of it. Instead, I created a collage that not only consists of its existing controls but also integrated additional features it never possessed, though it might have in a subsequent iteration. In essence, I crafted a vision of a future that never materialized. Geeky detail: When a Synclavier II is turned on, and the connected mainframe computer did not boot yet, the LEDs in the buttons light up in random patterns. The imaginary version of it does the same.

Hoshina Anniversary is from Hachioji, westside of Tokyo. His new LP of fluid, experimental dance music extends outward from his initial influences of jazz fusion, electronica, and Japanese heritage.

nown for his innovative fusion of ambient sounds, Brendon Moeller once again pushes the boundaries of the genre with swirling, organic forms and immersive textures grounded in the dark, moody tones of deep techno and dub. What results are the sounds of melodic, fluttering synths set to low, steady beats, all of which seem to playfully dance through some kind of cosmic aural nebula.

ZULI's widest-reaching and most ambitious album to date, 'Lambda' is a conspicuous left turn for the Berlin-based Egyptian producer. Draped in gauzy, granulated textures and woven with enigmatic vocal flourishes from collaborators MICHAELBRAILEY, Coby Sey and Abdullah Miniawy, it's a vivid, soul-searching set of polychromatic reflections that sets fire to the boundaries between ambient, trip-hop, industrial music, chamber pop and symphonic noise. In some aspects, 'Lambda' reveals ZULI's softer side; gone are the earth-shaking chopped rhythms and stop-start outbursts of corroded static that characterized his last full length, 'Digla Dive - Live'. But peer beneath the brain burrowing vocal melodies, mangled instrumental loops, anxious poems and subtle, harmonic synth washes and a new kind of intensity lurks in the shadows. Since his early releases on Lee Gamble's UIQ label and his 2018 breakout 'Trigger Finger', ZULI has notched up major global acclaim for his futuristic, kinetic musical diversions. He cut his teeth supplying beats to local rappers back home in Cairo, soon shifting his attention to the city's burgeoning dance underground, promoting events, DJing prolifically and tirelessly supporting the scene's most experimental fringe. In 2019, ZULI teamed up with Rama to curate the irsh series of video transmissions, evolving the project into a label shortly afterwards. And now situated in Berlin, the duo have extended the concept to encompass an ongoing sequence of genre-averse club nights. All this experience and constant creative motion is etched into the foundations of 'Lambda'. It's an album that plays liberally with euphoria, but feels constantly precarious, intrepidly peering out from its tense internal world. Lead single '10000 (Papercut pt. 1)' is one of the album's most unexpected cuts, featuring a soaring falsetto vocal from Hamburg-based British composer and performer MICHAELBRAILEY. "What do I have to show for it?" he asks suggestively, while ZULI replies with seismic bass rumbles and celestial, harp-like chimes. Building towards a crippling, dense crescendo, the track is among the weightiest ZULI's ever produced, replacing his signature beats with industrial metal drones and razor-sharp electronics. Brailey also shows up on the symphonic 'Syzygy', singing sweetly until he stretches his voice into mutant echoes, augmenting the chorals with powdery, granulated hisses and surreal piano phrases. On 'Plateau' meanwhile, ZULI works alongside virtuosic multi-instrumentalist and singer Abdullah Miniawy, who calls to the heavens as digitally pulverized strings quiver in the background. And cult British artist Coby Sey adds his unmistakable tones to 'Ast', mouthing tense, thoughtful words over mangled music box jingles and ecstatic pads. When he's not straddled by his collaborators through, ZULI is free to make some of his most personal gestures. He fashions a phantasmic, pitch-fluxed robotic croon on 'Trachea', curving it around half-speed hip-hop clacks and cinematic drones, then driving it into walls of impermeable noise on 'The Horn'. And the album's most revealing moment comes with the short 'Fahsil Qusseer', when ZULI recites a poem written by his father. Stretching his voice and a tape-saturated break like elastic, ZULI mimics the emotional push-and-pull of the protagonist, who overcomes their anxiety to escape into the outside world, only to retreat immediately back to the safety of solitude. The track puts the whole of 'Lambda' into sharp focus - through the walls of noise and exuberant, intoxicating waves of ambience, ZULI finds solace in limbo between the manic extremes.

This album, which includes the two latest tracks under the name Basic Rhythm, which has maintained a strong dedication to UK Bass, is a masterpiece in which the aesthetics of an underground pirate radio DJ OG are incorporated into an atmospheric and ravy Jungle/DnB sound. In recent years, he has continued to develop a fairly consistent musical style based on influences from Jungle, DnB, Grime, Rave, etc., as well as industrial sound design, and those who like him will be hooked.

Om Unit releases his first solo EP of 2024, once again self-released as part of his ongoing series of 'off-label' output which began with titles such as 'Submerged' and 'Atlantis'. An 8 track mixed-bag of breaks-laden treats in various forms, 'Fragments' consists of material taken from various studio jams from recent months with varied BPM"s and feels throughout. This release is a selection of material that once again demonstrates the art of deft cross-pollination with elements of dub, breaks, techno, jungle and even bmore infused into the project, complete with a remix of 'Citrus' courtesy of Klasse Wrecks very own Mr Ho.