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Songies = songs that are relatively short, sweet, and to the point ~ they're a little *weird* while also being very song-y (i.e. the classic "verse, chorus, verse" structure, etc.) In this album, I got a lil more creative with my tunings and time signatures<3 It's also more cohesive/album-like than my previous albums~~ The feelz of it is good for walking around a cemetery alone on a partly cloudy 70-something degree day ☼ :-)

Originally released on CD in 2009, Engaged Touches has been expanded from the original recordings for a 3LP edition, spanning 5 sides of vinyl, and a 3CD edition of the same expanded version, as well as the original single disc version. All have been remastered by Stephan Mathieu for this special limited edition.

12" compilation with new tracks by Eoism, Voertuig, Colkin and a lost gem by Peter Seiler featuring Sheryl Hackett. Picture sleeve with a bold artwork based on a sculpture by Hede Bühl. Limited to 500 copies. Colkin (Raw Soul, Mauke Club) kicks off the a-side with a spheric acid house meditation. Next is a track by Peter Seiler which could be found on the extended reissue of his 'Flying Frames' debut LP on Innovative Communication in 1989. It features the soulful voice of Sheryl Hackett. An extraordinary groover that is meandering between song and jazz improvisation. Eoism (Pulse Drift, Undersound, Inch By Inch) complete the a-side with some low-swung electro flavors, driving you straight into sunset. On the b-side Voertuig (Tonal Oceans, Cobra Club) hit us with a serious and raw acid jam - dark and dirty. On the following track they show us their experimental jazzy side and cool things down again. A track the 1990s downbeat era was missing. Eoism close the first volume of FUTUR with a floating, futuristic banger from their lab. Benedikt Meger's aspiration for funkscapes was always to feature funk grooves, old and new, fresh and relevant for today. Whether some rare, not so rare or just under the radar recordings from the past or new productions from today's artists across different electronic genres. This idea now culminates into the selection for the compilation FUTUR. Enjoy the ride.

Across the last 15 years, Ryan Gustafson of The Dead Tongues has emerged as one of modern folk’s most distinct voices. As idiosyncratic and spectral as the songs have sometimes been, Gustafson has always tied his visions and verses to the kinds of hooks you tuck away like talismans, pulled out in case of emergency. Dust, Unsung Passage, Desert: The Dead Tongues’ albums remain some of the more compelling and curious works in their field on this side of a century. The latest edition to The Dead Tongues’ catalog, the song-centric and magnetic Body of Light and the discursive and wonderfully elliptical I Am a Cloud, is 16 complete tunes split across interweaving and disparate albums. Before heading to Betty’s, Gustafson spent a month at “the Shack,” a primitive and private structure in rural western North Carolina, working on new material and sorting through piles of poems, sticky notes scattered across the windows, and stacks of free writing streams of thought. Most of the songs were written during this time – the exquisite “Daylily,” a warm little gift for his partner, or “I’m a Cloud Now,” a fever dream of song and spoken-word about the toggle between identity and ephemerality. The creative energy was free flowing, deep and explorative, songs somehow coming together in a manner both freakishly fast and patient. In this energy and specific space the groundwork for the album was rooted, springing forth from the thick of the elemental and natural beauty these songs reference. The daylily on the cover of the album was picked from the land the shack is built upon - there’s a connection between the physical natural setting and the creative work itself, intertwined and natural bloom. Gustafson wanted to continue with that explorative energy once he got into the formal studio, allowing it to lead the group of players assembled – the albums feature performances by Jenn Wasner (Wye Oak, Bon Iver), Mat Davidson (Twain), Matt Douglas (The Mountain Goats), Joe Westerlund (Califone, Megafaun), Jeff Ratner (Bing and Ruth), and more. Gustafson wanted to dedicate the studio time to not just recording songs but also making something new, with new improvisations. The results feel at once casual and tremendous, the camaraderie and conversation between the players resulting in pieces that are lived-in but new. “Baby there ain’t no rules here/We can just slide,” Gustafson sings at the start of Body of Light’s opening title track, establishing a collective credo inside this gorgeous anthem about finding sanctuary with someone else. Notice how it seems to nod to flamenco before lifting into electronic abstraction, or how Wasner’s harmonies summon the deepest Southern soul over electric phosphorescence. And then there’s “Dirt for a Dying Sun,” where freight-train harmonica and spectral guitar frame a romantic dust-to-dust realism, where the best we can do is live wildly before we die. The characters on Body of Light are restless, damaged, and beautiful, whether clinging to an underground amid gentrification’s high rises during “Wolves” or holding on to the most intoxicating wisps of love during “Moon Shadow.” The band plays as if they’re just meeting these people for the first time, responding with an admixture of recognition and astonishment. The collected crew takes that approach to the next plane on I Am a Cloud, an intersection of Gustafson’s tone poems and top-tier improvisation. “Formations” is an exquisite instrumental, a soul-jazz dream of horns and bells, bejeweled drones and broken rhythms. Remembering the birthday night he spent alone on an Irish cliff as the Summer solstice neared several years ago, Gustafson narrates “A Bridge” as if he’s peering into his own mind with wonder and surprise. The finale, “Even Here, Even Now,” is a spiral galaxy, with the songs of crickets, the hums of a Shruti box, and the touch of percussion lifting Gustafson’s mantric statement of purpose—to keep moving, to keep singing, no matter what may come. It is a wondrous piece of devotional music that seems to praise sound itself—the gift that can open us up, when we’re no longer sure that can even happen anymore. “Sometimes it’s hard to be anyone anywhere it seems,” Gustafson, his voice as understanding as empathy, sings to start the second verse of “Hard Times, Sore Eyes,” the farewell for Body of Light. That may read like a bummer, a concise and crippling encapsulation of our struggles to make meaning that’s as right as rain. But, really, it’s a permission slip to elide expectation, to try something different. Maybe in the past, Gustafson was seen as the singer-songwriter in a folk-rock band called The Dead Tongues. But when he started to let that go, he found something fascinating, new, and absorbing. Body of Light and I Am A Cloud are brilliant chapters written after Gustafson wondered if he’d closed the book, and they are, in turn, hard to put down.

soaring wayne phoenix story the earth and sky is the debut album from multi-disciplinary British artist Wayne Phoenix. Originally conceived over a decade ago as one part of an elaborate project encompassing music, film, and performance, story the earth and sky is not only a profoundly personal and vulnerable expression unbound by Phoenix’s exploration of creative potential and mystery, but a bridge beyond the artificial boundaries that separates us from an unfiltered voice found within all.

Diamanda Galás In Concert is not simply a live album. With nothing but a piano and the full expressive range of her extraordinary voice, Diamanda Galás strips away the comforting patina of time, tradition and stylistic convention to expose and express the raw human emotion that is the living heart of a song. It explores an eclectic range of material; rembetika, soul, ranchera, country and free jazz, and her passionate eviscerations reveal their hidden kinship. Four of the songs-O Prósfigas, La Llorona, Let My People Go, and Ánoixe Pétra are for and by the forsaken, outcast and debased; the other three are hardboiled love songs. '...In Concert' features select recordings taken from performances at Thalia Hall in Chicago, and Neptune Theatre in Seattle from 2017. The songs are drawn from disparate sources. Diamanda is of Maniati Greek and Middle-Eastern Greek/Egyptian origin, but she was born near the border of San Diego and Mexico,hearing the corridos, ranchera, and ballades daily, so the album draws deeply from both sources. Crucial to her performance are song types with ancient roots, primarily the amané, a vocal improvisation of Anatolian Greek origin. Amanés can be defined as a last prayer to the mother by a dying soldier, with the word amané itself possibly deriving from the Greek word mana, mother. Echoes of amanés can be heard in the Adhan, the Islamic call to prayer, but in origin it is a primal lament, expressing grief and loss. The origins of the amané are archaic; its spirit is urgent and timeless.

Geneva-based duo Bound By Endogamy delivers a heavy blend of rave, synth-punk, and industrial music. Shlomo Balexert and Kleio Thomaïdes are both prominent figures in the local squat and punk scene, having been involved in numerous projects over the past decade. Following several cassette releases and a remarkable debut 7'' on Lux Records, the band presents a self-titled album that combines raw, growling basslines, crisp analog rhythms, and passionate vocals ranging from breathy to fiercely cutting. On stage, the project consists of drums, a sampler, and vocals. Shlomo handles the drums alongside sharp synthesizers, while Kleio delivers powerful vocals reminiscent of a professional boxer. Expect a fusion of DAF and Kleenex with a hardcore edge.

Genius Loci exorcises the ghosts and spirits residing in the former munitions factory Het Hem, in Zaandam, Netherlands in the latest release on A State Of Flo. In contemporary usage, ‘genius loci’ refers to a location's distinctive atmosphere, or a "spirit of the place"... Genius Loci is a new album by sound artist Brian d'Souza (fka Auntie Flo). Genius Loci references the notion of the protective 'spirit of place' from ancient Roman times, d'Souza used a vintage accordion to capture the acoustic properties of the Het Hem building in Zaandam, Netherlands - enabling him to travel through time using sound. In this music, you can hear ghosts from a previous, more sinister time - the paranoia of cold war panic - echoes of misfiring bullets ricocheting around the 200m subterranean shooting range and the overwhelmingly vast vibrations of the main expo space. The music also instills a sense of hope, a wistful desire for a brighter and more peaceful future where the spirits are vanquished. Are we there yet? A former munitions and gun testing factory, Het Hem is a space full of character made up of a range of rooms that each hold a different acoustic property. On Genius Loci, d'Souza is interested in the connection between sound, space and time. He uses an accordion as a drone instrument to capture a variety of resonances using microphones placed around each room to tell a unique story in each song. The results are released as a vinyl 12” and digital download on d’Souza’s new A State Of Flo label and as part of an audiovisual interactive website which incorporates generative audio technology developed by d'Souza's Swell Studio in collaboration with The University of Arts in London. Recorded & mastered by Karl Choueiri at Modular Mind Studio Artwork and commissiong by Orpheu De Jong Visuals by Simon Dirks

Praxis “Can you hear it now?” she asked, her eyes reflecting the undulating ocean waves. I cupped my hands behind my ears to aid their search for her elusive sound. “I hear nothing. I’m trying my best, I swear.” We sat cross-legged on the highest rock we could find overlooking the tireless sea. This was the third time the mysterious woman had invited me to this place. Together we’d spent countless hours absorbing the whispers of the tides, searching for meaning in the mists as water leapt into proud standing stones along the shore. I’d never even asked her name. Somehow, that all seemed unimportant to what we had together, not that I could describe it in words. We just both knew without need for explanation. I think that’s why I continued to return. The woman smiled as she often did, yet managed to look anything but happy. She tucked locks of hair behind her ears, the color of dust and faint shadows. Her vibrant dress fluttered in the salty air. Tucking my legs under me, I rocked back and forth. To be truthful, I hadn’t any idea what drew me to her in the first place. Something about the way she’d offered her slender hand, inviting but not obligatory. The way her hips swayed with the ocean undercurrent as she walked. Her hazel eyes, always searching. The woman’s smile grew. “You’ll hear it one day,” she said. “I know you will. I can’t be the only one. Maybe if I described the sound to you.” “You’ve tried,” I told her. “I only hear the wind and the waves. I hear the gulls calling above. I hear the cars passing by, the crickets and toads. I hear all that there is to hear.” She sighed, and then remained silent for a long moment. “Do you trust me?” she asked. I opened my mouth to answer but held myself back. We’d hardly spoken a word between us, her and I. I didn’t even know her name. But I was about to tell her with confidence that yes, I trusted her. Again, she smirked without joy. “I want you to follow me.” Before I could reply, she stood and offered her wanting hand. I clasped her fingers in mind and joined her on a stroll through stone and sand. We traversed the landscape along the beach, further from town than I’d ever been. The sun faded further into the pastel sky. Like a dream, time ceased to exist. By final breath of sunset, we’d reached a cavern of rock cut into the cliff side. The woman’s dress reflected the oranges and pinks of the sun peeking over the horizon. Her form glowed within the vastness of the dark cave. I stopped. “Where are you taking me?” Her eyes flickered with a purposeful blink. “Do you trust me?” she asked me again. I thought hard about it this time. The answer had seemed so clear, watching the beauty of the sea from above. Yet here in the mouth of darkness, my mind raced for reasons to answer no. Holding out her hand, she smiled like an overcast sky. I took a deep breath and looked into her eyes, now more green than hazel. They were filled with a sense of longing and a hint of sadness. I realized that I did trust her, despite not knowing anything about her. Without further hesitation, I took her hand and followed her into the cave. As we walked deeper, the darkness enveloped us. I couldn't see much beyond the faint light coming from the entrance. I could hear the echo of our footsteps and water dripping from the cave ceiling. The air grew colder and damper. I could feel a chill running down my spine. We walked for what felt like hours. I was about to ask her where we were going again and why, but she suddenly stopped. She let go of my hand and walked a few steps forward. I could see a faint light coming from further inside. I followed her, and as we approached, the light grew brighter and brighter. We finally reached the end of the cave. It opened up into a large chamber, and the light was coming from a small pond in the center. The water was crystal clear and the walls of the chamber were adorned with intricate carvings and paintings. I couldn't believe my eyes. The woman turned to me and smiled. "This is where you'll hear the sound," she said. "It's the sound of the ocean. The real sound of the ocean. The water in this pond is connected to the sea and it brings the sound with it." I listened carefully and sure enough, I could hear the new sound of the ocean. It was faint, but it was there. I was amazed. The longer I listened, the more I realized that it resembled music, more than nature. It fell into perfect rhythm with the beating of my heart. "How did you know about this place?" I asked her. She looked at me like falling rain. "This place has been a part of my life for a long time. I come here to listen to the sound of the ocean and find peace. But now it's time for me to move on." I didn't understand what she meant. "What do you mean, move on?" She watched me carefully. "I have to leave this place. I can't stay here forever. Nobody can. But I wanted to share this place with you before I go. I wanted to show you that there's more to life than what we

Rapid Light is the first quartet in Lauritz´s own name, formed in the winter of 2023. The quartet recorded this album in February 2024 in Studio Paradiso, Oslo, Norway - Together with the great sound engineer Christian Engfelt. Rapid Light is a result of a need to create a raw, powerful and open musical landscape where the musicians can thrive and explore together. The tunes are inspired by my love for strong melodies in orchestral film music and the raw energy and creativity in American and European free jazz. I have put together a band with some of the most inspiring and interesting musicians I know and I believe that together we make up a powerful quartet, which with the help of melodious compositions, great rhythmic drive, and a sincere urge to explore, conjures up a raw and energetic primal force.

おどろおどろしくも暖かく、瞑想させる秀作です。ギターと電子音でカルトな魔術盤を残してきた米国の秘宝人、Master Wilburn Burchetteの72年盤が〈Numero Group〉よりアナログ再発！ギターの弦が持つ暖かな揺れと、墓地→宇宙シンクロな発光電子音の絶妙な温度が良い。Nurse With Wound系インダストリアルからAsh Ra Tempel以降のクラウト/サイケ、〈Creel Pone〉もの、〈Wah Wah〉の電子音楽再発部門、〈Feeding Tube〉の怪しげな再発やBobby Beausoleilなんかのファンも響く1枚！

Driven by lust-fueled limerence and drifting far from conformity, Butterflies Don't Go Away captures Majesty Crush's transient, yet subversive mark on the landscape of American shoegaze to come. Tracked between 1991-1995, the quartet reimagined the collapse of the American rust belt as a late-night, nail biting fever dream/revenge fantasy. This deluxe 2xLP compiles their Love 15 album, singles, EPs, and rarities, all remastered from the original tapes, with thorough annotation and visual documentation in a 24-page booklet. An immortal transcendence if there ever was one.

We have curated an LP of original Ya Ho Wa 13 and Father Yod and the Spirit of ’76 (the musical projects of the iconic spiritual commune Brotherhood of the Source) music from their rich and prolific recording history. For those not familiar, Ya Ho Wa 13, formed in 1973, are regarded as one of the most extreme, groundbreaking and influential psychedelic rock bands in history.

New music from XT (saxophone player Seymour Wright and percussionist Paul Abbott) in the form of an exhilarating, super compressed, reflective re-assembling of a dozen years working together. Re-animating free improvisation with a Chicago house palette, Deorlaf X is made up of frenetic slabs of mutated multiphonics and triggered percussion, suspended in bouts of possessed reflexive quiet.

Where the duo’s 2019 release Palina'tufa on Empty Editions focused primarily on a response to the real (and imagined) landscapes of Hong Kong, Deorlaf X is located in Dalston, and specifically at OTO. Wrung through Shuan Crook’s studio over three nights, the recordings dug from XT’s archive aren’t simply ‘duo’ - instead they actively draw on their public and social contexts, involving the influence of audience, engineers and other visiting musicians - Ghédalia Tazartès, Jamaaladeen Tacuma, Senyawa, RP Boo and others. “A changing cast of OTO guests, audience and emotions hosted each time in a new London. XT structures sound an ongoing attempt to listen and learn about the rich and transformative affordances of the situations we occupy.”

The resulting record puts a pin through a dialogue between Abbott and Wright, between histories, potentials, fact, fiction, ideas, friends, audiences, and spaces. The heavy use of referencing recalls the footwork or house traditions of sampling across all manner of influences; what’s recalled is primarily the structures of jazz - Ornette Coleman, Charlie Parker, Anthony Braxton - but also Ann Quin, Clarice Lispector, Anna Halprin. What’s created in recall is a kind of diary, a hyper re-membering - a blisteringly warped kind of future music. 

System Music x Innamind Recordings present INNASYSTM001

Volume 1.
A1. Versa ft Âellin - Darkness
A2. Gantz - Bye Mickey
B1. Cimm & Silkie - The Celestials
B2. Bengal Sound - Mergo
B3. Ago - Sancta
C1. Karma - Off & On Again
C2. Epoch - Generation
D1. Headland - Gaspar
D2. Quartz - Love Or Hate
D3. LAS - Winter Dreams