"Here is the first volume of protean solo improvisations recorded by Loren Connors in his artist's garret in New Haven, Connecticut. It was committed to tape on February 20, 1979 and pressed to vinyl soon after. As with the two earlier LPs on Loren's Daggett label, singer/recorder-player Kath Bloom also appears on this record, although only on the second side. Those prior LPs were both issued in 1978, The first was Acoustic Guitar/Gifts a split LP with Loren solo on one side and with Kath joining him on the flip. The second was Fields, which I have been assured uses the same split format. Although most people cannot help themselves from believing all nine volumes of this series (all of which we will be reissuing) are of a piece, the first volume represents a real declaration of identity for Loren. He was introducing himself publicly as a guitar player, although his approach was still very much dictated by the influence of the painter, Mark Rothko, who Loren once described as using a minimal palette to create vital art. The music on Unaccompanied Acoustic Guitar Vol. 1 is less violent than the solo side of the Acoustic Guitar/Gifts split. I've never been able to hear a copy of Fields, so I can't compare that one. But the feel to this session is bluesy, in as much as Loren's wordless vocals have a surface similarity to a hellhound's, and while he was not using a slide, most of the notes he plays are bent to the edges of their known range. Fahey always said blues was 'about' anger, however and there's not really any of that here. I am more reminded of this Rothko quote. 'You've got sadness in you, I've got sadness in me ... and my works of art are places where the two sadnesses can meet, and therefore both of us need to feel less sad.' The first side is solo. On the second Loren is joined for a bit by Kath on hums and recorder. The music brims with sorrow more than anything else. And while it's clear Loren was embracing an abstract avant garde aesthetic vis-a-vis his playing, the urge to communicate seems to lie at its roots. Whatever you choose to call it, this is the beginning of something quite beautiful." --Byron Coley, 2020

Last available copies, RSD 2020 release. Following the release of Milton Nascimento's Maria Maria (FARO 215LP), Far Out Recordings present Nascimento's 1980 follow-up. With the success of Maria Maria in 1976 behind them, Nascimento reunited with his writing partner Fernando Brant in 1980 to produce another ballet, Ultimo Trem (Last Train). This time, they chose to tackle a more contemporarily relevant subject, the impact of the closure of a train line that connected certain towns and cities in the North East of Minas Gerais to the coast. "The military government shut down the route and the whole region began to fade away," explains Milton. "I love train rides" adds the composer, "But today there are almost no trains to Brazil..." Featuring much of the same all-star line-up as Maria Maria -- including legendary Brazilian musicians Naná Vasconcelos, João Donato, Paulinho Jobim, and members of Som Imaginário, amongst many others, like Maria Maria, the album holds what Milton himself considers to be the definitive versions of some of his most beloved tracks, including "Saídas E Bandeiras" and "Ponte de Areia". The title track, "Ultimo Trem" -- performed exquisitely by Zezé Mota with a choir and piano -- is a mournful lament about the human consequences of the axed line. "A Viagem (The Trip)", launched with a train's steam whistle, sees Milton's guitar moving to a train's rhythm. "Bicho Homen (Beastly Man)" and "Decreto (Degree)" are atypically upbeat and funky, their vocals a mesh of wordless male voices resembling the then fashionable Swingles Singers' renderings of Bach. "E Daí? (And So What?)", and "Olho d'Agua (Water's Eye)" were both drawn from Clube Da Esquina (1972). The unusual "O Velho (The Old Man)" conjures up an image of an old shaman singing alone into the wind against the cries of nature. Perhaps the most affecting songs are Nascimento's "Itamarandiba" and "Oração (Prayer)". The latter is a cry for a change in the situation whilst "Itamarandiba" ends with an upbeat, whirling Hammond organ and guitar timepiece. The closing track "Ponta de Areia (Sand Edge)", was based on one of Fernando's newspaper stories and became one of Milton's most famous pieces, covered by musicians such as Wayne Shorter and Earth, Wind and Fire. After 27 years of being locked inside contracts and record company legalities, these sublime songs were finally released in 2003 as a double-CD package, along with Maria Maria. This is the first ever vinyl release, on limited edition red vinyl, for Ultimo Trem.

Late 2020 RSD release. Lee Scratch Perry and long-time collaborator Daniel Boyle, team up once again to deconstruct Max Romeo's sell-out double-vinyl album, Horror Zone. Into an eight-track journey into the deepest and heaviest of dub albums to hit the streets in recent decades. After collaborating on a number of award-winning vinyl albums, box sets, and singles totaling over 80 songs together, they are back once again with this special, limited edition vinyl dub album. The original Horror Zone album was recorded live, using vintage Black Ark equipment to recreate Lee's famous lo-fi drum sound. With veteran Upsetter and Bob Marley and the Wailers musicians -- Glen Da Costa, Vin Gordon, and Robbie Lynn, alongside Daniels Rolling Lion All Stars session band. It has now been deconstructed and dub mixed live on Rolling Lion Studios SSL mixing console, using entirely vintage analog equipment including the same pieces from Lee's original Black Ark Studio. Driven by the idea to merge lo-fi and hi-fi. Merging the absolute best in class analog equipment available on the planet, with the very best vintage equipment from the 1950s-1970s. Glow-in-the-dark vinyl, with a hand painted cover by Ellen G. Limited crystal clear vinyl.

"Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin's music is some of the funkiest to arise from this unconquerable East African nation. Mesfin's recording career, captured in nearly two dozen 7" singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia's 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums -- the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin's uber-rare 7" single releases and from previously unreleased recordings taken from master tapes. Wegene gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7" single releases. Contains an oversized 11x11" 16-page book that tells the story of modern Ethiopian music and Mesfin's role within it."

"Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin's music is some of the funkiest to arise from this unconquerable East African nation. Mesfin's recording career, captured in nearly two dozen 7" singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia's 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums -- the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin's uber-rare 7" single releases and from previously unreleased recordings taken from master tapes. Mot Aykerim gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7" single releases. Contains an oversized 11" x 11" 16 page book that tells the story of modern Ethiopian music and Mesfin's role within it."

From the amazingly rich vaults of John Peel's BBC 1 Radio session recordings, comes one of the best punk rock compilations in a long while. Focusing on the less known side of the huge Peel Sessions catalog, Killed By John Peel comes stuffed to the rafters with mind blowing and little known gems, from the opening track with French synth punk pioneers Metal Urbain and the incendiary recording of their hit "E-202" to the closing with the kick ass power pop punk hit "She's Alarming" by the Wasps, each and every single track on this monster of a record presents a band at their prime giving it all at the legendary BBC Radio 1 studios. Absolutely essential! Also features Outcasts, King, Rudi, Idiot Dancers, The Cortinas, Alternative TV, Skids, Scars, The Lurkers, The Flys, Funboy Five, and Pragvec.

"Fourteen of the Godfather of Gore's finest attractions, restored from original and best surviving vault materials. High Definition Blu-rayTM (1080p) presentation of the features and extras seven blu-ray discs."

Last copies, RSD 2020 release. Far Out Recordings present a special "poisoned vinyl" edition of Ivan "Mamão" Conti's critically acclaimed Poison Fruit album. The 180 gram, splattered color LP is accompanied by an exclusive bonus 7" with a previously unreleased track from the original Poison Fruit sessions "Katmandu", and "Ninho", a track never before released on vinyl. From an artist in their seventies, you probably wouldn't expect to hear an album like this. But Brazilian drumming legend Ivan "Mamão" Conti has been experimenting and innovating for the last half a century. As one third of cult Rio jazz-funk trio Azymuth, Mamão was at the root of the group's "samba doido" (crazy samba) philosophy, which warped the traditional samba compass with jazz influences and space age electronics. Even with his lesser-known jovem guarda group The Youngsters, Mamão was experimenting with tapes and delays to create unique, ahead-of-its-time sounds, way back in the sixties. More recently Mamão recorded an album with hip-hop royalty Madlib under the shared moniker Jackson Conti. With his first album in over twenty years, and the first to be released on vinyl since his 1984 classic The Human Factor, Mamão shares his zany carioca character across eleven tracks of roots-y electronic samba and tripped-out jazz, beats, and dance music. Featuring Alex Malheiros and Kiko Continentino on a number of tracks, the Azymuth lifeblood runs deep, but venturing into the modern discotheque (as Mamão would call it), Poison Fruit also experiments with sounds more commonly associated with house and techno, with the help of London-based producer Daniel Maunick (aka Dokta Venom) and Mamão's son Thiago Maranhão. Take a bite of Mamão's psychoactive papaya and join the maestro on a weird and wonderful stroll through the Brazilian jungle.

Just what you need in these end times -- Cardinal Fuzz (Europe) and Feeding Tube Records (N. America) -- a vinyl issue of the killer CD comp that SS Records released way back in 2004 with a couple of added treats. Brace yourself for some stellar hair-singeing, full-throttle wipe outs across four slabs of heavy black vinyl. Monoshock was one of the best bands of the '90s and if they were from Seattle and not Illa Vista and Oakland, California you would already know that. During their six years they released a handful of 7"s, served as a backing band for Von Lmo, and created one of the classic psych albums of all time, Walk to the Fire (1996). In the last few years, they received praise from around the globe, raved up by Julian Cope as one of the great unknown bands of the '90s and cited as an influence by current heavy favs, Comets on Fire, as well as a whole slew of Japanese psych bands. Monoshock is fuzz-fuel, wah-wah damaged, riff-crazed punk rock which draws in Hawkwind, the Stooges, Simply Saucer, and other psych-punk gods. This double-LP collects all their 7"s and comp tracks together with seven previously unreleased tunes and two songs from their ultra-rare 1989 demo tape and two added digi bonus live tracks from their reunion shows. Fans will be overjoyed. Virgins will become fans. The band's stellar Walk to the Fire has been acknowledged as one of the classic psych albums of all time. Comes with a folded A3 double sided insert.

"Here is the second solo LP by the wonderful London-based singer/multi-instrumentalist Alison Cotton. Originally issued on cassette by the mighty Bloxham Tapes, just about everyone who heard Only Darkness Now suggested it might make for an excellent LP. And hey -- they were right. Alison's debut LP All Is Quiet at the Ancient Theatre (FTR 424LP) received wide ranging critical acclaim from placing in the Guardians Writers 'Album Of The Year' to placing in the Quietus 'Albums of the Year'. Ms. Cotton has a storied past performing with Saloon and The Eighteenth Day of May, and she still may be found doing likewise with The Left Outsides . . . Only Darkness Now begins with a sidelong instrumental track, 'Behind the Spiderweb Gate,' during which Cotton displays her immense drone chops, organizing rich, thick layers of viola, Omnichord, and voice into the soundtrack for a totally immersive trip. The effect is such that seconds become minutes and as time stretches till eventually, in the peak, time ceases to have any meaning whatsoever -- a beautiful state to be transported too as everything slows down. You could spend a whole year listening to this one. The second side starts with 'In Solitude I Will Fade Away,' a collage of Alison's voice, twinned and then some. It's short and sweet with just a little drumming to move things along. 'How My Heart Bled in Bleeding Heart Yard' brims with as much longing as it title suggests. It opens with a long instrumental passage, emphasizing the human pace of a harmonium's breath patterns, soon joined by a viola, also offering tones of a very human quality. All of this swells into a chorale of immense and mournful depth before being joined by Nico-like vocals that raise a wordless alarm. 'The Hill Was Hollow' is a short mystery for percussion and violin. Unravel at your own peril. Finally there is 'Shirt of Lace.' This is a studio recording of one of Alison's regular live covers. The song is by the late Dorothy Carter (a visionary American musician whose work bridged experimental and medieval musics) and Cotton's version is a sheer blast -- her vocals curling and twisting high above a supple bed of key drones, string plucks and sliding arco passageways . . . one of the very few albums I can name that matches the cold fire of Nico's Marble Index and it does so without taking a single step that isn't purely Alison's own..." --Byron Coley, 2020 Edition of 300.

Dateline unknown -- emanations from a planet in meltdown. The universal cosmic event tracker estimates between 22 to 52 points of possible physical contact with The Band Whose Name Is A Symbol but it has lost count. This Canadian improv unit have over the last few years started to get the gushing love and attention they have always deserved. Like all the best artists, they do not fit snugly into any genre -- as from one moment to the next their ability to create cosmically juiced up and fucked up music which in many cases when played and recorded was the first time and last time said tracks will ever be played. This has proven to be the case time after time across too many releases to mention (no wonder Damo Suzuki always calls on TBWNIS to back him up). If you said Berserkir Volume II could be the pinnacle, you would yet again be getting caught up in the moment of magic they spin on you. Berserkir II contains four long tracks of hypnotic and freaked out cosmic haze (all recorded in the same four-hour session that yielded Berserkir Volume I). There are zero overdubs whatsoever and no studio gimmickry. The pieces are framed by supercharged, blistering, psychedelic dual guitars, pummeling rhythm, mutated; Miles-inspired flights of free form trumpet and flowing synth drones touching side excursions into the depths of alien prog. One may well be compelled to crank this up loud and leave speakers and mind, shattered and melded together in a smoldering heap on the floor! End of transmission...

2020 restock; LP version. The Bureau B label reissues the first solo record by composer/poet Hans-Joachim Roedelius, one of the most prolific musicians of the German avant-garde and a key figure in the birth of Krautrock, synthesizer pop and ambient music. Durch Die Wüste was originally released in 1978 on Sky Records, and fans of German electronica awaited the LP with particular anticipation, as the founding member of Cluster/Kluster/Harmonia had played a major role in the development of synthesizer music. They were in for a shock, however, as Durch Die Wüste turned out to be anything but an electronic album; in the avant-garde landscape of popular music, the record was a beacon of innovation. Initial reaction was rather less auspicious, centering around the question: what did this music have to do with Harmonia and Cluster? Anyone who has listened carefully to Cluster's 1974 effort Zuckerzeit will have come to recognize Roedelius' stamp on this and all subsequent Cluster and Harmonia albums. Just how far Roedelius would develop his own compositional technique and mode of playing would only become obvious when he was set free from the ensemble environment. Listeners at the time were baffled by just how little electronically-generated sounds were a feature of the album. Synthesizers and electronic effects did play a part, but Roedelius integrated them so seamlessly into the arrangement, that one barely noticed them. The rhythm machine was relegated to the status of metronome. In fact, Roedelius' decision to distance himself from electronic music, rigid in structure as it had become, and turn to a new form of musical expression, is what really gave the album its experimental character. Recorded over a 2-year period assisted by engineer Dave Hutchins and Conny Plank, who also contributed his unmistakable guitar and percussion style, and Dieter Moebius, who, in spite of everything, set a few significant markers with the synthesizer. There is a space-y, organic, relatable warmth to this record that absolutely transcends time. This reissue is pressed on 180 gram vinyl and comes in a glossy inner sleeve with notes by Asmus Tietchens.

2020 restock; on purple vinyl. Originally released to much acclaim in 1981 by Rough Trade, Heartbeat was the first in a long line of groundbreaking albums by Chris Carter and Cosey Fanni Tutti. This early example of Chris & Cosey features cut-up sampled voices, Cosey's disto-guitar, industrial sequences, melodious synths, and cinematic sweeps. Includes a 12" B/W double-sided insert of archive photos, clippings, and texts.

"There are moments of great beauty like 'Moorby' and, equally, many moments of sheer depravity all performed with Kraftwerk's cultured class and the hypnotic charm and deadly grace of a synthesised cobra." --Steve Sutherland (Melody Maker, 1982)

"All the world loves a love story... but Heartbeat still has an edge of evil among the extensions of the pair's established scenarios." --Sandy Robertson (Sounds, 1981)

2020 restock. Berlin mainstay Ricardo Villalobos delivers the Mandela Move EP, a four-track EP of freshly stripped-back dancefloor movers saturated in brilliantly clever, unorthodox, and masterful sound design. Arriving as the second release on the Deset label, Ricardo Villalobos offers his incredible production talents to the blossoming Italian label, already heavily desired by both discerning DJs and punters alike. "Mandela Move" is a patient club cut in true Villalobos style: loopy, track-y, and trippy. Sonically shapeshifting in different directions, surprise percussion changes, perfectly sourced samples and a storytelling theme from start to end. "Frontec" is a shimmering 13-minute banger focused on only the most important elements and effects. Live percussion and fantastic tones sprinkle throughout with creatively tuned bells and whistles scattered across in a way only Ricardo can do. "Ectroscop" comes complete with some fuzzy bass frequencies and twisted vocal samples which rest under the surface. The loose rhythm structure and general freedom of the track confirms a true dance cut destined to be a favorite for the crowds listening closely. "Beetglass" is centered around a shuffling house foundation with huge synth swirls which come seemingly out of nowhere. Truly a primetime Villalobos banger if there's ever been one. Destined to lift the heads off the lucky folks on the floor when it's played.

Restocked; 2020 repress; gatefold double LP version. Alessandro Cortini is best known as the lead electronics performer in Nine Inch Nails' live unit. His recordings under his own name have gained prominence in recent years and he has become known as one of the pre-eminent Buchla masters in North America. Cortini makes a surprising departure into the 202 on his debut album for Hospital Productions -- Sonno. Sonno was recorded in hotel rooms, using a Roland MC 202 through a delay pedal, recorded direct, sometimes into a small portable speaker system. "I liked to walk around the room with a handheld recorder to hear where the sequence would sound better, turn on faucets, open doors or windows to see how the ambient sounds would interact with the MC 202/delay/speaker sound. It was very relaxing and liberating to make music this way." The result is a beautifully restrained yet oddly emotive album that's quite distinct from the overly academic approach so often undertaken by hardware-driven devotees. Mastered by Matt Colton.

Christmas restock! Vin Du Select Qualitite's resident mystic Anthony Pasquarosa conjures up the holiday spirits with an alchemically enchanted collection of Christmas classics. Utilizing his unique 12-string acoustic guitar sensibilities, Pasquarosa's versions of all-time favorites such as "Frosty the Snowman" and "White Christmas" take on an added dimension and shine, a frosted winter glow that sets the mood for warmly introspective holiday moments. Throughout the record, crackling fireplace sounds run alongside the tracks to provide further ambiance and seasonal merriment. Raise a cup of eggnog with Magic and Warmth at Christmastime.

"In modern experimental music, and especially among a number of musician-composers emerging in America during the Sixties, a fixation on process and awareness became a structural hallmark, exploring the gradual change of sonic materials, built environments, and the human body. Though much maligned as a term by its practitioners, figures like Steve Reich, La Monte Young, Philip Glass, and Terry Riley were among these 'minimal' composers; askew of them were electroacoustic explorers like Alvin Lucier, Robert Ashley, and David Behrman. In recent years, composer Sarah Hennies (b. 1979) is forging new paths of reduction and expansion. Spectral Malsconcities (2018) consists of six linked and varied sections; it is constructed in a way that ensures the musicians are never completely in sync, and in fact they generate sounds that continually destabilize the standard ensemble goal of togetherness. As Hennies put it recently, 'this piece is an example of performers elevating something beyond what I thought it could be. I wrote a piece that I thought would intentionally create mistakes. You ask somebody to repeat a very different polyrhythmic contrapuntal page of music 25 times, and it is going to fall apart at some point and then come back together. However, the musicians are so good that they played it exactly as it was written, which is better than what I thought it would have been if they were messing up...' Taking its cue from a two or three player-one vibraphone piece called Settle, which was composed by Hennies in 2012, Unsettle (2017) is a spare and summarily weighty composition that finds space monolithic and driving. The score is economic, taking all of two pages to spin out 33 minutes of music. It begins with una corda fluttering, the passing of time held in single E notes bent at the edges and limned by vibraphone haze, gradually augmented by rumbling clusters and brassy, clanging bells. The inflection and increase in density among otherwise apposite events create an extremely intense landscape of tension without release, though powerful as well -- the closing minutes of pedal movement, muted piano strings, and bell clatter (à la Iannis Xenakis' Bohor I) lead into prepared twang and supple metallic accents. Ditto the shock of vibraphone and muted clamor at minute twenty, carrying enough distorted overtones to defuse one's skull. Sublime and utterly physical, explosive and statuesque, Spectral Malsconcities and Unsettle are complementary works that display another rich stage of Sarah Hennies' practice. Her world of creativity is welcoming, but like all art of significance, you have to do the work in order to share in the experience. At the end, and wherever that end is, the rewards will be great."

America Lament is a panoramic musical survey of legendary experimental composer/event-maker Charlie Morrow's eclectic works. At just over 40-minutes, America Lament is mysterious, beguiling, and jubilant, comprised of pieces employing everything from hand-made electronics to Irish lap pipes, ecstatic jazz to Schubert recompositions, ambient flutes, and a string quartet. Charlie Morrow and Recital's Sean McCann excavated 50 years of Morrow's bottomless archive, from 1970 to 2020, to present this follow-up to 2018's Recital release Toot! Too (R 041LP). Charlie Morrow (b. 1942 in Newark, NJ) is a composer, sound artist, performer, and innovator. With concert performances and ad jingles (including Hefty trash bags -- "Hefty, Hefty, Hefty! Wimpy, wimpy, wimpy!"), city-wide events and film soundtracks, museum sound installations and hospital sound environments, Morrow's work has been experienced by a wider audience than most creative artists can claim. Charlie's music has a melody and depth to it that is absent from a lot of avant-garde music. His keen interest in all musical styles seem to inform this harmony. Charlie's drive to interconnect people and ideas is contagious and affirming. 20-page booklet with program notes, scores, and an interview between Morrow and McCann; edition of 300.

2015 release. Then it was time for the man himself, Wolfgang Voigt. This, to put it simply, was a masterclass in ambient music. The sounds, beautiful; the transitions; perfect; the experience, unforgettable. The sound emanating from his quite simple set up filled up the church completely, in a room lit only by a few candles, his music shone through and brought everything to life. Everyone and everything became one with the music, moving with its ups and downs, delighting in its near perfection.

Black Truffle present Meith, a new composition in two parts from prolific composer/theorist François Bonnet. Usually operating under his Kassel Jaeger moniker, Bonnet is a major figure in contemporary electronics and electro-acoustic music, collaborating with artists such as Lucy Railton, Jim O'Rourke, and Stephen O'Malley, and releasing his work on labels including Editions Mego, Senufo, and Shelter Press. Always meticulously detailed yet immediately affecting, Bonnet's work situates itself at a very personal intersection between the traditions of academic electronic and electroacoustic music, and a more shadowy, underground group of approaches to experimental sound: kosmische musik, the tape murk of the 1980s underground, the haunted ambience of Christoph Heemann & Co. Meith immediately welcomes you into its densely layered sound world of electronic tones, positive organ, and unidentifiable field-recorded textures. Almost static yet constantly in flux, it deliberately opens itself up to repeated and varied listening: from a distance, its many voices cohere into a monolithic plane of sound, while closer inspection reveals myriad details and momentary events. Like a drop of ink spreading through water, harmonic material present in one voice gradually fans out into the whole arrangement, creating fleeting moments of unity amid the constantly shifting waves of tone and texture. Far from the austerity of some contemporary electro-acoustic music, Meith affects the listener as overwhelming organic; its individual layers are unstable and at times near-chaotic, imbued with life. Though it can appear almost formless, the piece undergoes major shifts throughout its duration, from the austere dissonance of the opening moments to the surging harmonies that appear midway through the second side before the piece gradually dissolves into a spectral glimmer.

Nomadic Australian cellist and composer Judith Hamann presents two collections of her sonic inquiries into shaking and humming. Her CD, Music for Cello and Humming, features two pieces for cello and humming written specifically for Hamann by composers Sarah Hennies and Anthony Pateras alongside Hamann's own "Humming Suite" and "Study for Cello and Humming." Having arisen intuitively from Hamann's investigations into shaking, just intonation, psychoacoustic phenomena, and the voice in relation to the femme presenting body in performance, humming here also references dislocation, or ventriloquism. Although teetering on the edge of audibility, the intimate and vulnerable closed-mouth sounding enters into subtle interference with her cello, drifting into acoustical beating and bringing instability to otherwise more formal grid structures. The capacity for rupture of this volatile fragility reaches its apotheosis on Hennies' "Loss," a piece that deliberately instructs Hamann to hum beyond the limits of her voice range. Going against the grain of chamber music orthodoxy, the guaranteed failure set in motion by this instruction yields a generative sound of effort reminiscent of Xenakis's storied desire for an instrumentalist to play with the sorrow of knowing they can't do everything. With an arc suggestive of sudden life change, "Loss" casts queer epistemology onto composition, positioning failure, undoing, unbecoming, and transforming as alternative ways of knowing or being. Hennies's signature composite merging of individual components here brings oral sounds that include breathing and coughing together with humming, cello, and sine waves. Like Glenn Gould's 1982 Goldberg Variations or Pauline Oliveros's Accordion and Voice, this timbral meeting of bodily utterances with consummate musicianship imbues Hamann's humming work with a breakable, human strand, here as humbling as it is uncomfortable. Music for Cello and Humming is accompanied by an essay on both recordings by Nora Fulton. It's presented alongside the LP set, Shaking Studies (BF 017LP). Judith Hamann undertook her doctoral studies with renowned cellist Charles Curtis, with whom she is currently engaged in a discourse-based project, "Materialities of Realisation." She has additionally demonstrated a superlative capacity for improvisation and engagement with sonic arts through work with artists Dennis Cooper, Éliane Radigue, Áine O'Dwyer, Ilan Volkov, Toshimaru Nakamura, La Monte Young, and Marian Zazeela, Golden Fur, Jessika Kenney, Anna Homler, Yvette Janine Jackson, and Lori Goldston, among others. Her recorded appearances include Tashi Wada's Duets, Graham Lambkin's Community, Alvin Lucier's Illuminated By The Moon, and Gossamers, with Rosalind Hall. Edition of 500.

Faitiche presents a new album by Frank Bretschneider. abtasten_halten was made as part of the raster.labor installation first presented at CTM Festival in 2019. It is perhaps the most radical work in Bretschneider's distinctive oeuvre: abtasten_halten is a self-generating composition for synthesizer modules whose sole sound source is the movement of two VU meter needles. The resulting percussive sounds coalesce into rhythmic combinations -- all random, without repetition. The album resembles a meditation on infinite rhythmic variation. Includes download code.

Frank Bretschneider on abtasten_halten: "abtasten_halten (sample_hold) is a largely self-generating composition for a modular synthesizer system. Self-generating here means that as soon as a current flows, the various modules interact, but within limits set by the composer via the connections between the modules (patches): timing, tempo, timbres, dynamics. These conditions are kept variable to a certain extent or left to chance, so that the composition created is always similar but never the same. On the one hand, the use of random generators opens up possibilities that would not otherwise have been considered. On the other, it offers the fascination of the unfinished and the unique: totally unexpected musical events that you might hear only once. abtasten_halten combines my preferences for percussive music in general and electronic music in particular. Largely avoiding repetitive structures, the piece is more like a free improvisation, quiet and diffuse, but also extremely dense, in ever-changing contrasts and transformations. The tone generators are two modified VU meters whose needles, driven by trigger impulses, create a simple one-bar pattern by hitting against a metal spring that is connected to a piezo element. The tempo is continuously varied over a period of about ten minutes by several mutually modulating LFOs, ranging from about 0.06 Hz up to the lower audio range of about 18Hz. The percussive sounds thus obtained are then passed through low-pass filters with moderate resonance and random frequency modulation to additionally color the sound. Further processing is then executed by an echo module whose tempo and repetitions are again determined by random parameters. Finally, the audio signal is occasionally enriched with reverb to add more spaciousness to the sound."

Imara present a reissue of Ofege's debut album Try And Love, originally released in 1973. Music history is full of miracles and wonders. Ofege is certainly one of them. It's quite easy to imagine this band's story turning into a movie. In 1973, a bunch of teenagers with an abundance of passion for music got their hands on the official school band's instruments and jammed away. Inspired by the psychedelic rock sounds and guitar wizardry of Carlos Santana, Jeff Beck, or Led Zeppelin they wrote an album worth of songs and decided to have them recorded. The goal was to press them on vinyl -- one copy for each band member -- as a souvenir of the fun times they had together before their school careers would rip them apart. Shortly after, they found themselves with a major record label contract in their pockets, propelled to stardom in their hometown of Lagos/Nigeria and soon across the whole country. Three studio albums followed in the years to come. The unavoidable enviousness and bickering over "who's the true band leader, who's gets the most love letters" and such led to alterations of Ofege's line-up and subsequently to its decay in 1978. With the turn of the century, Ofege's coming-of-age drama has fortunately found a new generation of fans across the globe and will certainly continue to do so with this dearly needed reissue. It's true what they say: Life's writing the best stories.

LP version. Includes 7". Orange vinyl. On Rastilho, Kiko Dinucci absorbs the lineage of Brazilian guitarists such as Dorival Caymmi, João Gilberto, Baden Powell, Jorge Ben, and Gilberto Gil -- yet filtered through his uniquely "punk" musical vision. His style is raw -- technically, he seems to attack the guitar strings, lyrically he explores Afro-Brazilian culture, slavery, Brazilian revolutionaries, candomblé, and evangelical Christianity. Dinucci is one the most innovative artists in contemporary Brazilian music -- as well as a member of Metá Metá, who combine elements of Brazilian music, candomblé, punk rock, and free jazz, he has worked with Tom Zé, Criolo, and Elza Soares. Kiko: "I've wanted to make an album dedicated to the guitar for a long time. As a child, I treated it as a toy. In my teens, with my guitar patched with pieces of sellotape, I tried to reproduce heavy rock riffs whilst finding inspiration in the Afro works of Baden Powell and guitars of Dorival Caymmi, João Bosco, Jorge Ben and Gilberto Gil. In the '90s my experience in the São Paulo hardcore scene was mirrored by time spent in candomblé activities -- both shaped the way I play guitar today." Features Juçara Marçal. Featured as one of Pitchfork's "Great Records You May Have Missed: Winter 2020". Previously only available in Brazil. Includes 7" with three additional tracks, one of which exclusive to the 7".

"As a luxurious aperitif for the future release of the Elements album (including its extra sauces), Munster Records bring us Macbeth, the staggering soundtrack by the English band Third Era Band for a Roman Polanski's film, recorded and produced in 1971. A magical invitation urging the listener to dive into unsuspected regions of boldness, unpredictability, and an intimate abstract-folkster-experimentalism. According to the founding member Glenn Sweeney, 'the music was called alchemical because it was produced by repetition.' However, mind it, such repetition doesn't follow the same musical structures of, let's say, Terry Riley, Steve Reich or Philip Glass due to its indefinite nature of internal-twisted and tormented passages of a peculiar poetic enchantment. The band, formed in Canterbury, started in 1967 playing an oriental hypnotic-free-form-folk. Signed to the prosperous cult label Harvest, they debuted in 1969 with Alchemy, an instrumental jazzy-psych improvisational album. A fully formed masterpiece came in 1970 on the already aforementioned self-titled opus, also known as Elements. For Macbeth, their third one, just the main chief Glenn Sweeney (assorted percussion) and Richard Coff (viola and violin) remained from the original four-piece line-up. It was recorded when half of the quartet -- Richard Coff (viola and violin) and Ursula Smith (cello) -- had already departed, and they were about to record a third album entitled The Dragon Wakes . . . Aside from a few sessions, this album was never completed. The themes presented on the film were composed in an improvised manner while watching black and white excerpts of the oeuvre. The music, recorded in six weeks at George Martin's Air Studios, in July 1971, has the same unconventional and quite unique dimension as the film itself. It is an auteur music for an auteur film . . . There is an arty-medieval atmosphere overall, and it's folkishly ludic in tracks like 'Overture', 'Iverness', 'Court Dance' and 'Fleance', where the experimental interjections function as colorful devices. 'Fleance' -- with the guest singer Keith Chegwin -- is a scintillating highlight. The poetic assaults of concrete music are present in themes like 'The Beach', 'Ambush', 'Prophesies', as if every drumming fractures, singing seagulls or sharp whistles where conducting us to waves of fear into the unknown. There are other lost beauties in its official 44 minutes like the minimal oboe melody of 'Lady Macbeth' floating as a centipede of dreams or the lyrical guitar chords of 'The Banquet' punctuating a climax of sheer mystery..." --Fernando Naporano

Etrusca 3D is a new band that merges two current audio and visual artists from the 21st Century: Francesco Cavaliere and Spencer Clark. The album is the first to be released by Spencer Clark's label Pacific City Discs, as a subsidiary and in collaboration with Discrepant.

"One cannot underestimate the result of stating the names of certain gods at high voices. Something that sinuous and quiet enters into this disc for you to listen. What if the Etruscan Civilization instead of transforming or amalgamating into the roman one, was instead passed on to other worlds? Were the tombs, their spiral idols and funeral decorations a meticulous method for transmuting to something else? Etrusca 3D is the juxtaposition of two imagineers friendship, as Francesco says, 'because I am Etruscan and you (Spencer) are 3D.' There is a piece of the future of Etruscan civilization contained within this disc. It is with Spencer's remote viewing of a past and future creative culture and Francesco's birthright that we find a true insinuation of civilizations world body. We decided to invoke various Etruscan deities or spirits by sampling Francesco's voice uttering their name. We put them inside the Emax 2 3D machine and we began to play these deities and thus incorporate a fresh and ancient music language to present the 21st Century Etruscan experience. In the meantime, these musical stories turned into Francesco's imaginary storytelling style to further present a narrated record of the intuited activities of Etruscan Gods..." --Francesco Cavaliere and Spencer Clark

Trading Places present a reissue of Sir Lord Baltimore's self-titled album, originally released in 1971. Fresh from their US tour supporting Black Sabbath, Brooklyn-based heavy metal trio Sir Lord Baltimore expanded to a quartet for the recording of their self-titled sophomore album, released by Mercury in late 1971. The new addition was guitarist/keyboardist/vocalist Joey Dambra, brother of guitarist co-founder, Louis Dambra, adding a dual-guitar element to their hefty sound. The album begins with the epic "Man From Manhattan", a symbolic allegory of a resurrected Christian icon in a new setting; in contrast, "Where Are We Going" captured the rawness of the group in live glory and "Chicago Lives" a twin-guitar attack. Somehow, the band did not survive long after its release, though Joey later recorded with John Lennon; this reissue spins at 45 RPM for maximum fidelity. Licensed from Cherry Red. Gatefold sleeve.

This music was composed for SKALAR, an audio-visual kinetic art installation by light artist Christopher Bauder and Kangding Ray. SKALAR is a large-scale art installation that explores the complex impact of light and sound on human perception. Created by light artist Christopher Bauder and musician Kangding Ray, this monumental artwork is a reflection on the fundamental nature and essence of human emotions. By combining a vast array of kinetic mirrors and perfectly synchronized moving lights with a sophisticated multi-channel sound system, SKALAR offers an audio-visual narration of radiant light vector drawings and multi-dimensional sound in enormous pitch-dark spaces. SKALAR is an intense journey through the cycle of basic human emotions. Everchanging tonalities trigger the full spectrum of emotional experiences using light, sound, and motion. The feelings of awe, surprise, exhilaration, and anticipation of having one's senses overwhelmed are created, explored, and repeated in cycles throughout the piece, providing a collective, yet highly individual emotional experience. Light and darkness as endless cycles of day and night define our perception of time and influence our emotions. SKALAR is a central piece within light artist Christopher Bauder's body of work, reflecting his deep fascination with light. In this gigantic installation, light is treated as a solid material that can be dimensionally sculpted and shaped, evoking abstract emotional associations. Intertwined with the tireless exploration of textures, rhythm, and sound design by musician and composer Kangding Ray, the silence of darkness is filled with iridescent forms of spatial light and sound. The original composition is spatialized in 360° over a 12 channels sound system, this stereo version has been mixed and mastered to convey a similar sense of space. As of the release of this record, SKALAR has been presented in Berlin (Kraftwerk) in 2018, in Mexico City (Frontón) in 2019 & in Amsterdam (Gashouder) in 2020. Gatefold sleeve with silver embossed.

Be With Records reissue Caiphus Semenya's Listen To The Wind, originally released in 1982. Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend, and Listen To The Wind, his iconic debut album, is simply a superb modern-soul/boogie album. Now a revered composer, musician, and arranger, Caiphus left apartheid South Africa in the '60s for self-imposed exile in Southern California together with his wife, Letta Mbulu. Settling in Los Angeles he started working with the likes of Hugh Masekela and Miriam Makeba and other exiled and semi-exiled South African artists, as well as, of course, his wife Letta. Caiphus also found himself working with and composing for a broad range of jazz and pop artists, including Lou Rawls, Nina Simone, and Cannonball Adderley. His facility with both jazz and African forms served him well. His LA stay was also the beginning of an ongoing collaboration with Quincy Jones, the fruits of which can be tasted in Caiphus's African compositions for the scores to Roots (1977) and Spielberg's adaptation of The Color Purple (1985). Listen To The Wind is a deeply impressive synthesis of early '80s US production and instrumentation together with his traditional South African musical roots. There are elements of boogie, soul, funk, and jazz, all shot through with pan-African flavor, and moving effortlessly from up-tempo floor fillers to more meditative, slower soulful tracks. Produced by Caiphus himself, he makes full use of a stellar line-up of session musicians including Nathan East, Michael Stanton, Sonny Burke, and Paulinho DaCosta. And of course, there are Letta's show-stopping vocals. Opener "Angelina" is a breezy, feel-good SA boogie-funk classic, harmonic and horn heavy. It's followed by the gentle reggae lilt of "Play With Fire". A real melodic slo-mo delight, carried by the tropical vibes and, above all else, by the extraordinary performance of Caiphus himself and his backing singers. Closing out side one, the spectacular "Umoya" is driven by triumphant horns and slick bass, with proto-Graceland vibes. Caiphus trades verses with the unmistakable tones of Letta, and it sounds divine. Elegantly firing up side two is perhaps the album's best-known track. "Without You" is a heavenly slice of modern soul, smooth strutting, disco-fied funk with that unmistakably South African sound. "Ziph'inkomo" is a soul-soothing, swooning epic. The irresistible groove of frantic, percussive workout "Gumba Boogie" closes out what must surely be one of the greatest artistic statements of the 1980s. Mastered by Simon Francis. Faithfully restored cover art.

Black Truffle announce Ashioto, the first international solo release from Japanese drummer-percussionist-composer Tatsuhisa Yamamoto. Active for over a decade, Yamamoto has performed and recorded extensively with artists such as Jim O'Rourke, Eiko Ishibashi, and Akira Sakata, as well as participating in innumerable improvised and ad hoc groups. Ashioto presents two wide-ranging pieces that combine Yamamoto's percussion work with piano, field recordings, electronics, and contributions from guest musicians Daisuke Fujiwara and Eiko Ishibashi. Beginning with a passage of chiming metal percussion, the first side slowly builds into a rolling, open groove reminiscent of Yamamoto's work on Eiko Ishibashi's acclaimed Drag City LP, The Dreams My Bones Dream (2018). Spacious piano and synth notes, along with Ishibashi's spare melodic figures on processed flute, hover above this propulsive rhythmic foundation, the whole effect adding up to a more abstract take on the area explored on Rainer Brüninghaus's ECM classic Freigeweht (1981). The LP's second side opens up a cavernous space filled with ominous electronics and shimmering metallic percussion, which organically transitions into a passage of rumbling piano chords and mysterious concrète sound. Later in the piece, Daisuke Fujiawara's saxophone enters, playing melancholic melodic fragments that are looped and layered, creating a seasick swaying effect familiar to listeners of James Tenney's works with tape delay systems. Beginning as delicate bass drum pulses, Yamamoto's accompanying percussion eventually builds the piece into a raging torrent of free-improv splatter, processed sax and fizzing electronics. Though grounded in instrumental performance, Ashioto is very much a studio construction, making inventive use of electro-acoustic principles in its editing and mixing. Together with its sister Ashiato -- a different take on the same "script" released simultaneously on Japanese label Newhere -- Ashioto demonstrates to an international audience for the first time the true breadth and ambition of Yamamoto's work. Mastered by Jim O'Rourke. Cover photos by Kuniyoshi Taikou. Design by Lasse Marhaug.

Mukdad Rothenberg Lankow translates years of experience into music that unfolds in a sense of hope. Says Volker Lankow, "It comes from everywhere and nowhere." First meeting at David Rothenberg's "Nightingales in Berlin" project, the three musicians recorded this improvised fusion of experiences with oud, clarinet and percussion. A meditation on survival and resilience, on empathy and love. Each musician, a master of his instrument, seamlessly interweaves phrases and nuance each expressing pain and joy, expectation and relief. Wassim Mukdad is a refugee from Syria who escaped torture first to Istanbul now in Berlin. Volker Lankow worked with Medecins sans Frontiere in crisis torn zones and now with mentally ill criminals. Rothenberg, an author and philosopher, brings an exploration of the idea of sound to this trio. This is an album of music from an entire region of the world, crossing cultural barriers and tribal sides. An accomplished percussionist Volker Lankow performs on frame drums and tabla among other instruments. Wassim and Volker share years of rough experiences in conflict regions and in their playing together one hears a path toward clarity and beauty out of terrible shadows. "It is a delight to play with Volker, a percussionist who does not need to show off, who has nothing to prove." Wassim Mukdad met Volker Lankow as part of David Rothenberg's "Nightingales in Berlin" project which documented a group of musicians' attempts to play live with the birds in the dark parks of Germany's capital city. Clarinetist and author, Rothenberg was inspired by the rapport these two offered to each other and got the trio into Berlin's Studio Wong for one perfect day when all this music was improvised. Mukdad Rothenberg Lankow translate years of experience into music that unfolds with a worldwide sense of hope.

This is Thurston Moore's seventh solo album, and features musicians Deb Googe (My Bloody Valentine) on bass and backing vocals, Jon Leidecker aka "Wobbly" (of Negativland) on electronics, James Sedwards on guitar, and Sonic Youth's Steve Shelley, as well as Jem Doulton, alternating on drums. "Hashish", the first single from the album, is described by Moore as "an ode to the narcotic of love in our shared responsibility to each other during isolation." The song includes a video with footage from The Thurston Moore Group's tour in early 2020 in Europe, as well as footage of Thurston quarantined in his home during the past few months "with respect to the sacred healing truth of nature." Prior to isolation during the COVID pandemic, Thurston worked in recording studios in North London until the third week of March 2020 to complete this album for release on September 5, 2020. While the musicians may not immediately tour, Thurston was adamant to release By The Fire in 2020, and with Daydream Library, has released this quote: By The Fire is music in flames. 2020 is our time for radical change and collective awareness and Thurston Moore has written nine songs of enlightenment, released to a world on fire. Taking a cue from Albert Ayler's "music is the healing force of the universe," this recording offers songs as flames of rainbow energy, where the power of love becomes our call. These are love songs in a time where creativity is our dignity, our demonstration against the forces of oppression. By The Fire is a gathering, a party of peace -- songs in the heat of the moment.

The Harry Smith B-Sides box set contains the flip side of every 78-rpm record that Harry Smith included on the Anthology of American Folk Music. In 1952, Folkways Records published the legendary six-LP series entitled the Anthology of American Folk Music, compiled by eccentric record collector, filmmaker, artist, and anthropologist Harry Smith. Many historians cite Smith's reissue, with its recordings of country, blues, and gospel music from the 1920s and '30s, and its booklet containing idiosyncratic liner notes, esoteric artwork, and handmade design as a major impetus for the folk music revival of the 1950s and '60s. 68 years later, The Harry Smith B-Sides offers both a resonant listening experience and the closing of a collector's circle. Sequenced in the identical order that Smith created, this new box set offers the flip-side of each record selected by Smith for the original Anthology of American Folk Music. Newly-remastered audio under license from Gennett Records, Paramount Records, Sony Music Entertainment, and Universal Music Group. This box set represents a mirror image of the Anthology of American Folk Music's tracklist. However, the producers have omitted the following tracks due to lyrics containing racist language: track 5 on disc 1, track 4 on disc 2, and track 16 on disc 4. Cigar box, full-color 144-page book featuring original artwork by Harry Smith and four CDs; 84 newly-remastered tracks on four CDs with a full-color 144-page book featuring archival images, original artwork by Harry Smith, and essays by John Cohen, Lance Ledbetter, and Eli Smith. Transcriptions and annotations for each track by more than 80 artists, writers, and musicians that have been inspired by Harry Smith's work including Daniel Bachman, Devendra Banhart, Sarah Bryan, Rosanne Cash, Dom Flemons, Steve Gunn, Will Oldham, Amanda Petrusich, Steve Roden, Art Rosenbaum, Nathan Salsburg, and Peter Stampfel.

Features Dick Justice, Nelstone's Hawaiians, Clarence Ashley, Coley Jones, Buell Kazee, Chubby Parker & His Old-Time Banjo, Uncle Eck Dunford, Burnett and Rutherford, Buster Carter and Preston Young, Carolina Tar Heels, G.B. Grayson, Kelly Harrell, Edward L. Crain, Carter Family, Williamson Brothers & Curry, Frank Hutchison, Charlie Poole with the North Carolina Ramblers, Mississippi John Hurt, William & Versey Smith, Furry Lewis, The Masked Marvel, Uncle Bunt Stephens, J.W. Day, Prince Albert Hunt's Texas Ramblers, Delma Lachney and Blind Uncle Gaspard, Andrew & Jim Baxter, A.C Eck Robertson and Family, Hoyt Ming and His Pep-Steppers, Henry Thomas, Jim Jackson, Columbus Fruge, Joseph Falcon, Breaux Freres, Cincinnati Jug Band, Frank Cloutier and the Victoria Cafe Orchestra, Rev. J. M. Gates, Alabama Sacred Harp Singers, Middle Georgia Singing Convention No. 1, Sister Mary Nelson, Memphis Sanctified Singers, Elders McIntorsh and Edwards, Rev. Moses Mason, Bascom Lamar Lunsford, Blind Willie Johnson, Ernest Phipps & His Holiness Singers, Rev. F.W. McGee, Rev. D.C. Rice and His Sanctified Congregation, Cannon's Jug Stompers, E. Segura & D. Herbert, Richard "Rabbit" Brown, Dock Boggs, Mr. & Mrs. Ernest V. Stoneman, Stoneman Family, Memphis Jug Band, Joseph Falcon & Cleoma Breaux, Blind Lemon Jefferson, Sleepy John Estes and Yank Rachell, Ramblin' Thomas, Julius Daniels, Uncle Dave Macon, J.P. Nestor, and Ken Manyard.

Double LP version. On his fourth album proper, Now Here No Where, Danish producer Kölsch (aka Rune Reilly Kölsch) is charting new terrain. Fans of his "years trilogy" -- 1977 (KOM 276LP/KOMP 107CD), 1983 (KOM 329LP/KOMP 122CD), and 1989 (KOM 373LP/KOMP 139CD) released on Kompakt over the past decade -- were privy to a kind of sonic diary, an autobiography, tracking the artist's early years through three albums of superior, meticulously rendered techno. Calling in collaborators where needed -- most notably, the strings of Gregor Schwellenbach -- there was still something deeply personal going down, not quite hermetic, but internally focused; the albums proved not only Kölsch's mastery of his chosen form, but also his capacity to make techno personal, individual, and to trace histories of the self through music. But on Now Here No Where, Kölsch finds his feet firmly planted in the present. For Kölsch, this makes Nowhere Now Here "an album about life in the year 2020. A time defined by confusion, misinformation and environmental challenges." Kölsch does this with music that effortlessly balances emotional heft with the dancefloor's brimming desires. It's a space that Kölsch has navigated for a while now -- one of techno's breakthrough acts -- but Now Here No Where ratchets up the lushness, making for a delirious drift across twelve tracks that are at once perfectly poised and deeply trippy. "Great Escape" is an elegant swoon, an opener that pivots on a sigh and a prayer; then "Shoulder Of Giants" bustles into view, subliminal clatter and an aching violin line giving way to a riff that glows with fluorescence and iridescence. "Remind You" combines an odd ECM jazziness with notes from a 21st century torch song; "Sleeper Must Awaken" mines huge buzzing synths and lets them float, in and out of sync, with reduced, ticking beats; "Traumfabrik" (dream factory) is oddly lush, the tones malleable and plastic, morphing across a glitching undertow. There are sad, emotional washes of strings throughout the penultimate "While Waiting For Something To Care About", while the patterns of "Romtech User Manual" twist and shape in the light. Throughout, Kölsch never keeps his eye off the dancefloor, and you can tell this is his still his home. The club as a temporary autonomous zone, as a space both of freedom and of politics; somehow, that's all here, Now Here No Where.

2020 repress. Detroit enigma Dopplereffekt has been resurrected, emerging from a grave of jagged detritus and techno trash for their first release since 2007. Dopplereffekt has always preferred mystery and myth, and the Tetrahymena EP on Leisure System is a scorching assertion of their capacity for hallucinogenic abrasion. Tetrahymena wanders through decommissioned factories and an omnipresent chemical haze, evasive and contemplative like the last man alive in a crumbling steel city. Whether in the ethereal voices and plunging bass of the title-track, the unidentified flying objects droning maliciously in the thunderous weapon "Gene Silencing," or the retch and hiss of arpeggiated bad trip "Zygote," it's a transportive journey of dread as only Dopplereffekt can create. Leisure System is proud to release the Tetrahymena EP, an essential vision of dancefloor dystopia from one of the most consistently compelling artists in electronic music.