the new album from janelle monáe on 45rpm double vinyl, housed in a gatefold sleeve.

black double vinyl in gatefold sleeve.

part 10 of the rivera disco collecton on 3x12inch herzlichen glückwunsch.

betrachtet man die bewegte biografie des can-bassisten holger czukay, könnte man zu dem schluss kommen, der experimentierfreudige musiker sei ein exzentrischer und unbändiger freigeist. doch czukay betonte in interviews immer wieder, dass er in seinem schaffen stets auf einen musikalischen partner angewiesen sei, egal ob in form eines konkreten gegenübers oder durch radiowellen und später das internet. doch die meisten seiner partner waren aus fleisch und blut. sein dem kino verwandtes gesamtwerk schmückt sich mit einer besetzung, die der eines scorcese-films gleichkommt: brian eno, phew, rolf dammers, david sylvian, annie lennox, jah wobble, die kollegen von can die aufzählung ließe sich noch weit fortsetzen. viele dieser meisterwerke sind heute vergriffen, und so hat es sich das label grönland, das anfang des jahres zu holgers 80. geburtstag bereits die vielbeachtete retrospektive cinema veröffentlichte, zur aufgabe gemacht, holgers musik in remasterten neuauflagen wieder zugänglich zu machen.

betrachtet man die bewegte biografie des can-bassisten holger czukay, könnte man zu dem schluss kommen, der experimentierfreudige musiker sei ein exzentrischer und unbändiger freigeist. doch czukay betonte in interviews immer wieder, dass er in seinem schaffen stets auf einen musikalischen partner angewiesen sei, egal ob in form eines konkreten gegenübers oder durch radiowellen und später das internet. doch die meisten seiner partner waren aus fleisch und blut. sein dem kino verwandtes gesamtwerk schmückt sich mit einer besetzung, die der eines scorcese-films gleichkommt: brian eno, phew, rolf dammers, david sylvian, annie lennox, jah wobble, die kollegen von can die aufzählung ließe sich noch weit fortsetzen. viele dieser meisterwerke sind heute vergriffen, und so hat es sich das label grönland, das anfang des jahres zu holgers 80. geburtstag bereits die vielbeachtete retrospektive cinema veröffentlichte, zur aufgabe gemacht, holgers musik in remasterten neuauflagen wieder zugänglich zu machen.

simbad teams up with south african vocalist brian temba, whose previous release together come join in dropped on hi:rise back in 2011. in it’s original form take my hand is a sublime, forward-looking deep and soulful house track based around a filtering symphonic string loop, low-slung groove and heart-felt vocal. simbad has created a very london-centric vibe but with a french touch and detroit sensibilities, drawing from house heroes such as parrish and bradock, joining the dots and creating a fresh masterpiece in the process. next up we have jimpster on the remix, picking up the bpm’s slightly and loading up on his trademark deep stabs, sub-bass and spacious fx adding just enough dance-floor bump whilst leaving the vocal placed firmly at the core. on the flip side we have two smbd zulu edits which replace the more spartan groove of the original with some driving afro percussion. the first version keeps the vocal intact, the second version goes balls deep into dub territory, closing out this amazing release with an instrumental pushing the strings and hypnotic groove front and centre

die neue “soul togetherness 2018” enthält 15 modern-soul-highlights des jahres, die teils erstmals auf tonträger erscheinen. darunter sind grandiose songs von cornell c.c. carter, kenny thomas, jaki graham, john reid und james day (in teils exklusiven extended versions), die rückkehr von change und the richie family, die beiden künstler brian courtney wilson und lexi von motowns neuem gospel-label, dance-grooves der newcomer the apx und imaa, vintage-soul von ernest ernie & the sincerities, soul-garage-hymnen von dj spen und prefix one, sowie der fabelhafte mousse t feat. peven everett.

betrachtet man die bewegte biografie des can-bassisten holger czukay, könnte man zu dem schluss kommen, der experimentierfreudige musiker sei ein exzentrischer und unbändiger freigeist. doch czukay betonte in interviews immer wieder, dass er in seinem schaffen stets auf einen musikalischen partner angewiesen sei, egal ob in form eines konkreten gegenübers oder durch radiowellen und später das internet. doch die meisten seiner partner waren aus fleisch und blut. sein dem kino verwandtes gesamtwerk schmückt sich mit einer besetzung, die der eines scorcese-films gleichkommt: brian eno, phew, rolf dammers, david sylvian, annie lennox, jah wobble, die kollegen von can – die aufzählung ließe sich noch weit fortsetzen. viele dieser meisterwerke sind heute vergriffen, und so hat es sich das label grönland, das anfang des jahres zu holgers 80. geburtstag bereits die vielbeachtete retrospektive cinema veröffentlichte, zur aufgabe gemacht, holgers musik in remasterten neuauflagen wieder zugänglich zu machen.

9 months of gestation that ignites in 7 titles of contemplative pop, hovering funk, cosmic soul built all this: the jazz fusion of soft machine, the krautrock of the wizards of can, the irresistible languor of italian crooners (toto cutugno and lucio battisti in the lead) as the soundtracks, so sensual, composed by pino donnagio for brian de palma... but if antoine kogut makes this references his own, it is because he considers each of the titles of sphere of existence as «songs, not tracks». with his deep voice he has the ambition to tell us a story through them: his own, and that of the world in which we live with as a guiding idea that all phillip k. dicks predictions have come true today. which ones? youll have to look in the multiple circles assembled by antoine kogut to compose sphere of existence.

betrachtet man die bewegte biografie des can-bassisten holger czukay, könnte man zu dem schluss kommen, der experimentierfreudige musiker sei ein exzentrischer und unbändiger freigeist. doch czukay betonte in interviews immer wieder, dass er in seinem schaffen stets auf einen musikalischen partner angewiesen sei, egal ob in form eines konkreten gegenübers oder durch radiowellen und später das internet. doch die meisten seiner partner waren aus fleisch und blut. sein dem kino verwandtes gesamtwerk schmückt sich mit einer besetzung, die der eines scorcese-films gleichkommt: brian eno, phew, rolf dammers, david sylvian, annie lennox, jah wobble, die kollegen von can – die aufzählung ließe sich noch weit fortsetzen. viele dieser meisterwerke sind heute vergriffen, und so hat es sich das label grönland, das anfang des jahres zu holgers 80. geburtstag bereits die vielbeachtete retrospektive cinema veröffentlichte, zur aufgabe gemacht, holgers musik in remasterten neuauflagen wieder zugänglich zu machen. den auftakt machten zwei wiederveröffentlichungen mit david sylvian (japan), der als musiker so sehr zu czukay passt, wie vielleicht kein anderer – sein werk ist geprägt von gegensätzen zwischen einladender popmusik und eigensinnigen experimenten. zwei der spannendsten dieser musikalischen versuche finden sich in -plight & premonition- (1988) und -flex & mutability- (1989), für deren wiederveröffentlichung kein geringerer als sylvian selbst die initiative ergriff. czukays musikalischer erstling -canaxis 5-, eine 1968 heimlich in der nacht in stockhausens kölner studio beim wdr aufgenommene frühe sampling-arbeit mit rolf dammers, die heute bei discogs höchstpreise erzielt, folgt ende september – zusammen mit -movies- (1979), dem ersten soloalbum nach can, sowie der postpunk-platte -full circle- (1982), eine kollaboration mit jaki liebezeit (can) und jah wobble (pil), die holger zu seinen favoriten zählte. mitte oktober dann erscheinen vier weitere solo-platten czukays, die einmal mehr deutlich machen, dass der kölner musiker zu den wichtigsten deutschen künstlern der nachkriegszeit zu zählen ist: -der osten ist rot- (1984), -rome remains rome- (1987), -radiowave surfer- (1991) und -moving pictures- (1993).

betrachtet man die bewegte biografie des can-bassisten holger czukay, könnte man zu dem schluss kommen, der experimentierfreudige musiker sei ein exzentrischer und unbändiger freigeist. doch czukay betonte in interviews immer wieder, dass er in seinem schaffen stets auf einen musikalischen partner angewiesen sei, egal ob in form eines konkreten gegenübers oder durch radiowellen und später das internet. doch die meisten seiner partner waren aus fleisch und blut. sein dem kino verwandtes gesamtwerk schmückt sich mit einer besetzung, die der eines scorcese-films gleichkommt: brian eno, phew, rolf dammers, david sylvian, annie lennox, jah wobble, die kollegen von can – die aufzählung ließe sich noch weit fortsetzen. viele dieser meisterwerke sind heute vergriffen, und so hat es sich das label grönland, das anfang des jahres zu holgers 80. geburtstag bereits die vielbeachtete retrospektive cinema veröffentlichte, zur aufgabe gemacht, holgers musik in remasterten neuauflagen wieder zugänglich zu machen.

le matin, always rare and uncategorised, following the reissue of his early synthwavepop tunes on poussiere depoque and a track on the good lena wilikens dekmantel selectors 005 comp, this new ep on lost dogs ent. let you hear some of his last works. expect an ultra-cold-minimal-electro riddim, a less-mental-nearly-good-for-the-dancefloor tune with depitched haunted r&b vocals, an analog and bassy arpeggio ride on the flip side, oh my god! this is the peak-time-for-weirdo-nearly-techno tune, a blast, only for craziest djs that like broken-frustrated-uncomfortable dandefloors and to finish this well balanced 5 trackers: the are you depressed that much? its the 10th time youre listening to this ost of a dying world, this wont get any better but at least this is good music! tune. le matin is a good kept secret that prefer to take care of his kids than to travel the world of nightclubbing with drunk teens (ok thats how it is in france, that looks better in some other countries), but sometime you can hear his music on decks of some wise people and djs like call super, lena wilikens, house of traps, charles drakeford, jon k, bergsonist, body motion

jack roland pulls apart the control mechanisms of the club environment and the way this living and breathing installation can be a tool of elevation or suppression. using club sounds as instruments for this idea, control / applications is a split release born out of amsterdam s warehouse scene, fusing together electro matrix rhythms, idm, with warped hums and breaks used by dancers and performers heading up the rave. with a track on our future works iii comp last year, this is his debut record on the label: a release challenging superstructures buried among the sweat particles of the floor.

pleasure planet is the latest musical venture of kim ann foxman alongside andrew potter and brian hersey, and enables the trio to express and explore their unique and eclectic musical tastes. their first release will drop on the brand-new firehouse imprint, self:timer. “pleasure planet is an extraterrestrial doomsday cult. they do whatever they want and their music is their message to planet earth. self:timer is their messenger. the rest doesn’t matter.” — pleasure planet pleasure planet has been a little while in the making. having worked together for five years sharing studios and late night synth experiments, their relationship naturally progressed into the band they present today. pleasure planet embody the psychedelic, weird, and wonderful. self:timer was created as an outlet for their band and they welcome other artists to share their own visions of utopia.

after shining a light on the garage’n’breaks of persian and the bump’n’house of brian bristol, the mysticisms’ crew return with another reissue, to a source of love and inspiration, the epicenter of the 90s nyc club music’s explosion and development, with an ep from the music production partnership of lee rodriguez and steven john craden.
better known as the team behind must-have the african dream double-header on eightball records, they were a feature, under numerous pseudonyms, on the early 90s nyc scene with appearances on a who’s who of labels including movin’, strictly rhythm, tribal and with elements of life, on oxygen music works.

28 classics from 50 years of northern soul on double vinyl, housed in a gatefold sleeve.

now available for the first time on vinyl, one way static records presents the second volume in our new archival series ‘la vie electronique’. this volume (1.1) focuses on the years 1970-1972 and is spread over two glorious lp’s containing +78 minutes of klaus shulze rarities. this deluxe vinyl set also comes with an insert containing extensive liner notes. available as a limited classic black vinyl retail edition (700 copies) with obi strip.

as the title suggests, joakim recorded this new album last year at studio venezia, the installation/sculptural ensemble/recording studio created by xavier veilhan for the prestigious 2017 venice art biennale. built inside the french pavilion & inspired by the grotto-like merzbau by kurt schwitters, studio venezia had dozens of artists create and record there over the 6 months of the biennale (from chassol to brian eno, from joakim to sebastien tellier), invited by xavier veilhan himself with the help of co-curator christian marclay. with an impressive collection of rare instruments from medieval horns to rare modular synths (baschet crystals and percussions, a buchla, a clavinet...), studio venezia was an amazing creative playground for the adventurous musician. those instruments were captured by a team of sound engineers in the best possible way thanks to nigel godrich’s (beck, radiohead...) mobile studio loaded with state of the art vintage recording gear.

this is erlon chaves e orquestra saint moritz procura-se uma virgem ost (1971), supposed to be one of the most sought after erlon chaves lp. this ost was recorded to a brazilian soft porn movie with killer organ funk instrumental tracks and several funky, erotic & modal tracks, arranged and directed by maestro erlon chaves. tip!

for real avid fans of the cluster/eno axis, this is going to be an essential purchase! - after the release of the second longplayer -deluxe- in august 1975 harmonia went back to touring the rest of the year until roedelius, moebius and rother ended their collaboration in summer 1976. all three members started solo projects, but rejoined as harmonia in september 1976 for a short time when brian eno visited them in forst, germany for eleven days, living and recording with harmonia, before eno went on to work with david bowie. the material from -tracks and traces- is from this eleven days, and was not released until 1997 because the tapes were long considered lost - rykodisc and sony s s3 label did release nine tracks on cd only. here s the expanded re-issue for grönland records from 2009 with an excluisve new artwork for the first time on 2lp-vinyl-set!

trux’ second ep on berlin based record label office is a bow to the many outstanding moments in the history of ambient music. allusions to brian eno are just as recognisable as to the charming concepts of pop ambient or clicks & cuts. it’s between these poles that the four tracks on the a-side oscillate and manage to capture the listener with vibrant and diverse soundscapes. the flip side sees trux drop a stunning melodic breakbeat tune besides remixes by workshops premier techno chef lowtec as well as a freestyle electronica version by o$vmv$m. the much loved super quiet tops the record artwork off with another remarkable example of his casual and airy black and white photography.

for its tenth anniversary, killekill decided it is worth to resurrect the main label and bring it back in full effect with another compilation of tracks by our beloved family members, favorite artists and bestest friends. cat. number 020 was never released, and we thought, this celebratory occasion was perfect to fill that gap, so everything is cleared, and we can step into the next decade. we start off with a track by mmm, the legendary duo consisting of fiedel and errorsmith, known for pushing the boundaries with every of their very rare releases. this one is an extremely simple, but effective weapon to destroy all dancefloors with its slightly loutish appeal. neil landstrumm got together with brian rays and produced a bleeper hit with catchy vocals. we don t know who the lyrics refer to, but they definitely express a punky fuck-off attitude, which we are missing a lot nowadays.

minuendo keep things interesting on this latest various artists 12-, primarily focusing on owen jay and brian james on the a side for two tracks of adventurous experimentation on the wild frontier of minimal house music. the wobbly synth running through -niko s groove- is a real head turner, while -imagery- nudges the grand tradition of dub house into a new pocket of ambience that draws you in immediately. there s a lovely, classic deep house joint from untitled called -seafood-, and then blue vulva & the electronic crooner completely flip the script on the b2 with rowdy acid burner -vulbitch bazaar-.

limited to 500 copies (numbered) worldwide.brian cavender aka seafoam released his first ep on rue de plaisance last year, -confusion camouflage-, that was dedicated to his recent productions. a second release on the sub-label rue de plaisance re-issue, «lost tape 98 project», is a selection of tracks never previously released that we found on an old dat. today, we present the third part of our collaboration with seafoam « collected works 1999-2005 » it s a selection of our favorite tracks from his back catalogue on labels like guidance,straylight, lo -rise... that is also coming to rue de plaisance re-issue imprint(03).

it’s the return of the sexual vigilante sex judas and his trusted sidekick ricky. this time in full album mode. norwegian producer tore gjedrem of ost & kjex fame, channels his love of comix, bohemia and fascination with human vice, the unspoken, the red light districts, the alleys of the mind into his alter ego.

in a post apocalyptic world, a squad of heroes fights to save what remains of humanity. a dystopian future among landscapes, desolate alien enemies and mysterious architectures, the survival of our species becomes an unexpected return to life. music by giorgio gigli with remixes from acronym and rafael anton irisarri. 180 gram vinyl ep plus flexidisc and download code.

night palms is a compilation lp dedicated to night palms’ artist trevor tarczynski (rip). 7 individual tracks written, performed and produced by brian ellis, boy dude, xl middleton feat. ghost, mat/matix, moon b, jomeo pugz, elegant borzoi feat. megan doherty. cover/jacket artwork by trevor tarczynski with layout by margaux solano and inner label artwork/layout by michael steffen.

classic huerco s. originally released in 2012, this was the release that first brought brian leeds to our attention - major tip if you’re into actress or newworldaquarium, even those moody burial and boc ambient interludes.

das zweite album von haze als 180 gramm doppelvinyl im klappcover, downloadcode inklusive.

vision songs vol. 1 (1984) is the laraaji album like no other, located at the intersection of new age and gospel. it is both his outlier and magnum opus, the feel-good diy tape of the century. discovered busking in washington square park by brian eno in the late 70s, engagement with the eternal flow has led laraaji to, seemingly by magic, emerge as the most beloved avatar of the unstoppable new age music revival of recent years. now vision songs rewrites laraaji’s musical history. unlike the many instrumental, free form albums upon which his reputation was built, this is an album of songs, with lyrics, verses, choruses. vision songs is literally a revelation -- of a master songwriter whose unbelievably catchy best compositions such as “we shall be lifted”, “all of a sudden”, and “is this clear?” belong in any great american songbook. casio synth jams recorded at spiritual retreat guest rooms and a tiny bedroom on the upper west side, lysergicallyspectacular anthems for a continually arriving new moment, “channeled,” as laraaji states in the album’s eloquent liner notes, “from the sky,” previously available in an edition of 100 cassettes sold at yoga retreats and on the streets of new york city, vision songs is humbly offered on vinyl, cd, and streaming for the very first time. this is where this is going on, this is where this is taking place, this is how this is going on. is this very clear?

snaker under chari chari and a missing myth of the future as kaoru inoue were his latest albums back in 2013. time has come to finally celebrate his much awaited return with the exquisite em paz lp. a celestial ambient collection that will drive us through a beautiful imaginary place where the quest for peace is central. in fact, all kinds of peace. em paz will spontaneously make you seek for some brian eno or jon hassell albums because it emerges from that same timeless place. a very strong conceptual and listening album from the beginning to the very end.

das mixen von östlicher avant-elektronica sowie krautrock mit jazz und bossa nova ist charakteristisch für cornelius musikalisches schaffen. seine karriere startete er als gründungsmitglied der band flipper’s guitar, die das in tokio entstandene genre shibuya-kei maßgeblich prägte. es folgten weitere veröffentlichungen, durch die er auch international große anerkennung erlangte: der -moderne brian wilson- oder japanische gegenpart zu beck oder the beastie boys waren nur einige der vergleiche, die in der presse sowie von kritikern gezogen wurden. cornelius live-shows gelten weltweit als einzigartig und sind bekannt für spektakuläre visuals, die perfekt synchron zur musik gezeigt werden. er feierte erfolge als produzent für filmmusik und wirkte unter anderem bei auftritten von yoko ono’s plastic ono band oder dem yellow magic orchestra mit. schwarzes 180g vinyl im gatefold.

“the freaky things we do” and “all the freaks out tonight” are contemporary boogie tracks at its finest. with tim tucker on vocals and brian ellis on production these cuts have been dancefloor tested at original mikes in santa ana, cali alongside the funk freaks crew. out on star creature.

lp maxime daoud, a much sought after musician accompanying forever pavot and his brother adrien soleiman, has released under the alias ojard a first album of soft and delicate instrumental vignettes. if euphonie calls for cinematographic comparisons (vladimir cosma, basil kirchin), the minimalism of the arrangements, the simplicity of the melodies conjure up to erik saties furniture music and brian enos thinking music.

congratulations to brian “javonntte” garrett, who this year celebrates two decades releasing mind-expanding deep house gold. his first 12&#8243, of 2018 sees him pop up on people of earth, a label that has previously delivered eps from such scene stalwarts as rick wade, patrice scott and kai alce. fittingly, garrett is in a nostalgic mood on opener “way back-, where his deep, dreamy and soul-flecked deep house groove is accompanied by a spoken word vocal reminiscing about the mid 1990s. elsewhere, “zodiac” wraps starbust motifs around a chunky, bass-heavy groove, “house joint” is a bumpin’ box jam rich in sturdy drum machine hits and swirling chords, and “boom house” is a slightly tougher workout that boasts beats worthy of derrick carter or dj sneak.

boris bunnik is no stranger in the world of electronic music. he released several albums and ep’s under a variety of monikers since 2007 on labels like delsin, shipwrec, frustrated funk and his own transcendent imprint. fauxpas musik welcomes him for a new project called severnaya.
originally hailing from the island of terschelling, the most northern and remote part of the netherlands he now made a piece of music dedicated to this special place. severnaya means north in russian and refers to the bright frozen landscapes of the northern archipels. boris often plays with the influences and elements of ambient in his music. if we have to believe the man himself, polar skies is his most personal sound trajectory to come from his mind. drum programming is scarce and what remains is a lush and profound listening experience floating on scapes and melodies. we clearly hear his roots and intentions represented in the airy, tranquil sound design of this new album project. things sound spacious, and life is at ease in these melancholic compositions. crispy crackling percussions and icey pads place you in the midst of a resonant arctic landscape. you can hear influences drawn from producers like biosphere, pub, brian eno but we also hear more contemporary influences from modern day film composition but most of all we here boris his own signature. the tracks were composed over a couple of years (2015-2017) in a more contemplative mindset. at some point this selection formed a consistent piece of music and as a result you hear his most personal and fragile works to date. fauxpas musik is proud to release this new project in 2018. written and produced by boris bunnik aka conforce at the pasadenaoceanlab studios special thanks to family, friends and fauxpas musik for their support. this release comes in 180g vinyl and a hot foil stamping on the cover. vinyl tastes better...

for fans of metrolux, russian torrent versions, delsin, black venison. this 4 track ep has artists with decades of experience that packs a punch of contemporary techno and has plenty of different textures to build any set. owen-jay, half of revered label/artist gauss ltd. (battibatti, metrolux, uq) launches with a tough, raw hypnotic driver of crushed filter distorted patterns. next molegrip, collab between brian james (battibatti, metrolux) and caspian rabone (polaris, battibatti) keep the groove with classic techno and dub atmospherics. on the flip sees unknown artist cmnt deliver some arpeggiated lazyness before cyan341 (rednetic, uncharted audio) polishes off the ep with a tight beat supported with an elegant ambient foundation.

limited sales pack, featuring atmosphere releases atmep024 & atmep028.

clocking in at 11 minutes, this is a radical deconstruction of the track bint el khandaq that appears on the mashrou leila album ibn el leil. lost souls of saturn tease out the underlying emotion and yearning present in the original and take the listener on a beguiling, symphonic ambient journey that calls to mind wolfgang voigts much loved gas project, or the shimmering imaginary landscapes of brian eno. renowned for their rousing, sensual electro-pop mashrou leilas songs touch on political freedom, lgbt rights, race, religion and modern arabic identity. lost souls of saturn were approached by the band to reinterpret the original track and the stunning results fit perfectly as their debut release on r&s. this is the next step in the evolution of seth troxler and phil moffas lost souls of saturn project. look out for an album on r&s in 2018.

the third release on dreamers recordings comes courtesy from the legendary us producer brian cavender aka seafoam

amsterdam label taped artifact has lined up an ep from merv aka brian oldenborg and jan christiansen. after the re-melted reissue on styrax in 2015, this is the pairs third new ep in three years since coming back after first making music back in the mid nineties. their warm dub and techno style is still very much fresh and arresting. blueprint opens the ep with eight enthralling minutes of percolating drums and shuffling hi hats. frosty yet warm, it’s a cavernous affair with a hypnotic riffs sucking you in over and over. shine is more upright techno, but the rock solid kicks are still draped with rippling, static coated chords that ripple out in all directions. rotundum closes things out with synth waves gently breaking over hunched drums that build the pressure. it’s tense and engaging while remaining thoroughly atmospheric.

ltd edition 40th anniversary 7 inch pic disc
beauty and the beast is the latest in the series of special limited edition david bowie 7- picture discs being released and will be out on 5th january 2018, almost 40 years to the day of its original release on 6th january 1978. beauty and the beast was the second single taken from the album heroes, the second of the berlin trilogy albums recorded with tony visconti and brian eno at the legendary hansa studios in berlin. the track also features robert fripp of king crimson on lead guitar, who claims that his guitar was all recorded in his first take. the a-side of the 7- picture disc features the track with newly remastered audio, mixed by long-time bowie collaborator tony visconti. the aa-side is a previously unreleased live version of blackout, recorded live at deutschlandhalle, berlin on 16th may 1978 during the isolar ii tour.

if m.a beat! was a place, it would be the liquidrom in berlin. this sauna where the youth swim to the rhythm of comforting electronica. their music is often oneiric composed of ethereal details with surrealist samples. after ‘drowning for love’ album and a few eps, m.a beat! ‘s second album ‘sans soleil’ will be released 29 september via bmm records and its first single nosferato on september 8 with a clip by the gif artist sarah zucker. ambient music legend, brian eno-collaborator, laraaji is featured on the album and give birth to a cross collaboration with the band : m.a beat! will release a remix for laraaji s new album. in the lineage of avant-garde electronic music, the band s last effort appears to be experimental, adventurous and radically different from their previous ones. using less sample collages and improving composition techniques, the trio seems to travel in time with ambient landscapes and obscure pop songs.

action, tension and drama rhythms from 1970 - 1980.

• sixth and final part in a series of first-time vinyl editions of early rse material
• originally released on tape in 2012 in a run of 16 copies
• remastered by paul corley, cut at d&m, berlin
• 500 copies
• riyl coil, demdike stare, prurient, brian eno / jon hassell’s fourth world...

the pieces were created as structured improvisations using a monophonic synth (primarily) along with a yamaha dx7 (borrowed from a friend) and possibly a guitar. recording was made on an older otari mx5050 1/2 8 track. mixing was done on a tascam m-50 console and a revox a77 1/4 machine. i recall the project happened in two bursts: i did half of it in september 85, then i finished up and edited the album together in december 85. i dont really recall making copies for anyone. i think i played it for a dozen people and that was it. just forgot about it. i remember jeff ament from pearl jam (green river back then) came by while i had it playing on my home stereo. he asked what it was and said he liked it. surprised me a little. with regard to overall aesthetic: i like the sound of machinery, but i enjoy the fragility of human error and human instinct. i like to put things into motion then climb aboard and drive. i can’t play an instrument (in the classical sense) for the life of me, so i’ve always just played things that are mostly choice rather than a convolution of style and technique. i guess you call that the brian eno school of rock.

robert rental was the stage name of robert donnachie (1952?2000), a british pioneer of post-punk, diy, and industrial music. originally from port glasgow, scotland, he moved to the south of england with thomas leer in the late 1970s where he met glenn michael wallis. glenn was recording music with the group heute and leaving to start his solo projects nkvd and konstruktivists. both were heavily involved with throbbing gristle and the industrial records crew. in the summer of 1979, robert invited glenn to his studio in battersea to jam. robert on guitar and glenn on an edp wasp synthesizer. for each session that summer they would play for about 40 minutes, maybe longer, stoned. robert suggested they record it, many times erasing and over recording one session for the next. the music had no titles, as they were never intended to be released. on these recordings, robert enjoyed playing like robert fripp of king crimson, while glenn channeled wolfgang flur of kraftwerk. influenced by krautrock bands like can, neu!, cluster/harmonia, as well as terry riley and brian eno the duo forged a unqiue brand of industrial music. tape loops and synthesizer sounds played backward conjure dark ambient moods. all songs have been remastered for vinyl by george horn at fantasy studios in berkeley. the lp is housed in a jacket that features a drawing by robert rental from glenn?s archives as well as a handwritten note from robert to glenn. each copy includes 2 photo postcards featuring a transcription of robert?s letter and liner notes from glenn wallis.

damon eliza palermo returns to lovers rock with cathedral, an ep of inky, shadowy atmospheres. opening with the stunning title track, palermo summons a hi-def miasma of gongs and synths, searching and incantatory. congquin rumbles through a tar pit of groaning static and radio interference, while karangahape road floats through 5+ minutes of undulating sighs. finally cathedral gets reworked for the dance floor with an extended, exuberant techno meltdown.