A double 10" set featuring Sun Ra recordings. Initially released on two separate 10"s back in 2010/13. Volume 1 features "Along Came Ra", a previously unissued live track recorded in Paris in 1983. The legendary Disco 3000 concert tapes are on the flip. Volume 2 lifts three fine selections from the Sub-Underground Saturn LPs. "Love Is For Always" and the driving, roots-y "The World Of Africa" come from 1974's Temple U; while the myth-science poetics of "Space Is The Place/We Roam The Cosmos" comes from the 1975 What's New set.

La Confusion is the eighth full-length album from Malian musical duo and Grammy-award nominees Amadou & Mariam. The album includes the hit single "Bofou Safou", which Stereogum calls "the funk, the whole funk, and nothing but the funk." The term "bofou safou" is a Bambara (Malian national language) nickname given to nonchalant young men who would rather dance than work. Over the span of three decades, Amadou (guitar and vocals) and Mariam (vocals) have developed an international following, recorded eight full-length albums, and toured around the world. Their album Welcome to Mali (BEC 5156468, 2008) was nominated for "Best Contemporary World Music Album" at the 52nd Grammy Awards. On the ensuing tour they supported U2 on their U2 360 Tour, performed at the 2010 World Cup for FIFA's Kick-Off Celebration, and performed alongside a host of major acts. Don't expect a still frame of African music; Stillness has never been part of their repertoire. The road stretches far behind them as Amadou & Mariam march on, bound by an unbreakable chain in their tireless search for new horizons. Creativity and generosity have never ceased to shine through their eight full-length albums. At their core lies a skillful fusion of heritage and cutting-edge music.

LP version. Gatefold sleeve; Includes printed inner sleeve. 2015 live recording from the Supersense Festival in Melbourne, previously unreleased, featuring a supergroup of Manuel Göttsching, Ariel Pink, Oren Ambarchi, and Shags Chamberlain playing material from classic Ash Ra Tempel releases, 1972's Schwingungen (MGART 112CD) and 1973's Seven Up (MGART 113CD). Taken from Göttsching on the release: "Out of the blue -- I was invited to perform in Melbourne, Australia. It happened thanks to my dear old friend Mick Glossop, who made the suggestion to Sophia Brous, at the time the curator of a music-festival called 'Supersense' at the Melbourne Arts Centre in summer 2015. In addition to the solo performance I'd planned, Sophia proposed an additional collaboration or session performances with some of the other participating musicians. I had never been very happy in performing 'public sessions'. I've always tried to first look for a conceptual approach, and my wife, Ilona J. Ziok, came up with the idea of performing some Ash Ra Tempel classics. That's when the idea for an 'Experience' was born. I decided that pieces from the second and third Ash Ra Tempel albums Schwingungen and Seven Up would be most appropriate for a group performance with Ariel Pink, Shags Chamberlain, and Oren Ambarchi. We conversed by email, and much to my surprise, they all claimed to be very familiar with this music. . . . We finally met in Melbourne for a relaxed afternoon rehearsal, just two days before the actual concert performance took place. After a technical set-up we went straight into 'Look At Your Sun' and it was as if we had performed it only yesterday. It continued like that with the other tracks. For the first part of Schwingungen I decided for a little variation, so that all four of us were standing around the vibraphone at the beginning, playing it with four/eight hands -- like an imaginary 'Music for Four Musicians' (a bit reminiscent of the early works of Steve Reich). . . . In return, it was only natural to ask Mick Glossop to make a mix of our concert recording, and quite happily he agreed. He has put together a wonderful and subtle mix, perfectly representing the atmosphere of the concert." Includes liner notes by Mick Glossop and Manuel Göttsching and photographs of the rehearsal and live performance.

A reissue of the electrifying final album from Cameroon's legendary Los Camaroes, available on LP for the first time since 1979. Recorded live to two-track at the Mango Bar in Yaoundé, Resurrection Los Vol. 1 was the last collaboration between bandleader Jean Gabari and groundbreaking guitarist Messi Martin. Los Camaroes emerged at the end of the 1960s from the town of Maroua, Cameroon. In the span of only a few years they changed Cameroon's music scene. The band had been led from the beginning by Jean Gabari. But it was Gabari's alchemical collaborations with guitarist Messi Martin that drove the band. Martin, deemed the "King of Bikutsi", had been lured away from the band before by the promise of success and when Los Camaroes were at the peak of their power in 1975, he left them once again. Gabari tried to keep the band going, but his battles with ill health eventually forced him to return to his hometown. By 1978, Los Camaroes were a rapidly fading memory. From out of nowhere, a businessman named Atangana Joseph appeared in northern Cameroon. He tracked down the original members of Los Camaroes and got them back together. Producer Nicolas Mongué and engineer Emmanuel Guyssot were called in from Douala to record what was being billed as a comeback album. Los Camaroes decided to record an album live to two-track in the legendary Mango Bar in the capital city of Yaoundé. The six tracks on the album were performed by a mixture of new recruits and veterans from the original Camaroes lineup including Mpouli "Dodo" Emmanuel and Boloko Michel on guitars, Eyango Claude on organ, the percussion duo of Ndi Bellui and Enama Leon, and vocal contributions from Sala Bekono Joseph and Ngoebang Jean Marie. The album, Resurrection Los Vol. 1, was completed in only a few days. The music that emerged during the Mango Bar sessions was the culmination of a fifteen year musical bond between Gabari and Martin, and what was supposed to be a comeback album ended up being a last testament --- Gabari would die only a few years later and Martin, without his foil, would never find the same level of musical success. 180 gram vinyl; Housed in a gatefold sleeve featuring liner notes with pictures, a story of the band as told by original keyboardist Mbambo "Johnny Cosmos" Simon, and new interviews; Includes a poster.

Blackest Ever Black presents Sleep Heavy, the debut album of broken-hearted, downtempo R&B/street-soul and supremely atmospheric, introspective electronics from Jabu: a trio comprised of vocalist/lyricists Alex Rendall and Jasmine Butt, and producer Amos Childs. The group was born out of Bristol's Young Echo collective: an ecosystem unto itself which has birthed and nurtured a number of other notable soundsystem-rooted projects and artists to date, including Kahn & Neek, Sam Kidel, Ishan Sound, Ossia, Asda, Chester Giles, and Killing Sound (Childs with Kidel and Vessel). Jabu's previous 7" singles, though arresting, barely hinted at the level of accomplishment and emotional heft that Sleep Heavy delivers. It's a future Bristol classic with a universal resonance, with songs that are highly personal but deeply relatable, and a tripped-out, time-dissolving sound design that both haunts and consoles. It is, first and foremost, a meditation on grief, loss, making sense of separation, and death; but it also looks forward to what might come after the aftermath: healing, acceptance, the chance to begin again. Childs is one of the most gifted producers of his generation and his work here, grounded in hip-hop but floating free, is a thing of sustained wonder: crepuscular, melancholic, subtly psychedelic, and heavily dubwise, but always concise and purposeful. Stitched together from deep-dug and beautifully repurposed samples, it draws on influences from US R&B to Japanese art-pop minimalism -- Mariah to Mariah Carey, if you will -- and a rich seam of underground UK soul, boogie, DIY/post-punk, library music, and lovers rock. There is also of course a distant connection to the Bristol blues of Smith & Mighty and the sultry urban gothic of Protection-era Massive Attack (1994), but Jabu's orchestration of womb-like ambiences, cold synth tones, and brittle beats feel entirely sui generis. They provide the perfect setting for Rendall's wounded, imploring and carefully weighted vocals, which are no less extraordinary: nodding to giants like Teddy Pendergrass and The Temptations in terms of phrasing and front-and-center vulnerability, with something of The Associates' Billy MacKenzie in there too; defeated but defiant. Meanwhile, Jas's heavenly interventions, sometimes leading but more often parsed and layered into tremulous, gossamer abstraction, draw a line between the Catholic choral harmonies of her childhood and the ethereal, oceanic sweep of Cocteau Twins. By its end, Sleep Heavy's world-weariness is intact and scarcely diminished, but some light has been admitted, and is visible from the sea-floor.

Trax Test is the first ever survey of Italy's pioneering, visionary, and influential label and mail art collective Trax, which ran from 1981-1987 as a network for the creation of collaborative projects. The collective included a pre-NWW Colin Potter and some of the earliest work from Masami Akita, aka Merzbow, but also had deep connections with the art world; a few Trax members went on to become famous designers and artists -- Ettore Sottsass of hugely influential Memphis Group even guests on vocals on the last track of the compilation. The whole selection here is rare as heck and sorely in-demand by collectors, much of it now making its vinyl premiere some 30-odd years after the fact. With credit due to compilers Vittore Baroni of Trax and Ecstatic's avowed wave fiend, Alessio Natalizia (Not Waving) -- who was also behind the Mutazione (Italian Electronic & New Wave Underground 1980-1988) compilation (2013) -- Trax Test is a portal to the international scene which laid the grassroots for a proliferation of electronic music over the proceeding decades -- a pioneering part of the infrastructure for independent music distribution which could be said to pre-echo the myriad social networks and platforms today. As Frans De Waard astutely points out in the 16-page booklet, there were no "templates" for this thing back then, meaning artists did everything DIY: from cutting, pasting, and Xeroxing their artwork to experimenting with recording techniques and disseminating their work; all resulting in a wonderfully daring and freeform mosaic of ideas which valued the virtues of ostensibly "unfinished" or open-ended work. Traces of disco, cosmic krautrock, jazz, electro-pop, and industrial noise are all tessellated across the compilation's 25 tracks, with a number of artists and the same equipment -- cheap drum machines, synths, FX and tape -- cropping up in various, mutant formations. This set is right up there with the best compilations from Vinyl On Demand, Light Sounds Dark, or Minimal Wave. Features: Cancer, M.A.Phillips, Nausea, Amok, Mecanique Vegetale, Daniele Ciullini, E-Coli, The Cop Killers, Peter Mayer, Rod Summers, Robin Crozier, Capitalist Pig, Biagio D'egidio, Piermario Ciani, Vittore Baroni, Nocturnal Emissions, De Rezke, Ado Scaini, Enrico Piva, Giancarlo Martina, B Sides, Colin Potter, Naif Orchestra, Merzbow (Vacation Of Merzbow Lowest Music & Arts), Monty Cantsin, Die Form, Utopia Production, Spirocheta Pergoli, Nostalgia, Ptose, Ddaa, Zone Verte, and I Nipoti Del Faraone. Mastered by Matt Colton at Alchemy.

As one of the most enigmatic figures of the 1970s Italian soundtrack and library music network, Emma De Angelis and her short recording career provides thirsty fans of speedball psychedelic rock and drum heavy instrumental funk with a tight discography. Emma was the younger sister of award-winning composers Guido And Maurizio De Angelis. While simultaneously pursuing a career as an illustrator and set designer the De Angelis family contacts would lead Emma to the offices of Romano Di Bari, whose Flirt label released a compilation called Underground Mood (1972). It is from this rare LP that this record is compiled.

Nico Vascellari and Nicolò Fortuni come out to play in the dark on their third and deadliest LP as Ninos Du Brasil, taking their fascinations with ritual musics -- from Brazilian Afro-Latin tribal rhythms to library music and freezing Scandinavian BM -- deep into the festering undergrowth of their shared, exotic aesthetic. Where the cover of their first album for Hospital Productions, Novos Mistérios (HOS 411CD, 2014), depicted a naked man covered by a leopard pelt, Marvin Gaye Chetwynd's oil painting of a screeching Chiroptera in flight on the Vida Eterna jacket makes a strong visual allegory for NDB's finer tuned spatial sensitivities inside, with their churning rhythms now embedded in fathoms of dread space and father shaded in layers of processed vocal chants, both punk, metal, and tribalistic. The big highlight is no doubt the closing cut, "Vagalumes Piralampos", where Arto Lindsay, the legendary founder of DNA, chimes in on a stygian, moonlit jag between the eyes of bossa nova, batacuda, and the sort of esoteric electronics also charted by Rainforest Spiritual Enslavement or Cienfuegos. But it only really makes sense after you've expended your energies along with the band thru monstrous techno shakedowns such as "O Veto Chama Seu Nome", the soca-like rush of "Condenado Por Un Idioma Desconhecido", or found yourself lost, without coordinates, in the pitch black breakdown of "No Meio Da Noite" and have been hypnotized by the stalking rhythms and atmospheres of "Em Que O Rio Do Mar Se Toma". The creation of this album, inspired by vampirism, was born from a collaboration between Vascellari and Fortuni with producer Rocco Rampino, whose love of dense textures and low-end bombast masterfully and cleverly couples with the bands explosive percussive charge, resulting in eight tracks that mimic sharp blades scything through a nocturnal jungle. RIYL: Psychedelic Warriors Of Gaia, Female, Vatican Shadow. Cut at Dubplates & Mastering, Berlin. Comes in a gatefold jacket.

LP version. Live at Molde International Jazz Festival 2015. All music by James Blood Ulmer. Viking jazz band The Thing team up with one of the legendary men of jazz and blues. Guitarist and singer Ulmer combines (free) jazz, blues, funk, and rock -- always on the edge, melting it to some kind of free funk... In 1980, Ulmer recorded the genre milestone No Wave with John Zorn and Pharoah Sanders. Personnel: James Blood Ulmer - guitar; Mats Gustafsson - tenor and baritone saxophones; Ingebrigt Håker Flaten - electric and double bass; Paal Nilssen-Love - drums, percussion.

The second EP of Samuel Rohrer's Range Of Regularity album (AMEL 712CD/LP, 2017) presents two more striking reinterpretations. The production specialists on hand for this project include Burnt Friedman and Ricardo Villalobos. Burnt Friedman's dramatic interpretation of "Microcosmoism" pairs up his consciousness of deep bass and analog inventiveness with Rohrer's continually transforming sound objects, making for a flowing and wordless narrative. This is complemented nicely by Villalobos's remix of "Microcosmoism". It carries the energy level of the first EP (AMEL 716EP) over to a new disk, while heavily experimenting with feelings of emotional ambiguity.

This is Amateur Childbirth's "Christian Rock" album. The previous LP from Ivan Matthew Hick's solo project, 2013's Pripyat, concerned itself with the blighted belief systems of UFO worshippers. Your Afterlife Is Cancelled expands this compelling solo project's field of enquiry to look at a wider array of "religious anomalies": cults, for want of a better word. Each song is about a different such anomaly. To call Hicks's vision apocalyptic would be to underplay its cruelty. The Bible's rampant sadism pales in comparison. This is a world where faith -- in a god or gods, in astrology, morality, or any meaning whatsoever -- is merely a prelude to punishment. His lyrics are vivid glossaries of pain, abjection and indignity; the songs' protagonists swim in blood, piss, shit, and ejaculate. Eschatology and scatology are indivisible here. Drugs are rampantly abused, albeit to little benefit. There are scalpel-flashes of humor in David's wordplay, rhyming and dour Brisbane diction -- but this offers scant consolation for the songs' embattled subjects, who wait, in vein, for salvation, while crows peck out their eyes, blood pours from their ears, and psoriasis ravages their skin. These words, for all their pessimism and body-horror, are cradled in minimalist, folk-rock arrangements that are quite dazzling in their beauty and grievously earned simplicity: Hicks's monochord strum embellished with subtle violin, synthesizer, and percussion shading. Amateur Childbirth's caustic end-times worldview inevitably prompts comparisons with Current 93, but also a wider (non-)tradition of caustic and disturbed loner psych that includes Simon Finn, Patrik Fitzgerald, Robyn Hitchcock, Peter Jefferies, and Roy Harper. Your Afterlife Is Cancelled is a depressive tour de force from one of the most crushingly eloquent voices in the Australian underground.

Originally released in 2006. There are so many things to say about Move D... like his own successful labels Source Records and KM20... his musical education as a classical drummer, jazz guitarist, and piano player... his works for the German Goethe Institut and Bauhaus University... his countless live appearances all over the world as DJ or live act... but most of all his sheer endless output of high quality electronic music.

Amongst The Stars marks the third single from Intrusion's forthcoming album A Gentle Embrace, the second official album since 2009's critically acclaimed, The Seduction Of Silence (INTRUSION 002EP). What has not been heard before comes into glimpse via analog circuitry, obsolete synthesis, and sonic exploration beyond dreams. Gorgeous plumes of sound evaporate into the ether, shifting and undulating to the unseen electro-magnetic pulse of the universe. This double CD set features the original mix as well as three beautifully hypnotic dub reductions from cv313 and an epic 70+ minute entrancing ambient rework from variant. A passionate, galactic, deep voyage to the other side of the galaxy. For those who loved Deepchord Presents Echospace's classic, The Coldest Season on Modern Love, you will find plenty to appreciate here, a beautiful analog tapestry made in the heart of Detroit. Comes in dual digipak with a retro matte UV finish.

2017 repress. Simultonality is the follow-up to Joshua Abrams's critically acclaimed 2015 album Magnetoception (MTE 063-64LP, 2015). Credited to Joshua Abrams and Natural Information Society (NIS), it is the first recording in the project's nine year, four album history made by a regularly gigging manifestation, rather than a special assembly of friends. Recorded in 2014 and 2015 in single takes by the full ensemble during and after tours of the US and Canada, Simultonality once more affirms the project's unique approach to joining traditional musics, American minimalism, and jazz with the Gnawa ceremonial instrument the guimbri. Stasis, continuity, and repetition, central qualities of Abrams language, defined Magnetoception, listed by many as one of the best records of 2015. These same qualities form the heart of Abrams's music on Simultonality. But where Abrams once said Magnetoception is about "winter and death", Simultonality, in Abrams's words, is an album of "pure motion". Without sounding frenetic it is the most explosive NIS music on record, and without sounding over-determined, it is Abrams's most structured and through-composed music yet. Much of it is also fast, a mass of densely patterned elements swiftly orbiting constantly reconfiguring centers that are variously harmonic and rhythmic, clearly stated or implied. The music is at no time any more disorderly than a colony of bees pollinating a vast garden. Its many moving parts function in mutualistic relationship toward fulfilling Abrams's long stated intention for the project: to help listener's achieve a meditative center and to consciously use music as a gateway to living. Abrams credits William Parker as an inspiration for this intention. The musicians on Simultonality date back to the nascency of NIS. Along with Hamid Drake, Mikel Avery and Frank Rosaly are Abrams first-call drummers for the project. On Simultonality, Avery is in the left channel, Rosaly the right. Astute heads may recognize the rhythm in "Sideways Fall" as Jaki Leibezeit's drum break in Can's "Vitamin C". At Abrams behest, the two drummers divided the beat into separate parts. According to Hamid Drake, the rhythm was popularized, if not originated, by John "Jabo" Starks and Clyde Stubblefield of the J.B.'s. Nearly ten years into its existence, Abrams and the NIS wear their influences with creativity and ease. Long standing NIS members, Ben Boye and Emmett Kelly, were previously together with Abrams, or not, in Bonnie Prince Billy's band, and Abrams and Boye have at different times played in Kelly's band The Cairo Gang. Harmonium player Lisa Alvarado contributes the large format pattern paintings used by NIS at concerts and for its album covers. Personnel: Joshua Abrams - guimbri, bass, small harp, bells; Lisa Alvarado - harmonium, Leslie, percussion; Michael Avery - drums and percussion; Ben Boye - chromatic electric autoharp, piano, Wurlitzer; Ari Brown - tenor saxophone (on "2128½"); Emmett Kelly - electric guitar; Frank Rosaly - drums and percussion, resonator bells. Pressed on premium quality audiophile vinyl by RTI, presented in replica audiophile dust sleeves and heavyweight Stoughton LaserDisc jackets screenprinted by Alan Sherry/Siwa.

Midland provides the 94th instalment of the world's leading dubstep, drum & bass, and electro mix series from London's renowned Fabric nightclub. Midland's rise from avid fan to headlining Room One at Fabric may seem unreal but is actually a testament to an unequivocal vision and simple hard work. Working in kitchens to buy DJ equipment, graveyard radio slots, and relentless gigs during university years gradually gave way to a break with Dillinja's Valve Sound System show in the early 2000s. FabricLive 94 captures a night out, from the moments of adjusting to new surroundings, then to clarity and euphoria, and closing with ambient moments at sunrise. Midland compiled and hosted a show of the respected Radio 1 Essential mix in 2016. To date, he has collaborated with Ramadanman, Pariah, and Bicep on a number of releases. Midland owns and runs two imprints, Graded and Regraded, and recently signing a Gerd Janson and Shan two-tracker to the ReGraded label (REGRD 004EP). FabricLive 94 is Midland's ode to the many facets of club culture. Features: Georgia, Even Tuell, Jaures, Juju & Jordash, Daphni, Tres Demented, Leif, Roman Flügel, Farah, Beatrice Dillon, Samo DJ & Pedrodollar, Mannequin Lung, Mr. Hazeltine, Divine Styler, Sugai Ken, LFO, Kowton,General Ludd, Ben Buitendijk, Santos Rodriguez, Slobban, Sankt Göran, Shinichi Atobe, Vito Ricci, Jesper Dahlbäck & Mark O'Sullivan, and Midland. Packaged in bespoke slipcase containing die-embossed tin.

Matt Emery's music is described by The 405 as "ebbing from soft whispers to an ocean of sound that would calm even the roughest of seas." Their words are apt. Though learned and erudite, Empire, a record that echoes the grandeur and myriad complexities of Greek mythology, is experienced less in musicality but in mood. From the swooping strings of the album's title track to the fluttering piano of "Effervescent", to the intensity of "Orpheus", it is evident that Emery has a heavy heart. There is melancholia, jubilation, tension, beauty, dark ambience, all deftly navigated within its various movements. Emery's profile as a composer has benefited from several placements across cinema and television, accumulating an incredible 30 million views on YouTube for his GoPro online ads. His music was used for the trailer of Anton Chekhov's Seagull play (1895) at Regents Park Open Air Theatre in June and July of 2015. Other placements include trailers for the British Academy's Literature Week in 2015 and 1883 Magazine's "Life Less Ordinary" -- a behind the scenes photo shoot amongst many others. And despite Empire being his debut album, previous self-released singles have received radio play across many of the BBC's music stations, KEXP, and Amazing Radio.

For Danish native and much-revered producer/performer Rune Reilly Kölsch, Kompakt has proven the perfect home curating his music: with two critically acclaimed albums and a now classic run of solo installments on the Speicher 12" series, he took his techno craftsmanship to new levels, setting it on a melodic, emotive and even autobiographical course -- without losing any of its punch and quirkiness. With his new full-length 1989, Kölsch presents the final chapter of an elegant, anthemic album trilogy that started with an exploration of early childhood memories and influences on 1977 (KOMP 107CD/KOM 276LP, 2013) -- the year of his birth -- and continued on 1983 (KOMP 122CD/KOM 329LP, 2015), a vibrant and picturesque journey sound tracking the year he travelled through Europe aged six. "With 1989, we have arrived in my early teens", Kölsch explains, "a difficult time in my life, where I mostly just remember the greyness of it all." Coinciding with the already challenging need to squeeze past the bottleneck of puberty, it was a time of seething family crisis -- his parents were divorcing: "I would escape that grey world on my skateboard, listen to my Walkman as I explored the city around me. Music became my savior . . . I found a soundtrack to my grey life, and suddenly there was color." It's why you'll find several tracks on the album being named "grey" in different languages, and they all share this distinctly "Kölsch-esque" moment of epic melodies breaking through propulsive techno beats. 1989 marks also Kölsch's intensified deployment of real-life orchestral sounds and the continuation of his extremely fruitful collaboration with Gregor Schwellenbach; after contributing to predecessor album 1983, the Kompakt affiliate, composer, and multi-instrumentalist now conducts the Heritage Orchestra for tracks "Khairo", "Liath" (featuring a violin solo by Kate Robinson), and "Serji", the latter of which Schwellenbach co-wrote and co-produced. The 24-person Heritage Orchestra add the sweeping drama and organic, richly-layered textures that only real strings can produce. Seeing Kölsch's propensity for vocalist cameos on his albums, one shouldn't be surprised to find beautiful cut "In Bottles", which features vocals written and performed by Aurora Aksnes. 1989 delivers on all fronts, engulfing the listener from the outset with its sonic coupling of classical composition and contemporary production -- without sacrificing the impact on the dancefloor.

David Toop, on hearing Áine O'Dwyer's Gallarais and the subsequent conversations between November 2016 and January 2017. "Sleep music, the underworld. Twenty-six letters were sent, not far to travel, from Proust, hypersensitive writer to his upstairs neighbour, Marie Williams -- 'I was rather troubled by noise . . . I was trying to sleep off an attack. But at 8am the tapping on the parquet was so distinct that the Veronal didn't work and I woke with the attack still raging.' Marie Williams played harp, though it was not the harp that dragged Proust from the fumes of a bedroom armed against asthma attacks, cork-lined to smother noise.. . . Proust spoke of an imperceptible breath, 'like the wind breathing into the stem of a reed', mingling with the subdued song of his dying grandmother's breathing, 'swift and light . . . gliding like a skater towards the delicious fluid', the human sighs released at the approach of death . . . 'Who's there?' cries out the old man, stark terror pulled awake at the faintest of noises from pitch black vicinity of an unseen doorway. . . . There is one voice or two, whispers of shaping breath thrown into far obscure and occult recesses of the space as if spirits on the wing whose feathers shriek and keen. They are swans with near-human heads, carrying the lightness of souls, moving between dry land of the living, subterranean rivers of the dead. Sleep music they make, its murmurs written by the method of 'passive writing', a transcribing of tongues unknown to all but the most open of listeners. . . . The space was a cave, a tunnel, a room without windows. A skull without eyes, ears, nostrils, mouth, though as Beckett had noticed, the soul turns in this cage as in a lantern, silence 'beating against the walls and being beaten back by them'; the space was a chapel, upturned boat, perhaps the curragh that carried Maildun and his crew to the Isle of Weeping, the Isle of Speaking Birds, the Palace of Solitude. . . . 'Within a house described by Mary Butts, in Ashe of Rings (1998), the bronze note of a clock rings, 'like a body falling bound into deep water'. . . . The body descended into the tunnel, never to return as itself."

Music From Memory return with four tracks drawn from the St. Louis musician Virgil "Vincent" Work Jr.'s cassette debut from 1987, Fast Forward. Following a compilation taken from one of Virgil's collaborative projects, Workdub (MFM 012EP, 2016), this album reflects a more stripped back and raw musical approach. Experimenting with rhythm programming, midi, layering, sequencing, digital effects, and sound synthesis, the Fast Forward sessions grew from a series of late night jams with Vincent's brother Scott. The songs that would form Fast Forward evolved out of improvisation, lending a unique often spatial and searching quality to the tracks.

Double LP version. Includes download code. Steffi occupies a unique space in the realm of contemporary electronic music. Although she's a world renowned DJ, it's her work as a producer that has established an impressive, hard-won legacy. Soon after moving to Berlin in 2007, Steffi joined Ostgut Ton. To date she's released five albums, including two solo releases for Ostgut Ton, a co-production with Virginia, another with Analogue Cops as Third Side, and a collaboration as Doms & Deykers on Martyn's 3024 label. She owns and operates four labels: Klakson (with Dexter), Dolly, Dolly Deluxe, and Dolly Dubs. World Of The Waking State is Steffi's third solo album for Ostgut Ton and it's a musical departure for her and the label. Over ten tracks she embarks on entirely new electronic terrain for her productions, marking industrial spaces with superlunary warmth while exercising a refined knowledge of polyphony and arrangement. Subdued melodies interact with each other over implied harmonies and microcosmic drum patterns, luring its listeners into a world that is introverted, bewildering, and gratifying all at once. "Different Entities" opens with shaded harmonies and glitchy signals, while the pulsing "Continuum Of The Mind" develops with cyclical melodies swaying through staccato percussion. On "All Living Things", complex rhythms take the attention over the restrained melody. "The Meaning Of Memory" pairs low-slung, squidgy percussion with overcast melodic interactions and "Schools Of Thought" flickers through uncharted interplanetary spaces. "World Of The Waking State" pushes pulsing basslines and woeful refrains through an industrial void, while "Kokkie" flickers with acid tones over the languid bass drive. "Mental Events" paints a shadowy aura driven with echoing snares, and "Bounces Of Nature" flaunts meditative pads and expertly layered percussion. "Cease To Exist" brings together the mangled percussion and subtle melodies of the album to full effect. On World Of The Waking State, Steffi stretches her wings, having created the album in a period when she was free from the past and more comfortable in her own skin. The shift in her mindset led to a new freedom of exploration, enabling her to write more experimentally and logically. Gone are the classic drum sounds and conspicuous melodies of her previous works. Instead, Steffi's productions unify disparate molecular details to forge a greater whole, reflecting a serious commitment to abstract electronic composition. World Of The Waking State is a confident and mature work of complex rhythms and refined melodies.

Following his Chubby Cheeks album for Nosaj Thing's Timetable Records (2016), Gerry Read is back with his new album, New Junk City for Ramp. Musically, the Suffolk based outsider-house poster boy has withdrawn from the ghetto-influenced sound of Chubby Cheeks, to more musical territory, sounding like the next step from his debut album Jummy (2012), keeping the jazzy samples and adding layers of dusty synths and rolling drums.

Running Back will mark its fifteenth anniversary with the release of its first label compilation, the Running Back Mastermix. As befitting the celebration of a landmark year in the life of Gerd Janson's widely adored imprint, Janson has invited one of house music's original and greatest proponents of the mastermix, New York City's Tony Humphries, to curate and mix the first edition. The Mastermix is a timely reminder of what has made Running Back endure and remain at the top of many house music fans' favorite label lists for over a decade. Beginning with Todd Terje's blockbuster "Ragysh" and traversing tracks from across the label's history, it includes contributions from long time label regulars, alongside more recent additions and reminders of some of Running Back's best reissues. Label mainstays Tiger & Woods, Matthew Styles, Redshape, and Leon Vynehall all appear, alongside Mr G, Paul Woolford and recent breakthrough artists Shan, Jex, and Roy Camanchero. The choice of Tony Humphries to mix the compilation is a significant one. Having received his break in the early '80s as an understudy for the legendary Shep Pettibone's Kiss FM show, Humphries went on to become one of the defining DJs of house music's formative years with his residency at New Jersey's Club Zanzibar and London's Ministry of Sound. His previous mixes illustrate his continuing ability to bridge dance music's past and present, with prior contributions to Resident Advisor and Fabric's respective series in addition to label compilations for King Street Sounds and West End Records. Tony Humphries on the release: "It's truly an honor to partake in this special anniversary Running Back imprint. Gerd Janson's extraordinary palette of releases are unique -- it was a privilege to be involved with this project." CD version features: Todd Terje, Roy Comanchero, Tiger & Woods, Jex, Precious System, Leon Vynehall, Shan, Redshape, Mr. G, Heaven And Earth, Paul Woolford, and Matthew Styles.

Teresa Winter's LP debut Untitled Death is a hallucinogenic wormhole of sensuously ambiguous pop and electronic experiments primed for the after-after party and altered states of reception. Realized through a mesh of strategies from live, lo-fi tape recordings of synths, samplers, and vocals to nascent experiments with algorithmic software, Untitled Death is both a divine revelation of new aspects to Teresa's sound and an expansion of The Death of Rave's as-yet-unidentified aesthetic. Teresa's zoomed photos of magic mushrooms spattered in popping fluorescent oils which adorn the cover of Untitled Death hint at a more personalized insight and psycho-activity, a proper, lush trippiness. Just like the putative psilocybic experience, Untitled Death naturally comes on in waves of synaestically-heightened sensuality, from strangely libidinous stirrings to utter, eat-your-heart-out euphoria with a spectrum of hard-to-explain and unexpected sensations between. It's hard to recall a more seductive album opener than "Oh", which blossoms from plaintive drum machine and chiming pads to a half- or mis-heard beckon "I really like it/ when you let yourself go/ I really want you inside me/ I want to make you my own", before curdling into bittersweet partials and deliquescent hooks as ear-worming as anything from AFX's classic Selected Ambient Works 85-92 (1992). It's devastating in its simplicity and almost blush-worthy in effect, and is soon enough lopped curtly into the soundtrack-like enchantment of "Untitled Death", which could almost be a cue from some '60 Polish or Czech art-house film, serving to neatly set up the prickling, windswept scene of romantic introspection and dereliction in "Pain Of Outside" -- perhaps Teresa's most accomplished and affective pop turn to date; think Grouper awkwardly blissing out at 9am in the corner of a successful sesh/campsite/free party. From that perfectly damaged side closer, the B side opens to a different sort of spine-freezing beauty and sense of abandonment with plangent, dissonant harmonics describing rugged Yorkshire wolds and coast as much as a radiant lightshow on the back of flickering eyelids. RIYL: Grouper, F Ingers, Leyland Kirby, early AFX, Delia Derbyshire. Master and cut by Matt Colton.

Trost present Schraubenlieder, unreleased songs by Sven-Ake Johansson and Alexander von Schlippenbach from 1988, recorded by Radio DRS Bern. Personnel: Sven-Ake Johansson - vocals; Alexander von Schlippenbach - piano.

Alec Storey has been having a fantastic couple of years. In terms of his solo output, he's released an EP on the rhythmic powerhouse Nervous Horizon (2016), along with several releases as Al Tourettes, and he has also released several collaborative EPs with his trusted chap Appleblim on R&S Records. Now, Second Storey returns to his home label, Houndstooth, and is back with Lucid Locations. Lucid Locations is a collection of irrevocably personal productions that were written between his movements between Suffolk and London, all whilst the label's dad, Fabric, was closing down and Brexit had become a reality. Lucid Locations winds down paths that explore breakbeat, electro, IDM, and techno. For any listeners wanting to sink their teeth into something far-reaching and familiar at the same time, this is definitely worth checking out. "Barrel Roll" is a perfect entry point, not only because it captures the essence of Second Storey as a project in 2017 (as well as his growth from the excellent Al Tourettes releases), but it also emphasizes the perseverance and poise that Storey carries over from his personal life into the tracks that he creates. Keep on, carry on, and rave until the lights come on.

Following the success of Christian Löffler's latest album Mare (KI 011CD/LP, 2016), here are 13 incredible reworks by Zimmer, Fejká, Parra For Cuva, Max Cooper, Villette, Superpoze, Aparde, Steffen Kirchhoff, Robot Koch, Avatism, and Tiger Lou. Includes poster.

LP version. Directed by York Theatre Royal's associate director Juliet Forster, Neil Duffield's adaptation of E.M. Forster's chilling short story The Machine Stops (1909) explores humanity's increasingly intricate and complex relationship with technology. The acclaimed production, which opened in 2016 and toured again in 2017, features a specially composed soundtrack by John Foxx And The Maths -- John Foxx and Benge. This forms much of the music on The Machine, although there are new mixes and some extended material as the pair developed stage music into a fully-fledged album. Described as "eerie", "evocative", and "a triumphant score of chest-crushing anxiety" by The Independent and The Guardian in their stage reviews, the music (created entirely on analog synthesizers and drum machines) is some of the finest the pair have created yet. The Machine's rich atmospheres move from the sinister breathing effects that start on "The Ghost In The Machine" through moments of beauty on "The Other Mother" and ARP Odyssey-soloing "Transworld Travelogue" into an ancient, mythic song on "Memory Oxide" where Foxx further investigates a style that he first explored on his own Cathedral Oceans (1997). Elizabeth Bernholz (Gazelle Twin) provides the high, lilting vocals on "Genetic Hymnal" and the album ends -- as does the stage production -- with the elegiac theme of "Orphan Waltz".

LP version. Pow, Boom, Splash! You will instantly recognize the rich brush strokes of this musical painter. Monkeytown linchpin Moritz Friedrich, aka Siriusmo, is back with a bang and a pencil. Following up 2013's Enthusiast (MONKEY 033CD/LP), his third full-length recording Comic sounds like its title suggests: colorful, rampant, funny, and hilariously foolish. Siriusmo maintains his very own sound and spot within electronic music, drawing from numerous styles and mashing it all through his personal beat-grinder, constantly understating and exaggerating. He's the innovator that has no such intentions at all. Here's what the master himself has to say about his new work: "Comic feels like dilettante kids drawings roughly sketched with a big marker, like abstract layouts as well as finely carved romantic paintings. 14 songs ripped from the pages of a coloring book to be vividly colored by you!" But don't worry, those pages will fill themselves with life as soon as the mellow and trippy patterns of the opening track set in. There are big and broken beats in "Wrong Password", extremely easygoing rave tunes like "Dagoberta", lots of genuine oddities like "Wixn", and the piano work on "Geilomant" even makes you think of some classic hip-hop track. Comparisons are futile, except for one: From the melodic vintage electro of "Dagoberta" to the sonic assault and whirlwind drum programming of "Bleat", there's a strong link to older Squarepusher records. Just replace the former's jazz and jungle roots with Berlin's musical history, and you get an idea of what Siriusmo is made of. Siriusmo may be the laziest genius around, though he's been all but unproductive since Enthusiast: In 2015 he joined forces with Modeselektor and toured Europe under the banner of Siriusmodeselektor, playing festivals from Glastonbury to Sonar. The same year he produced the debut album of Romano, Köpenick's one-of-a-kind rap phenomenon and close friend of Moritz. He remixed Moderat, collaborated with synth pioneer Jean-Michel Jarre, and contributed to Mr. Oizo's latest album (BEC 5156714, 2016), who's also appearing on Comic. So does Romano on standout track "La Bouche", delivering some tasty German phrases. Having been occupied recently with Roman's second album, his fans are very lucky that Moritz found the time to pin down a new Siriusmo album as well. He may not be a man of many words, but possesses a bold and singular musical vision. Also features Dana And Romano and Jan Driver.

Steffi occupies a unique space in the realm of contemporary electronic music. Although she's a world renowned DJ, it's her work as a producer that has established an impressive, hard-won legacy. Soon after moving to Berlin in 2007, Steffi joined Ostgut Ton. To date she's released five albums, including two solo releases for Ostgut Ton, a co-production with Virginia, another with Analogue Cops as Third Side, and a collaboration as Doms & Deykers on Martyn's 3024 label. She owns and operates four labels: Klakson (with Dexter), Dolly, Dolly Deluxe, and Dolly Dubs. World Of The Waking State is Steffi's third solo album for Ostgut Ton and it's a musical departure for her and the label. Over ten tracks she embarks on entirely new electronic terrain for her productions, marking industrial spaces with superlunary warmth while exercising a refined knowledge of polyphony and arrangement. Subdued melodies interact with each other over implied harmonies and microcosmic drum patterns, luring its listeners into a world that is introverted, bewildering, and gratifying all at once. "Different Entities" opens with shaded harmonies and glitchy signals, while the pulsing "Continuum Of The Mind" develops with cyclical melodies swaying through staccato percussion. On "All Living Things", complex rhythms take the attention over the restrained melody. "The Meaning Of Memory" pairs low-slung, squidgy percussion with overcast melodic interactions and "Schools Of Thought" flickers through uncharted interplanetary spaces. "World Of The Waking State" pushes pulsing basslines and woeful refrains through an industrial void, while "Kokkie" flickers with acid tones over the languid bass drive. "Mental Events" paints a shadowy aura driven with echoing snares, and "Bounces Of Nature" flaunts meditative pads and expertly layered percussion. "Cease To Exist" brings together the mangled percussion and subtle melodies of the album to full effect. On World Of The Waking State, Steffi stretches her wings, having created the album in a period when she was free from the past and more comfortable in her own skin. The shift in her mindset led to a new freedom of exploration, enabling her to write more experimentally and logically. Gone are the classic drum sounds and conspicuous melodies of her previous works. Instead, Steffi's productions unify disparate molecular details to forge a greater whole, reflecting a serious commitment to abstract electronic composition. World Of The Waking State is a confident and mature work of complex rhythms and refined melodies.

Featuring two reworkings of "Hall Of Mirrors" by Andrew Weatherall, which the man himself describes as "like taking Steve Reich down the disco with a bit of acid thrown in". Joining him on remix duties are Andy Bell from Ride, who welds the bassline from Wayne Smith's "Under Mi Sleng Teng" on to "For The Fallen" and turns it into a pulsating electronic groove. Finally, The Early Years' Sonic Cathedral label mate XAM (aka Matthew Benn from Hookworms) stretches out "Fluxus" into 13 exhilarating minutes of Kraftwerk meets New Order. Includes download code.

Christophe Guiraud uses old instruments such as the Hotteterre flute, the viola da gamba, or the viola bass, and combines them with electronics. Christophe Guiraud, born in Toulouse (south of France) in the mid-seventies, lives between Brussels and Paris. His early works come from alternative rock, free jazz, and harsh noise (he released two records on Angström Records as Tellemake). His more recent pieces mix the beauty of the polyphonies of Ars Nova (XIVè century) and noise. This nonesuch hybridization creates a music easily recognizable, and at the same time harmonious and deeply intense. Christophe Guiraud composes for a few important ensembles and performers, like Ictus, Ensemble 21, Sturm und Klang, Kwartludium, Musiques Nouvelles, Fractales, Stephane Ginsburgh, and Tom Pauwels. Guiraud is regularly invited to festivals Sonar, Le printemps de Septembre, Loop, Nuits du Beau Tas et Ars musica. Performed by: Ictus Ensemble, Catherine Guesde & Nina Garcia, Ensemble Tresse, Ensemble La Grive, André-Marc Delcourt, Ensemble 21, Ryan/Mitchell/Zeitlin/Blunt Quartet, Christophe Guiraud, Ensemble/Collectif Bin°oculaire, and Ensemble Sturm und Klang.

Susan Lawly present a reissue of the seminal and classic first Whitehouse album, originally released in 1980. Birthdeath Experience is one of the most important and influential records from the embryonic field of electronic and industrial music. Includes an eight-page booklet with lyrics, technical information, and reviews.

Jasss makes her head and body-turning album debut with Weightless, an absorbingly stark and spiky set of industro-dub concerns, riddled with heavy inspiration from African rhythms, jazz and concrète electronics. After a trio of acclaimed 12"s for Berlin's Mannequin and Amir Alexander's Annunaki Cartel since 2016, iDEAL Recordings now give Jasss room to consolidate and expand her grizzled dancefloor structures to a full-length episode that brutally dovetails with Joachim Nordwall's unforgiving but compelling take on contemporary noise and industrial musics. Very much an antecedent of Spanish industrialists, such as Diseño Corbusier, Xeerox/Krishna Goineau, or Mecanica Popular/Randomize, Jasss firmly builds on that heritage with a uniquely pensive balance of percussive suss, synthetic bite, and reverberating spatial dynamics that makes her music heavy-as-sin and deliciously deft with it, patently forgoing industrial music's angry guy glare in favor of far more feminine and Latinate pressure systems. She does so with an aching, puckered patience in the opener, "Every Single Fish In The Pond", escalating from a lone cymbal motif and location recordings to a pulsating darkroom boldness by the end of an incendiary scene-setter, before really getting her fangs in with the clenched but driving EBM torque of "Oral Couture", recalling a spiked Toresch or CTI hovering at the darkroom's entrance. From here on in a dream sequence of events take place, morphing from febrile, hash-induced triplet pirouettes in "Danza" through the martial free jazz/industrial cut-up of "Cotton For Lunch", to a definitive apex of sprung, stepping cyber-goth in "Weightless", with a pause for Alberich-like reflection on "Theo Goes Away", but the voodoo rises once again with the druggy swagger of "Instantaneous Transmission Of Information", and her stoic, blunt-edged mauler, "To Eat With Dirty Hands". It's rare to hear industrial music done with such variation and individual distinction as "Weightless", making it shine in a field so often associated with greyscale and monotone signatures. RIYL: Christoph De Babalon, Klinik, Toresch, Mecanica Popular, CTI. Artwork by Pan Daijing. Master and cut by Matt Colton. Comes in a gatefold jacket; Edition of 600.

Kompakt co-founder Reinhard Voigt's varied body of work has informed the label's musical history from the very start -- be it with his ambient dance project Sturm, rowdy techno alias S.R.I., experimental Profan staple Pentax, or simply under his given name. Voigt's output has also found a home on such iconic imprints as Mille Plateaux and Harvest, but also helped kickstart younger labels like Kompakt sublabel KX. Apokalypse Mau features two cuts of raw, sizzling, single-minded techno that find unexpected momentum in barebones synths and seemingly random bleeps.

Raoul K is known for blending the sounds of real West African instruments and modern electronic club sounds. This time, he takes a new approach. The original mix is produced without the use of any electronic instrument. Just pure African sounds, chopped and melted together into one groovy slice of contemporary club music. This is the first release in a series celebrating the tenth year of Baobab Music. Irfan adds a good measure of energy, setting up some analog synths with Raoul's beats. Kaito delivers a very dreamy remix which loses its kick drum, but not its groove.