Salem Rashid Skourlis, a human artist and composer, defies limits to manifest his solo project "fatalism." Drawing inspiration from personal experiences with paganism, pacifism, and immigration, fatalism intertwines otherworldly sounds and post-industrial landscapes. His work, relentless and self-sufficient, illuminates a foreboding future. Founder of @bedouinrecords, he has captivated audiences worldwide in prestigious venues like Berghain, Berlin and KGR(n), Tokyo. fatalism's forthcoming debut album, "fatalism:Gh0st," explores human escapism and the power of music to transcend societal confines. Currently based in Bangkok, Salem continues to forge sonic journeys, prepare film soundtracks, and embark on a solo tour for the release of his new album. More

The cascading hollowness of Japanese producer Mars89's latest album 'Visions' for Bedouin Records evokes a hypnotising atmosphere that takes the listener on a cinematic journey through what is best described as a post-apocalyptic daydream. In its entirety, this album is a political act against capitalism and urban infrastructure as a whole, paying homage to those who endure the various ways in which capitalists and authoritarian governments attempt to infiltrate and control their lives, and all that surrounds them.Breaking musical boundaries in the creation of what is considered to be a new genre of Japanese street music, Mars89 draws on a wide range of influences –such as sci-fi films– to conjure an eerie dystopian scene, inviting the listener to imagine a world on the brink of collapse as a tyrannical authority stands by idly. Embedded in the back cover of the album, Mars89 pays tribute to the working-class resistance; 'This album is dedicated to the city dwellers who live with the rats and crows in the gaps of the city where the giant capital tries to control everything'.Opening the album with 'They made me do it', Mars89 manages to convey an uneasy welcoming party that tempts you to stay longer with flickering distorted explosions of sounds, then further captivates us with 'Tete Apotre' by using a series of vivid, and energising hushed tones that are somewhat opaque and abstract, making it difficult to identify the echoes as human or not. Accompanied by hollering alarms overhead and hurried echoes, the standout track 'Dick Laurent is dead' emits a dark, pulsating soundscape through the repetition of a distant voice stating; 'Listen up, told you once told you twice; You know I'm in this'. Signalling what could be perceived as the brink of frustration, or a looming warning.Through a combination of incessant bells and rhythmic distorted drums across the ten tracks, a building sense of urgency before a life-altering decision must be done begins to form in the listener. With its shuddering rhythms, abrasive whirring, and ominous chimes contributing to the ways in which the sounds break down into hisses and stark fluctuations between texture and volume; the surreal nature of this experimental album will enthral you.?With every riveting listen, we are offered a glimpse into something inconceivable through a plethora of celestial sounds. 'Visions' concludes with 'LA1937', a chilling 5 minutes track that suggests the end of a chase has been reached, bringing everything to a breath-taking closure. More

"In the closed circuit screen glow with the hand scripting the events of two people staring from a long distance for a matter of moments that seemed endless, vast, the pen takes to paper and senses apprehension in the author. Leaving things out from the self, the self knows the truth is well-guarded, security and a large key ring with one thumb-drive filled with secrets carefully placed beneath a granite prism, buried in brain cells and matter. Everything left unsaid is sacred and that sacrament is gold-leafed and stoic, crackling voicemail recording leaves out details, nearly telegrammed, a post-it's worth of vital information. We keep secrets to ourselves so tightly that we hide the secret from the self. Speak the truth, the closed circuit surveillance will manage the details." More

This building was intended to fall. The dust in all 6 rooms suspends in the air and light glitters on each particulate, a piercing bright like a headache behind the eye. Knuckles chapped like a dancer's feet, a listener survives in the building like it's a home. Makes it a home. Frantic energy holding still remains frantic. Trying to swallow, trying to catch your breath. Enough dust to settle and make the building in its exact image. Beating at the walls only makes the walls once more, 6 rooms, listening and responding. This is the sound of a space that cannot be unmade. Sorcery is permanent. More

Emotion Hospice is the debut LP by New York-based sound artist and writer Chaperone on Bedouin Records. Combining layers of doom electronics, dystopian ambient, and manipulated tape loops, Emotion Hospice reflects both the artist's suffering and recovery from addiction, as well as Philadelphia's history of socio-economic decay and misanthropy. Emotion Hospice was recorded from 2016 to 2019, when Chaperone's David Coccagna lived and worked in his hometown of Philadelphia, a city notoriously known for its poverty, redlined city divisions, and fascist policing tactics. While exploring the sound of the city and the effects of its political and social climate, Coccagna also struggled with and managed to overcome a severe addiction to alcohol, tying further the misaligned nature of the self to the maladjusted world he grew up in that is reflected in the record itself. Sonic thrills and their destruction is present throughout the record, as Coccagna experiments with the brutal manipulation of bossa nova, varying styles of jazz, hip hop, and rap, using 4-Track tape loops, shortwave radio frequencies, various apps on his iPad, and open source audio editing software. With Emotion Hospice, Chaperone liberates the inherent darkness of the cheerful and poppy music that he samples and transforms it into an extensive, doomy sound of a future that is dystopian, maladroit, suffering, but hopeful about human beings. The album was written and recorded entirely by Coccagna aside from the track featuring New York rapper and producer Andre Altrez, whose establishment of Girard Hall in Philadelphia was a beacon of DIY ethos that became legendary in the city in its own right. Chaperone's Emotion Hospice is his first release on Bedouin Records. His cassette release Dead Pitbulls Slung On Tired Shoulders was his first outing for Bedouin's now defunct sub-label Bastakiya Tapes in 2017. This initial tape was the catalyst to a working relationship between Coccagna and label operator Salem Rashid as collaborators and colleagues. More

Haku Sungho is a Korean-Japanese musician and artist, from Tokyo, who lives and works in Berlin. In addition to his work as a musician, he uses conceptual methods to create his own instruments and to develop his video and installation works. A developing circle, pinwheeling, restarts at every rotation before completing the circle. The circle does not close, but indicates the shape it seeks to finish. Each time, it seems nearer to closing, and the patience maintains. Still, no circle closes, in each rotation. Anxiety develops with the inability to resolve the shape, but the shape turns, a graph develops, two circles pinwheel, unable to close, but overlap now. One circle, pausing, casts a straight to indicate the radius, and stops, still one moves above the other, now clarifying. A message is buried in the charts and figures, an odious one. "I am breathing. You, too, are breathing. We are breathing. The subtle scent of us both breathing." Spelled out now, the circle never completes, just makes a letter in a message and makes difficult the reading. More

Elegies-in-waiting to the monotonous dread of exploitative labour, dosed with elliptical distortion, industrial noise and ear-crushing bass. in the lineage of Pan Sonic, Sun O))), and the more gruelling Scott Walker productions. Vex'd veteran Roly Porter drops by with a sci-fi reinvention of Council Flat, trading in IF's mogadon footwork and megaton polyrhythms for a less apocalyptic, more introspective blend of modern classical, dark ambient and dirty stinking breakbeat. More

This release captures kicks, rhythms, and snares—only to drag them kicking and screaming into a metallic underworld. In J. Tijn’s echo-sphere, there are only allusions to the status quo of sound and beats, and never a full-fledged embrace of the conventional. On Side A’s “Kanon V.I.P.” a grizzly digital war is left to play out between both kick and snare, with grainy battle lines drawn around upbeat and downbeat. Survivors of the conflict are rewarded with a groove reminiscent of grime, if only the genre had been reborn in a dystopian future. Side B opens with a roughneck beat on “MOR” before turning its hand into a fist and effectively destroying its own image. The groove lives through this barrage of sound, but as a heavy and dark undercurrent just strong enough to remind you where J.Tijn’s roots are. “Shy” lures you in with a rounded electro kick, before glutting the rhythm and ushering in a wall of sound. A snowstorm of screaming drum samples proceed to surround you: you may have been here before, but you are somewhere rhythmically unseen. Embedded in all of these tracks are perhaps a sign of the times: the things that used to be seen as normal have now changed and mutated. More