Track list CD:
1. Onset Trajectory, 2. Qanath, 3. Vilayet, 4. Tefter, 5. Hard Palate, 6. Anaphora, 7. Builders, 8. Arda, 9. Healer

Info:
"Live at Borusan" follows in the tradition of Stefan Goldmann's recordings of concerts at the Philharmonie Berlin and the Honen-in Temple in Kyoto, with a music program that is just as tailored to the location and its characteristics as his other site-specific formats, such as for the LACMA in Los
Angeles or the CCK of Buenos Aires.
The Borusan Music House is located in the densely built-up Pera district, the old Christian quarter of Istanbul. It is a 19th century brownstone that has been carefully converted into a minimalist, multistorey exhibition and concert venue. While Goldmann was a fellow at the Tarabya Cultural Academy
for an extended summer in 2023, the idea for this concert was born and scheduled to be part of the Noise Istanbul festival organized by Borusan in November 2024.
The palimpsest-like character of the city with its multiple cultural layers is reflected in the structure of this concert and expressed in the language of electroacoustic composition. Accordingly, what should be a collision-ridden, restlessly advancing sequence through a multitude of references to earlier works and projects such as Veiki, Alluvium, Sfera and Furnace, instead leads us on a surprisingly relatable sonic arc.

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Tracklist:
Flexidisc 1 (transparent): Series a (Alpha)
Flexidisc 2 (blue): Series ß (Beta)
Flexidisc 3 (yellow): Series ? (Gamma)
Flexidisc 4 (black): Series d (Delta)

Info:
Scale and Scope is a set of four colour flexidisc records, each containing an instantiation of an individual microtonal designer scale, developed by Stefan Goldmann. The four discs are housed in a printed cardboard portfolio.
The flexidisc medium plays like a vinyl record, but is inherently noisier and tends to exhibit more signal disruptions than conventional vinyl. Expect occasional clicks, crackle and other variations, which differ substantially from copy to copy. These make each set unique.
The digital file versions are re-recorded directly from the flexidiscs, with very few corrections and a few spectral interventions by the original artist. The full resolution digital files used for cutting the flexidiscs will be available exclusively and individually to collectors who wish to acquire one of the scales as
instantiated in the recordings.

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Tracklist CD: 1. Axios, 2. Helicon, 3. Yantra, 4. Scylax, 5. Drilon, 6. Magoras, 7. Tyros, 8. Struma, 9.
Arda, 10. Hebros, 11. Ropotamo, 12. Scamander

Info:
Layered asymmetry: With Alluvium, Stefan Goldmann explores new structural paths for machine
rhythm in irregular metres. Throughout the album, different non-binary patterns run simultaneously,
interlocking into twelve offerings of jagged polyrhythmic magic. Such a framework may juxtapose 11
on one axis, against 7 on another and 5 on a third – building stunningly iridescent edifices of
multidimensional time.
This is the third album in a series of "first principles" research of metric asymmetry. Veiki (2019) laid
the foundation for "real broken beat". Then, Vector Rituals (2022) explored the bending of grids in
order to yield idiosyncratic forms of organising time. Alluvium takes these two approaches and
expands them beyond their initial reach: Irregular patterns moving along parallel timelines within one
unifying grid.

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Tracklist
CD1: Sector 1
CD2: Sector 2
CD3: Sector 3
CD4: Sector 4
CD5: Sector 5

Info:
For its first publication, Edition Kymata has commissioned a five-part long-form work from Stefan
Goldmann. This exposé to an incorporeal spatial structure captures infinite reverb responses to five
carefully designed immersive spaces.
Building on his earlier reverb-only work 'Call and Response' (2022), the capacity of reverberation to
enable the experience of impossible architecture is further explored – possibly in its clearest form to
date. The five zones of intangible aural sensibility compiled in this box set range from soothing to
menacing, inviting to a unique critical listening situation in which the listener's perception is the
dynamic side of the exchange while the stimulus persists in profound permanence.
The properties of the five enclosures – boundless in the time domain, distinct in their spatial
characteristics – reveal themselves completely and can be precisely described in statistical data,
allowing for multiple levels of access: a brief visit, long-term contemplation, exclusive ownership.
Stefan Goldmann is an electronic music composer based in Berlin, Germany.
Edition Kymata is a publishing house for audio arts with a focus on the study of first principles.

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Tracklist CD - Mix CD:

01. Acustica (Part 1)
02. Acustica (Part 2)
03. Acustica (Part 3)
04. Acustica (Part 4)
05. Acustica (Part 5)
06. Acustica (Part 6)
07. Acustica (Part 7)
08. Acustica (Part 8)
09. Acustica (Part 9)
10. Acustica (Part 10)
11. Acustica (Part 11)
12. Acustica (Part 12)
13. Acustica (Part 13)
14. Acustica (Part 14)
15. Acustica (Part 15)
16. Acustica (Part 16)
17. Acustica (Part 17)
18. Acustica (Part 18)
19. Acustica (Part 19)
20. Acustica (Part 20)
21. Acustica (Part 21)
22. Acustica (Part 22)
23. Acustica (Part 23)
24. Acustica (Part 14)


Info:
Acustica: For this acoustic sources-only mix, Stefan Goldmann cut up a vast library of recorded
interpretations of 20th century avant-garde compositions. Layered segments of individual instrumental
and chamber performances form emergent orchestral opulence – just to spill over into actual
orchestral segments. Goldmann has tackled acoustic archives before with his edit of multiple
recordings of Igor Stravinsky's 'Le Sacre du Printemps'. However, this mix traverses the disparities
and convergences of seven decades of score-based music with impressively results. A meta-level
polystylistic work that explores vast potentials of integration, interaction and interference. An antidote
to the prevailing practice of sounding compositions in scattered, sterile isolation. Here, opposing
concepts of music are channeled into one continuous flow, with a coherent DJ performance as the
vehicle.

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Tracklist:
A. In Aggregate
B. Carob

about:
One of techno's most joyous experimentators delivers two intriguing uptempo tracks. Instead of hitting
hard and heavy 'In Aggregate' and 'Carob' float delicately, with explosive detail blooming freely and
high above what feels rather like a bass-ladden undercurrent than a persistent kick drum foundation.
Both tracks expand on Stefan Goldmann's extensive polyrhythmic research and integrate tonal and
metric functions within the same units of sound. Somewhat radically, the central sound of 'Carob' is all
in one: beat, bassline and single-note melody. By contrast, 'In Aggregate' unfolds lush layers of
exuberant percussion, countered by rounded drops of bass and an occasional vocal snippet
ricocheting off of claustrophobia-inducing walls of glass.
As future-forward as they are organic, these offerings come with appropriately idiosyncratic artwork by
Jorinde Voigt. Printed on inside-out heavy paper cover + a printed inner sleeve.

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LP plus Free Digital Download included


Tracklist:
A1. Nayba
A2. Oyotung
A3. Lorino
A4. Yukagir
B1. Tiksi
B2. Ayon
B3. Valkumey

The Album:
Proprietary rhythm: Vector Rituals sees techno polymath Stefan Goldmann constructing polymetric rites of percussion. Synthesized from the ground up, timbral characteristics, metric properties, dynamic
expression and microrhythmic phrasing are shaped by the interactions of layered control voltage functions. The result is an assembly of abstract dances ranging from the intricate to the powerful.
Near-humanoid behaviour emerges from liquid patterns, laid out and brought to life by the freewheeling encounter of modular waveforms and snappy envelopes. Sounds evoke metallic textures
– ringing, scraping – and group into virtual shapes from tiny spikes to vast surfaces.
Some of the parametric relationships employed are as loose as to imply chance drifts. Others lock in with strict regularity as found in the 13 vs. 17 polymeter pattern of opening track 'Nayba'. By contrast,
in the strictly repetitive yet highly asymmetrical sequence of 'Yukagir' each metric step has its own uniquely irregular duration. The center piece of this collection is 'Ayon' with multiple autonomous and
highly agile timelines. Its constituent layers break away in radial fashion and fall back together at widely spaced points of congregation.
All compositions herein present powerful proof of the unlimited capacity of electronic music to yield new principles of organisation and to solidify their expression into clear-cut gestalt.

The Record:
Vector Rituals comes on 180g vinyl with artwork by highly acclaimed visual artist Jorinde Voigt, printed onto the inside-out cover sleeve and continued on the inner jacket.

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Format: 7”

Tracklist:
E. Singing Wire
F. Geared

About:
This is the fnal chapter in a series of three 7" records which see Stefan Goldmann probing the upper
temporal reaches of techno. Clocking in at 150 bpm, these tracks are bold and blazing signals for a
collective return to highly energised club experiences. 'Singing Wire' is playfully swinging and feels
surprisingly natural and decelerated for what it is – while taking you decisively and rapidly to its farend destination. 'Geared' is raw voltage with all the sparks fying. More bouncy than harsh, these
tracks show impressively how diferent tempos allow for their own variety of joyful expression.
Beautifully packaged, all three 7"es come in a thick matte-black outer sleeve with front side cut outs
and refective-lacquer details, with individual colour-coded inner sleeves. Comes with download card.

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Format: 7”

Tracklist:
C. Danke Dingo
D. Iron Hive

About:
This is the second instalment in a series of three 7" records which see Stefan Goldmann probing the
upper temporal reaches of techno. Clocking in at 150 bpm, these tracks are bold and blazing signals
for a collective return to highly energised club experiences. 'Danke Dingo' pierces through a
stroboscopic grid of chords – 'Iron Hive' is one assertive rhythmic manifestation of menacingly
metallic swarms. More bouncy than harsh, these tracks show impressively how different tempos allow
for their own variety of joyful expression.
Beautifully packaged, all three 7"es come in a thick matte-black outer sleeve with front side cut outs
and reflective-lacquer details, with individual colour-coded inner sleeves. A card with a download code
is included. Round three of the trilogy will be released in February 2022. Happy New Year!

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Track list CD:
1. Onset Trajectory, 2. Flood, 3. Merge, 4. Blind Deconvolution, 5. Neodym, 6. The Hearth, 7. Fission, 8. Caesium-133, 9. Surface Boundary, 10. Viscosity, 11. Builders, 12. Polymer, 13. Shift Invariant

Info:
In February 2020, the Philharmonie Berlin opened its gates for the first time in its history for a fully
blown electronic music program. Strom Festival continued for two days across three of the Berlin
landmark's jagged spaces. Stefan Goldmann had been invited to serve as the festival's artist-curator
and also performed its inaugural concert in the building's pentagonal Grand Hall. As much as this
event was without precedent for one of the world's leading classical music institutions, it is also an
uncannily typical match for Goldmann's rather unusual career path.
Though nominally techno, his music is distinguished by an ever-imaginative take on the form. From
exploring asymmetric rhythms to designing novel tuning systems to re-imagining the technological
base of electronic music – few have looked further beyond the genre's functional foundations.
Respectively, his music keeps appearing in contexts far removed from techno's club institutions –
featuring work with ensembles, dance companies, film makers and his own opera, as well as sitespecific performances at venues such as Kyoto's Honen-In Temple and LA's LACMA museum.
'Live At Philharmonie Berlin' is closely tailored to the Grand Hall, featuring a wealth of material
specifically developed to engage its architecture and acoustics. Apart from being a document that
brilliantly captures the Philharmonie's aural footprint with clear-cut synthetic probes, it also comes
close to being a retrospective of Goldmann's most striking formal ideas. Harking back to his early use
of wavetable synthesis for highly liquid units of pitch, timbre and dynamics, his recent
recontextualisations of industrial preset sounds and gradual shades of distortion fuse to shape the
soundscape of the one hour performance. These sounds then swirl through shifting microtonal grids
and freewheeling polyrhythms, solidifying into alien melodies, spiky transients and blocks of coloured
noise.


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Tracklist:

A1. Funia
A2. Sweet Protocol
B1. Tickle In The Heart
B2. Norilsk Nickel


Info:

Sheer power. With 'Tears Of Joy' Stefan Goldmann hands in an array of unapologetically bass-heavy techno cuts. Attacking a sound system's full width, these simplistic two-tone workouts turn out to have tremendous depth. Never standing still, constant feisty modulation keeps basslines and bodies.



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7 track mini album / EP

Track list vinyl:
A1. Gips, A2. Baka, A3. Trampa
B1. In and Out, B2. Okka, B3. Duman, B4. Trese

Info:
Impérieux (aka Alper Durmush) is a beatmaker extraordinaire hailing from Kircaali / Kardjali: since antiquity a hub of mythical music, located at the crossroads of Bulgaria, Turkey and Greece.
After conquering the hearts and feet of the scene with his stunning debut album Rezil and the follow-up Fena EP, Impérieux caps off his stellar year with a seven track mini album on Macro. Its effortlessly mesmerizing tracks consolidate the outlines of
forward-leaning club music.
Experimentation is a well-established facet of Impérieux’ approach to the adventurous techno (left)field, but the In and Out EP brings to the table his most condensed dance floor material so far. Holistically captivating hooks, bass lines and rolling rhythms: The next step after several years of exploration and refinement.
Unpredictability, bound together by a consistent, modernist glint. From the raw jacking of Gips to the warm euphoria of Baka, from the darbuka frenzy of Duman to the cutting friction of Trese – a triumph.

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Track list CD:
1.Chimera, 2. Big Drop, 3. Gnomon A, 4. Extension 1, 5. Études Spectrales I, 6. Études Spectrales II,
7. Études Spectrales III

Info:
Stefan Goldmann’s 'Input' translates electronic music into performance formats for human players of acoustic instruments. The standard remix process is thus inverted, by providing the electronics first. Then composers backwards-engineer what they hear into scores for ensemble. The original, synthesized version isn’t available for the audience: Its hidden shape can only be guessed at through its acoustic translations.
By collaborating with multiple composers, the process of direct auditory comparison allows for multidimensional insights. It reveals common traits in unlikely places and highlights differences
between individual approaches. Ambiguities of sound/score relations, emergent parallelisms and unexpected congruencies become part of the sensory and cognitive experience.
The three versions in this release – by Daniel Chernov, Adrian Pavlov and Lukas Tobiassen – were recorded at Sofia's 180 Degrees Festival and performed by the stellar group of musicians from
Bulgaria, France and Switzerland which came together in Ensemble 180°. The live recordings were further processed by Stefan Goldmann and now represent a stunning sonic hall of mirrors, with
multiple vectors of transformation embedded in this dialogue.

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Track list CD:
1. Onset Trajectory, 2. Qanath, 3. Vilayet, 4. Tefter, 5. Hard Palate, 6. Anaphora, 7. Builders, 8. Arda, 9. Healer

Info:
"Live at Borusan" follows in the tradition of Stefan Goldmann's recordings of concerts at the Philharmonie Berlin and the Honen-in Temple in Kyoto, with a music program that is just as tailored to the location and its characteristics as his other site-specific formats, such as for the LACMA in Los
Angeles or the CCK of Buenos Aires.
The Borusan Music House is located in the densely built-up Pera district, the old Christian quarter of Istanbul. It is a 19th century brownstone that has been carefully converted into a minimalist, multistorey exhibition and concert venue. While Goldmann was a fellow at the Tarabya Cultural Academy
for an extended summer in 2023, the idea for this concert was born and scheduled to be part of the Noise Istanbul festival organized by Borusan in November 2024.
The palimpsest-like character of the city with its multiple cultural layers is reflected in the structure of this concert and expressed in the language of electroacoustic composition. Accordingly, what should be a collision-ridden, restlessly advancing sequence through a multitude of references to earlier works and projects such as Veiki, Alluvium, Sfera and Furnace, instead leads us on a surprisingly relatable sonic arc.

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Track list CD:
1. Fo Pio, 2. Objectify, 3. Deliro, 4. Gider, 5. Sword Fight, 6. Rezil, 7. Imana, 8. Almost Had It, 9. Phase Rotation, 10. Young

Info:
Impérieux (aka Alper Durmush) is a beatmaker extraordinaire hailing from Kircaali / Kardjali: since antiquity a hub of mythical music, located at the crossroads of Bulgaria, Turkey and Greece.
Rezil is his stunning debut album, built on the ground cleared by his head-turning earlier releases for KiNK's Sofia Records and DJ Koze's Pampa. Its effortlessly mesmerizing 10 tracks consolidate the outlines of forward-leaning club music.
Experimentation is a well-established facet of Impérieux’ approach to the adventurous techno (left)field, but more than ever on Rezil he seizes the opportunity
to thrill with holistically captivating hooks, bass lines and rolling rhythms: A culmination of several years of exploration and refinement. Unpredictability lies at the heart of all this music, bound together by a consistent modernist glint.
From the warped wobble of Sword Fight to the unhinged dairé excess of Imana, from the drunken Casio bliss of Rezil to the hopeful euphoria of Young: a triumph.

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Track list 12“:
A: Marbles
B: Marbles (Stefan Goldmann Version)

Info:
Marbles is the legendary 1970 proto punk / dance classic from John McLaughlin’s US debut album 'De?otion', recorded at the time in which he played on Miles Davis' Bitches Brew and taped the Record Plant session with Jimi Hendrix.
Marbles didn't just deliver jazz rock's most danceable 4/4 beat, played by Band of Gypsies / Electric Flag drummer Buddy Miles. It is also centered with a once-in-ageneration bass line performed by Billy Rich. Larry Young's otherworldly Hammond textures predate a lot of what synthesizers were about to do much later, and the blowtorch energy emanating from John McLaughlin's cranked amp went beyond what most would had dared during the defining era of heavy rock guitar. An apex achievement at the intersection of jazz rock, guitar rock and dance music without parallel, before or since.
Background: John McLaughlin arrived in New York in 1969 to join Tony Williams' new group Lifetime which also featured Larry Young and eventually Jack Bruce (of Cream). On the second day in town he found himself in the studio with Miles Davis, recording 'In a Silent Way.' His playing would also take center stage in Bitches Brew, Jack Johnson, On The Corner and several other Davis key works of his much beloved first electric era. In between a busy schedule with Lifetime and Davis, McLaughlin also recorded two solo albums in 1970, 'De?otion' with an all-electric group and ‚'My Goa|’s B?y?nd' as its acoustic counterpart. By the time he formed his group Mahavishnu Orchestra in 1972, John McLaughlin was firmly established as the most important practitioner of his instrument of his generation within and well beyond the emerging jazz rock / fusion genre, and he has continued to evolve and surprise until today.
Here, a thorough remaster is supplemented by a new and throbbing techno version by Stefan Goldmann.

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Tracklist CD: 1. Axios, 2. Helicon, 3. Yantra, 4. Scylax, 5. Drilon, 6. Magoras, 7. Tyros, 8. Struma, 9.
Arda, 10. Hebros, 11. Ropotamo, 12. Scamander

Info:
Layered asymmetry: With Alluvium, Stefan Goldmann explores new structural paths for machine
rhythm in irregular metres. Throughout the album, different non-binary patterns run simultaneously,
interlocking into twelve offerings of jagged polyrhythmic magic. Such a framework may juxtapose 11
on one axis, against 7 on another and 5 on a third – building stunningly iridescent edifices of
multidimensional time.
This is the third album in a series of "first principles" research of metric asymmetry. Veiki (2019) laid
the foundation for "real broken beat". Then, Vector Rituals (2022) explored the bending of grids in
order to yield idiosyncratic forms of organising time. Alluvium takes these two approaches and
expands them beyond their initial reach: Irregular patterns moving along parallel timelines within one
unifying grid.

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Tracklist CD - Mix CD:

01. Acustica (Part 1)
02. Acustica (Part 2)
03. Acustica (Part 3)
04. Acustica (Part 4)
05. Acustica (Part 5)
06. Acustica (Part 6)
07. Acustica (Part 7)
08. Acustica (Part 8)
09. Acustica (Part 9)
10. Acustica (Part 10)
11. Acustica (Part 11)
12. Acustica (Part 12)
13. Acustica (Part 13)
14. Acustica (Part 14)
15. Acustica (Part 15)
16. Acustica (Part 16)
17. Acustica (Part 17)
18. Acustica (Part 18)
19. Acustica (Part 19)
20. Acustica (Part 20)
21. Acustica (Part 21)
22. Acustica (Part 22)
23. Acustica (Part 23)
24. Acustica (Part 14)


Info:
Acustica: For this acoustic sources-only mix, Stefan Goldmann cut up a vast library of recorded
interpretations of 20th century avant-garde compositions. Layered segments of individual instrumental
and chamber performances form emergent orchestral opulence – just to spill over into actual
orchestral segments. Goldmann has tackled acoustic archives before with his edit of multiple
recordings of Igor Stravinsky's 'Le Sacre du Printemps'. However, this mix traverses the disparities
and convergences of seven decades of score-based music with impressively results. A meta-level
polystylistic work that explores vast potentials of integration, interaction and interference. An antidote
to the prevailing practice of sounding compositions in scattered, sterile isolation. Here, opposing
concepts of music are channeled into one continuous flow, with a coherent DJ performance as the
vehicle.

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Track list CD:
1. Stay, 2. Of Silence, 3. Memoir, 4. Solemn, 5. Don't Go Away So Easily, 6. Temporary, 7. Show Me,
8. Everyday, 9. Afterdance, 10. Home, 11. Taking My Breath, 12. I'll Hold You

Info:
Less is more – the motto applies to Luxembourg's most intriguing newcomer Arthur Clees, whose
approach is minimalist, rich, hypnotic. Clees is a young prodigy drummer / percussionist / vocalist with
a multitude of performances and sessions under his belt. The 21-year-old musician manages to inspire
very different people with his tracks. No Wonder: There's both depth and a tremendous upward pull at
the same time.
In his debut album, "Stay, Temporary Home" influences from techno to electronica to the avant-garde
are paired with a distinctive feeling for melodies and a signature treatment of percussion. Soul and
R&B songs often appear as sonically distant yet emotionally close mirages. In addition, slightly altered
vocals, hearty yet reductionist beats and a detuned piano reminiscent of your favourite aunt's Sunday
cookies come in – a mixture that an incredible number of people can agree on at the moment.


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Track list CD: 1. Jagged, 2. Chalk, 3. Overlaps, 4. Freeze, 5. Serpentines, 6. Isotopes, 7. Brash, 8.
Pending, 9. Absence, 10. Diffraction, 11. Particular Interest, 12. Speculation

Info:
Insight Piano: Within just a few years Tom Schneider moved the scope of the sampler as an
instrument into entirely unexpected zones of expression. On keyboards with pioneering cut-up pop
band KUF he developed a key-triggered vocal style that features no singers on stage. With trio Loom
& Thread he devised a new wave of digital improv where the sampler amplified the piano and
engaged the acoustic musicians in some sort of multidimensional musical chess.
'Isotopes' is Schneider's first solo album and witnesses him being an astonishingly sensitive and
imaginative pianist. The album's material was developed and recorded in an intimate session at Bauer
Studios of Ludwigsburg – a site laden with the history of some of the most significant recordings of
contemporary jazz. Yet things don't stop at bringing just another piano solo effort.
Schneider's approaches to the instrument, which range from tender hesitance to eruptive, clustered
attacks, merely set the starting point. These utterances are sampled and mirrored back, ultimately
rendering a unified performance which combines the depth of intricately executed composition with the
urgent immediacy of free improvisation.
Over the past decade we have witnessed a resurgence of apparently opposed trends: repetitive,
minimalistic sensitivity and dashing, complex virtuosity. The linear thinking that defines these
approaches as polar opposites turns out to be entirely useless when facing 'Isotopes.' Both, the
uninhibited speed of granular clouds of tones and the dense texture of multiple layered phrases fired
off all at once, require a complete reconceptualisation of the meaning of complexity in music. Yet
Schneider offers less of a tongue in cheek critique of the pretense usually inherent in virtuosic display
– instead, the playing field is being thoroughly leveled: Now, and really for the first time, a singular
tone potentially carries exactly as much weight as the peaks of physiological sophistication.
This is not at all what the axe-wielding avant-gardes of the past were after. What we are witnessing
here is a thorough de-ideologisation of the instrument: Neither traditions need to be shattered nor
innovation kept at the gates. In a world of zero-sum thinking (‘if you get to eat I must go hungry’), here
we find an integrative approach that shows that we can indeed lift up without simultaneously pulling
down.

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Tracklist CD: 1. Mazoron, 2. Raphalut, 3. Calax, 4. Taminon, 5. Qanath, 6. Piron, 7. Margaleth, 8.Ignis, 9. Alboreus, 10. Dameth, 11. Belgalic

release info:
Death Ambient: Lucaslavia operates on the outer rings of metal, melting its constituent elements into
vicious torrents of fury. 'Furnace' resembles a field recording from the sixth circle of hell. Despite its
deceptively calm initial form, ancient hatreds seem to rage in violent currents just below the leaden
surface. Disembodied voices range from whispered malediction to screams of utmost anger, stretched
into purgatorial eternities. Gargantuan sonic fortification walls composed of drums, ripping sheets of
distorted guitar, hissing residue of steel and stone blasted apart build threatening levels of intensity.
The only deceptive respite comes from what appears to be the faint mechanical creaking emanating
from the inexorable and towering installations found in the engine rooms of boundless pain.

about Stefan Goldmann:
Lucaslavia was written and produced by Stefan Goldmann and mastered by Rashad Becker.
Stefan Goldmann has performed electronic music in 45 countries across six continents, with formats
ranging from DJ sets to a four-hour opera with ensemble and a room-spanning installation. He has
developed special formats for Berghain in Berlin, LACMA in Los Angeles and Kyoto's Honen-in
Temple and is currently artistic director of the Berlin Philharmonic's Strom Festival.

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Tracklist:
A. In Aggregate
B. Carob

about:
One of techno's most joyous experimentators delivers two intriguing uptempo tracks. Instead of hitting
hard and heavy 'In Aggregate' and 'Carob' float delicately, with explosive detail blooming freely and
high above what feels rather like a bass-ladden undercurrent than a persistent kick drum foundation.
Both tracks expand on Stefan Goldmann's extensive polyrhythmic research and integrate tonal and
metric functions within the same units of sound. Somewhat radically, the central sound of 'Carob' is all
in one: beat, bassline and single-note melody. By contrast, 'In Aggregate' unfolds lush layers of
exuberant percussion, countered by rounded drops of bass and an occasional vocal snippet
ricocheting off of claustrophobia-inducing walls of glass.
As future-forward as they are organic, these offerings come with appropriately idiosyncratic artwork by
Jorinde Voigt. Printed on inside-out heavy paper cover + a printed inner sleeve.

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Track list Vinyl:
A1. Patterns, A2. Seem To Take, A3. Ah Oh, B1. Oho Oho, B2. Pears, B3. Swim, C1. Aaa, C2.
Glucose, C3. Unless It Rains, D1. 0%, D2. 9, D3. Long Before

Info:
KUF create emotion-laden dialogues across layers of time and dimensions of sound. With three
albums the Berlin trio pioneered an astonishing inversion of the typical electronic band set up, by
pairing a plethora of disembodied, sampled voices with acoustic real-time interaction on bass, drums
and keys.
'Yield', their fourth album, presents a shift in focus. Less weight on the vocal core – lots of new
integrations of sampling, synthesis and band action in different constellations. This diversification of
sources pulls the conceptual stops out and yields a dazzling array of magical instrumentalism. Bold.
Catchy. Flourishing.
From 'Gold' to 'Universe', KUF solidified an irresistible marriage of android vocal cords and highly
energetic beats. Their third album 'Re:Re:Re' applied the concept to remix/cover version hybrids of
classics from Macro's stellar back catalog, tackling originals by the likes of rRoxymore, KiNK, Patrick
Cowley, Santiago Salazar and Stefan Goldmann. With proof that the concept could be applied with
supremely gratifying results to such diverse contexts, time was ripe to go back to the drawing board
and reimagine the perimeter.
Now 'Yield' breathes the freedom of playful reassembly of the main ingredients. A sampler's cut-up
capabilities triggered by frisky fingers. Persistent bass. Adamant drums. Rough soul, intertwined by
improvised outbursts and shaped with the aesthetics of raw MPC-based chunky techno. Twelve slices
of hyper-integrated realtime magic.

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Tracklist CD: 1. Island Grammar, 2. Copy & Praise, 3. Entropie, 4. O**ne*, 5. New&&&, 6. Thistles, 7.
Fureur et Capitel, 8. P#, 9. M(((, 10. Causal Ambiguity, 11. Structure et Repetition

info text:
Loom & Thread appear to present a take on this most classical of springboards of improvised music:
the piano trio. Indeed, Daniel Klein on drums and Tobias Fröhlich on double bass forge that highly
engaging, interlocking framework, set in complex juxtaposition to what emanates from the corner of
Tom Schneider on keys. This would be a superbly satisfying triangle of planar relational wonder on its
own. Imaginative re-adaptation of unexpected shifts, re-grouped into coherent streams of musical
thought. Superb clarity despite the pressurised density of form, the emergence of intricate order from
spontaneous play.
And yet this would be an utterly incomplete description. Because a dozen directions and dimensions
and interdependent layers open like trap doors all around, shattering any first impression of a familiar
context within just a few seconds of listening. What appears to be piano improvisation in the post-bop
tradition soon exhibits abrupt disruptions, impossible shifts, improbable repetitions, movements in
frequency and dynamics beyond the physical capabilities of a fixed-pitch instrument deemed so
familiar.
How so? Tom Schneider samples his own playing and continuously feeds it back into the ongoing
collective stream of the trio. Assigning starting points to the sampled phrases, these are then treated
as independent musical events just like the individual tones they contain: a second order of access is
created. Signifier and signified in the hands of the same musician, thus driving a two-pronged plane of
immanence.
This meta-improvisation is thrown at the other two players who now find themselves embroiled in
some kind of three dimensional chess game: fending off simulacra and responding to both,
idiosyncratic primary phrases of tones and a vibrant multitude of sampled variants. Reflexivity: the
piano/sampler continuum with its multi-layered access points to improvisational mapping is then
attacking and soothing and further teasing the appropriately angular rhythm section. A wondrous
dissolution of the divide between experiencing now and accessing memory.

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LP plus Free Digital Download included


Tracklist:
A1. Nayba
A2. Oyotung
A3. Lorino
A4. Yukagir
B1. Tiksi
B2. Ayon
B3. Valkumey

The Album:
Proprietary rhythm: Vector Rituals sees techno polymath Stefan Goldmann constructing polymetric rites of percussion. Synthesized from the ground up, timbral characteristics, metric properties, dynamic
expression and microrhythmic phrasing are shaped by the interactions of layered control voltage functions. The result is an assembly of abstract dances ranging from the intricate to the powerful.
Near-humanoid behaviour emerges from liquid patterns, laid out and brought to life by the freewheeling encounter of modular waveforms and snappy envelopes. Sounds evoke metallic textures
– ringing, scraping – and group into virtual shapes from tiny spikes to vast surfaces.
Some of the parametric relationships employed are as loose as to imply chance drifts. Others lock in with strict regularity as found in the 13 vs. 17 polymeter pattern of opening track 'Nayba'. By contrast,
in the strictly repetitive yet highly asymmetrical sequence of 'Yukagir' each metric step has its own uniquely irregular duration. The center piece of this collection is 'Ayon' with multiple autonomous and
highly agile timelines. Its constituent layers break away in radial fashion and fall back together at widely spaced points of congregation.
All compositions herein present powerful proof of the unlimited capacity of electronic music to yield new principles of organisation and to solidify their expression into clear-cut gestalt.

The Record:
Vector Rituals comes on 180g vinyl with artwork by highly acclaimed visual artist Jorinde Voigt, printed onto the inside-out cover sleeve and continued on the inner jacket.

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Format: 7”

Tracklist:
E. Singing Wire
F. Geared

About:
This is the fnal chapter in a series of three 7" records which see Stefan Goldmann probing the upper
temporal reaches of techno. Clocking in at 150 bpm, these tracks are bold and blazing signals for a
collective return to highly energised club experiences. 'Singing Wire' is playfully swinging and feels
surprisingly natural and decelerated for what it is – while taking you decisively and rapidly to its farend destination. 'Geared' is raw voltage with all the sparks fying. More bouncy than harsh, these
tracks show impressively how diferent tempos allow for their own variety of joyful expression.
Beautifully packaged, all three 7"es come in a thick matte-black outer sleeve with front side cut outs
and refective-lacquer details, with individual colour-coded inner sleeves. Comes with download card.

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GIACINTO SCELSI • STEFAN GOLDMANN • JEREMIAS SCHWARZER:
“SFERA”

Tracklist CD:
1. Instauratio, 2. Maknongan, 3. Cepstrum, 4.-6. Tre Pezzi (I-III), 7. Sfera, 8. Ave Maria,
9. Alleluja,10. Baïr, 11. Anaphora, 12. Mantram

Info Text:
Giacinto Scelsi (1905-1988) was an Italian composer and rather unusual pioneer of electronic music.
His works are neither based on traditional techniques nor do they resemble concepts of the 'new
music' avant-garde. He recorded improvisations on the ondiola (an early electronic instrument) to
magnetic tape, often in multiple layers. These recordings were then transcribed into scores by his
assistants – constituting the first attempt at sounding electronic music through acoustic instruments
and their players instead of loudspeakers.
SFERA is a dialogue between Jeremias Schwarzer's performances of some of Scelsi's most focused
and striking pieces for solo instruments and new electronic works by Stefan Goldmann. The two
groups of works exhibit polar opposition and unusual metaphorical proximity at the same time.
Goldmann's multi-faceted music exhibits shape-shifting capabilities as liquid as Scelsi's pieces for
ensembles or orchestra (such as Anahit or Uaxuctum). However, they make full use of the morphing
capabilities of contemporary synthesis, constructing multidimensional movements across a vast
parametric space.
Jeremias Schwarzer adapted most of Scelsi's works in this album for different kinds of recorder for the
first time. They form a baseline for Stefan Goldmann's overflowing electronics, which seem to grow out
of and fold back into it as if breathing. Thus a conceptual full circle is formed whose two tangents are
mirroring each other.

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Format: 7”

Tracklist:
C. Danke Dingo
D. Iron Hive

About:
This is the second instalment in a series of three 7" records which see Stefan Goldmann probing the
upper temporal reaches of techno. Clocking in at 150 bpm, these tracks are bold and blazing signals
for a collective return to highly energised club experiences. 'Danke Dingo' pierces through a
stroboscopic grid of chords – 'Iron Hive' is one assertive rhythmic manifestation of menacingly
metallic swarms. More bouncy than harsh, these tracks show impressively how different tempos allow
for their own variety of joyful expression.
Beautifully packaged, all three 7"es come in a thick matte-black outer sleeve with front side cut outs
and reflective-lacquer details, with individual colour-coded inner sleeves. A card with a download code
is included. Round three of the trilogy will be released in February 2022. Happy New Year!

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2018 Reissue, 3LP , Gatefold, Complete Tracklisting 1st Time on Vinyl!
Special vinyl re-issue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Triple-vinyl in gatefold sleeve.

Tracklist:
A1. Take Me Into Your Skin
A2. Vamp
B1. Evil Dub
B2. Always Something Better
C1. While the Cold Winter Waiting
C2. Nightwalker
D1. Like Two Strangers
D2. The Very Last Resort
E1. Snowflake
E2. Chameleon
F1. Into The Trees (Serenetti Part 3)
F2. Moan
F3. Miss You

Special vinyl re-issue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Triple-vinyl in gatefold sleeve.
Trentemøller's debut album remains one of the few genre-defining and groundbreaking
albums in many regards. It's still being praised for its composition and sounddesign alike and sounds as fresh and breathtaking today as it did when it was originally released in 2006.
The Last Resort - a beautifully crafted, astonishing masterpiece, that will leave you breathless. The 13
instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It
manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks and driving groove-excursions. An ever-changing kaleidoscope of colours and moods. Although it's an electronic album, it also incorporates live-drums, guitars, bass and other acoustic instruments like celesta, glockenspiel, melodica and even DJ scratching to create a more organic feel. The album received fantastic acclaim from both music fans and journalists around the world and made it into the top-lists of the month, the year, the decade - alongside an array of awards for best production or best album.
Back in 2006, the original pressing only included a selection of songs from the original 13-track album release. It missed out on songs which had been released on singles or didn't "fit" on the so called "vinyl edition". Due to 'public demand' and simply because this album deserves a proper vinyl
release we are happy to finally present, for the first time, the full album on vinyl. It spans of three vinyl discs and is packed in a beautiful gatefold sleeve which also holds a download-code. The recut has been carefully crafted from first generation, orignal masters by Calyx in Berlin. Since the album has been praised for its fantastic sound the primary directive was to cut the lacquers for the re-issue so that they would sound exactly the same as the original release, which has been the CD version of the album. No 'digital remastering' or any other alterations have been applied.
All 13 songs of the classic album on one vinyl release for the first time. Triple-Vinyl edition. Gatefold sleeve. download code. original sound-quality. NO digital remastering.



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JUSTICE, The French duo formed by Gaspard Augé and Xavier de Rosnay, is the band of a whole generation. When the two friends were still bright students in graphic design, in 2003 they made JUSTICE a place to experiment a hybrid genre between music and image, which blends pop and electronic borders, and showcases the talents of 2 fascinating passionate pop culture craftsmen, bored with hierarchy. They met Pedro Winter who had just founded his label ED BANGER RECORDS, he immediately signs them after listening to "We Are Your Friends" which, with its joyful and vitamin-enriched electro beats combined with exhilarating voices, became the hymn of a whole generation and one of the most important tracks of the year 2000, celebrating a reconciliation of pop music and the dancefloor. It was awarded an MTV Video Award in 2007, bringing about the famous live TV appearance with Kanye West outraged that his million $ clip was outclassed by a home-made bomb. (Once the misunderstanding was cleared up, Justice, Ed Banger and So_Me became a constant source of inspiration for Kanye and his superstar rappers colleagues. Kanye even employed So-Me as director for the video for his hit song "Good Life"), Jay Z will use D.A.N.C.E for his next album. From now on, the duo's ascent was constant and then lightning struck: remixes for N.E.R.D, Britney Spears, Franz Ferdinand, U2, Daft Punk, Lenny Kravitz and an EP in 2006 (" Waters Of Nazareth ") defining the "Justice sound", this famous ultra-powerful compression of pop and baroque melodies, both dark and threatening; lightning and animative; and above all the famous Justice image, the cross from which an earlier version figures on the first EP. 2007 was the explosion that will turn the duo into the emblem of a whole generation: their first album "†", anticipated like the Messiah, holds all the promises, and swept everything away as an epic soundtrack. "†" is more than a magnificent synthesis of our time: its potential definition. 800 000 sales worldwide and 4 years later, the album is considered as a mainstay of the 2000s puzzled and tonic, one of the few who bridged the gap from Pitchfork world to MTV without losing its credibility.

Tracklist:

A1 - Horsepower B1 - Canon (Primo)
A2 - Civilization B2 - Canon
A3 - Ohio B3 - On'n'On
B4 - Brianvision

C1 - Parade D1 - Audio, Video, Disco.
C2 - New Lands D2 - Presence
C3 - Helix



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Special Remarks: LP 180 G Vinyl
Remastered by Göttsching, Long deleted Vinyl Reissue.

Remastered by Manuel Göttsching and released on his own label MG ART. Inventions for Electric Guitar is Manuel Göttsching´s first solo album, recorded: July-August 1974.
The album was written and performed entirely by Göttsching on electric guitar, hence the title. Manuel played his guitar and used a 4 track TEAC A3340, Revox A77 for echoes, WahWah pedal, volume pedal, Schaller Rotosound and Hawaiian steel bar.

Tracklist:
Echo Waves 17:45, Quasarsphere 06:34, Pluralis 21:36



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NO VINYLE OF ANY MANU CHAO ALBUM HAS BEEN AVAILABLE ON SALE FOR AGES. ALL STUDIO & LIVE ALBUMS ARE BACK ON DOUBLE VINYL GATEFOLD FEAT. THE CD
TRACKLIST
A1. MERRY BLUES - A2. BIXO - A3. ELDORADO 1997 - A4. PROMISCUITY - A5. LA PRIMAVERA - A6. ME GUSTAS TU - B1. DENIA - B2. MI VIDA - B3. TRAPPED BY LOVE - B4. LE RENDEZ VOUS - C1. MR BOBBY - C2. PAPITO - C3. LA CHINITA - C4. LA MAREA - D1. HOMENS - D2. LA VAÇALOÇA - D3. INFINITA TRISTEZA

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Format Notes: 2024 first-time 12" reissue pairing of previously hyper-rare tracks, 140g vinyl, mastered by Simon Francis


Track List:

A1 Falling In Love
B1 Happy (Love Mix)

Release Notes:

Two seminal 12" mixes of a pair of enormous tracks from Surface. Housed in the super-rare and - until now - French-only picture sleeve of the eternal "Falling In Love", we've backed that classic with Be With's favourite deconstructed mix of the swirling electronic soul / synth-driven slow jam "Happy". These sought-after versions have never been paired on the same record before. This fresh Be With edition ensures these legendary tracks now sound, looks and feel as sensational as they deserve to. You know what to do...

American post-disco/R&B trio Surface were a New Jersey vocal group made up of Bernard Jackson, David Townsend and David Conley. The majesty of boogie ballad "Falling In Love" was their first single, released in 1983 on Salsoul Records. The mellow magic of this track is loved the world over; it's a feel-good smooth boogie jam that's forever coveted. The slick, crystal clear beat, the legendary minimoog bassline, the melody, Karen Copeland's superb vocal, the great flute solo (referenced on the cover) all of it is literally perfect and beautifully encapsulates that mid 80s international club vibe. This here is the original Shep Pettibone mix in its entirety - it's the only one you really need.

Flip for the legendary "Love Mix" of 1987 hit single “Happy". You all know the original. At least, you *should* all know it. But the "Love Mix" is a deconstructed, boldly produced mix which is the one the heads have turned to for so long. Yet, in our opinion, its hypnotic groove has flown under the radar for too many years. This killer remix begins with Jackson's spine-tingling isolated vocal, cleverly subverting expectations by actually delivering the first words of the original's second verse "You must be Heaven sent...Sent into my life...And I compliment you baby...Baby" before a heavy 808 drum kicks hard with echoey handclaps. It's super sparse and a dubbed out slow-mo boogie banger like no other. The synth bass, atmospheric synth pads and synthesized flute glide in and out with effortless style and the whole thing is a wonder to behold.

It's a slow jam, for sure, but crafted in the straight up funk tradition, using the digital tools of the day and this sparser than sparse version almost sounds like a precursor to UK Street Soul. A unique combination of undeniable funk, electro beats and an earnest, youthful tenor; it should be slamming out of every jeep forevermore.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year. Simply flawless.


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Rights: World excluding FR & UK

Packaging: 1 x Crystal Clear Vinyl, 3mm spine sleeve, printed inner , marketing sticker

KEY POINTS.

" What Are You Going to Do with Your Life?' is the eighth studio album by British post-punk legends Echo & The Bunnymen, released on April 16, 1999. The album saw the band continue a trajectory set with 1997's 'Evergreen', embracing more introspective themes and melodic approach to its arrangements.

" Featuring an inspired selection of collaborators including strings from the London Metropolitan Orchestra and two songs featuring the American rap rock band Fun Loving Criminals, 'What Are You Going to Do with Your Life?' featured two singles, the title track, and the atmospheric fan favourite 'Rust', which would mark the band's final Top 40 UK single.

" Celebrating 25 years of 'What Are You Going to Do with Your Life?', the album is issued on vinyl for the very first time, alongside expansive 34-track 2CD and digital editions (18 tracks previously unreleased!), which feature B-sides, alternative versions and previously unreleased live versions of both tracks from the album and classic Bunnymen tracks.


TRACKLIST VINYL

A1 What Are You Going To Do With Your Life?
A2 Rust
A3 Get In The Car
A4 Baby Rain
B1 History Chimes
B2 Lost On You
B3 Morning Sun
B4 When It All Blows Over
B5 Fools Like Us


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LP
GENRE/S: Avantgarde, Lounge, Experimental

TRACKLISTS:

A1 Venise
A2 Mais Où Est Donc Ornicar ?
A3 Antilope
A4 Celles De La Haute Mer
A5 Opium

B1 Voyage Autour De Ma Tête
B2 Le Trapéziste
B3 Moitié Panthère
B4 L'Année De La Comète
B5 Quand Nos Pères Étaient Des Poissons



SHORT INFO:
An elusive cult gem resurfaces through Glossy Mistakes. Originally released in 1986, L'Empire Des Sons is an otherworldly blend of synth pop, folk experimentation, and cinematic percussive layers-dreamlike, poetic, and wildly ahead of its time.
L'Empire Des Sons was a fleeting yet powerful transmission from the fringes of the French underground-an album that blurred genre lines and evaded easy classification. Fusing experimental folk, lo-fi synth pop, and avant-garde textures, the record exists in its own sonic universe: poetic, layered, and fiercely independent.
Formed in Saint-Étienne by percussionist and composer Dominique Lentin (Dagon, Fille Qui Mousse) and first-time vocalist Bipé Redon, L'Empire Des Sons emerged from the vibrant DIY spirit of the early 1980s. Their paths crossed during the interdisciplinary project L'Opéra Quotidien, and what followed was an intuitive, deeply collaborative process. "I would bring in lyrics and my voice," Bipé recalled, "and Dominique would shape the music around the atmosphere or rhythm suggested by the words."
The result is a collection of songs that feel both meticulously constructed and completely free. Ethnic percussion, marimbas, xylophones, and synthesizers dance around Bipé's surreal, fragmented lyrics-little sonic postcards from imagined worlds. There's a theatricality here, but it never feels forced; rather, it's playful, intimate, and raw.
Despite their inventiveness, L'Empire Des Sons remained a well-kept secret-circulating only in select avant-garde circles and eventually becoming an extremely sought-after collector's item.
Now, thanks to Glossy Mistakes, this lost artifact returns to the world with new life: remastered from the original tapes, pressed on vinyl for the first time with extended liner notes.
L'Empire Des Sons was never meant to be boxed in. Like the quote from Brian Eno that opens their liner notes-"For the world to be interesting, you have to be manipulating it all the time"-their music resists stasis. It evolves, shifts, surprises. And now, it finally gets the audience it always deserved.


VITAL SALES POINTS:

- One of the most sought-after private pressings from the French avant-garde
- Remastered from source material
- Includes extensive liner notes with unseen pictures of the band


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Format: 7“. One-sided. Yellow vinyl. Limited to 300 hand-stamped copies.

Tracklist
A1: Chihuahua On Acid

File under: AcidHouse, Acid, House, Chicago

This ain't from Chicago. But it could well be. The mysterious production duo operating under
the sonic nom de guerre CHIHUAHUA ON ACID works the box like jack never left the
dancefloor, fully indulging in a classic, ever so positive and ecstatic AcidHouse vibe that
makes us feel like it still is 1988. An absolutely banging - or better: jacking - vinyl debut for
the project, proudly presented by Intrauterin Recordings as a hand-stamped, limited to 300
copies one-sided yellow vinyl 7“ edition.


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LP WW-US/UK/FR

Lp, 2024 Repress


First time ever release on vinyl format. 180 GRAM BLACK VINYL. After The Sabres of Paradise split in 1995 Andrew Weatherall underwent one of many reinventions. He began working with Keith Tenniswood as Two Lone Swordsmen which released several records on the Warp label, set up a new electronic imprint under the Rotters Golf Club banner and fully explored new DJ personas departing from his house-based sets into dub, electronica and rockabilly. Renowned for unconventional sets where he’d raise the roof dropping an unexpected but exactly right track into the mix, he’d push the audience to new heights by introducing them to music they’d never even thought of exploring. The experiments went down especially well in Japan where he’d tour playing solo sets as well as performing alongside pioneers like Underworld, Adrian Sherwood and The Orb. In 2003 his new label, Rotters Golf Club, was approached by the Italian fashion house Emigliano Zegna to create some music to help launch their first foray into Japan. Andrew always had a keen eye for quality and agreed to provide some music. At the time it wasn’t envisaged as an album. He’d just grabbed some tracks he and Keith had been working on, polished them up and swapped them for a small advance and a large raid on their Bond Street store. He then let them get on with the release and turned his attention to the next TLS album proper. This was Double Gone Chapel where rock and psychobilly were mixed in with electronica and controversially Andrew added his own vocals. The Zegna album ‘Still My World’ was sidelined by a live band and a whole new direction. Andrew’s untimely death refocused attention on his historical recordings and ‘Still My World’, previously only released on CD in Japan, now sees the light of day in the rest of the world.





International Girl's Not Here

The Crescents

From Behind Bandages

Don't Remember Leaving

The Night I Was A Booby Prize

Arturo's Attitude

And Then The Walls Fell

Compulsion

Live From Rotten Towers

Still My World

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