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Tracklisting
A1 DX2OV - Coherent Scale
A2 DX2OV - Eliseus
A3 DX2OV - Intersection
A4 DX2OV - LAFS
A5 DX2OV - Loop
B1 DX2OV - O.K.
B2 DX2OV - Sliding on Enamel
B3 DX2OV - Voices
B4 DX2OV - Gossip
B5 DX2OV - Interzona

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Tracklisting
A1 Roma Zuckerman - Nightmare Forms
A2 Roma Zuckerman - Waterfalls Pt.2
A3 Roma Zuckerman - Text Regulator
B1 Roma Zuckerman - Arzt
B2 Roma Zuckerman - Like My News
C1 Roma Zuckerman - Frozen City
C2 Roma Zuckerman - I Play Everyday
D1 Roma Zuckerman - Extra Work
D2 Roma Zuckerman - Juldish
D3 Roma Zuckerman - 4CH005I
D4 Roma Zuckerman - Compañeros

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Tracklisting:
A1 Hoavi - PHASE 7
A2 Hoavi - PHASE 10
A3 Hoavi - PHASE 9
B1 Hoavi - PHASE 5
B2 Hoavi - PHASE 2
B3 Hoavi - PHASE 8

Sales Note
Part of the St. Petersburg underground for more than a decade now, Hoavi (Kirill Vasin) has released on labels around the world since debuting with Cyclones in 2013. With Phases, he joins the Gost Zvuk roster and builds on his previous ventures into ambient and dub inspired house with a six track mini-album that channels elements of his Phobia Airlines LP. The general atmosphere is built through industrial sound design, moving from quick-fire broken beat and woozy downtempo into rhythmic noise and abstract reductivism. The whole thing collides to form a sort of futurist, machinic statement that relies more on rhythm and percussive synth work than the balancing of melody, seeing the artist hone in further on physical modelling synthesis and computer-generated textures. This mission statement only adds to the inescapable sci-fi aura at work, with Hoavi providing a fresh take on the kind of zones explored by luminaries such as Best Available Technology, Vainqueur / Hallucinator and odd moments of The Flashbulb

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Tracklisting:
A1 Nocow feat. Fama87 - Memory
A2 Nocow - Ko Mne
A3 Nocow - Soon
A4 Nocow feat. Shutta - Taina
B1 Nocow feat. Fama87 - Ogni
B2 Nocow - Blizhe
B3 Nocow - Ne dognat'
B4 Nocow feat. Kedr Livanskiy - Dengi Ne Sgorayut
C1 Nocow - Circle
C2 Nocow - Need U
C3 Nocow feat. Fama87 - Temno
C4 Nocow feat. Flaty - Naiti
D1 Nocow feat. Shutta - Anymore
D2 Nocow feat. Flaty - Pozovi
D3 Nocow - Diver
D4 Nocow - Flow
D5 Nocow feat. Flaty - Breath

Sales Note
First rising to global acclaim in the latter half of the dubstep era with 'Ruins Tape', veteran St. Petersburg producer Nocow has fluidly moved across styles in the years since. Moving in a new direction from 2017s 'Ledyanoy Album', which saw the producer channel 90s ambient techno/IDM for GOST ZVUK, these 17 new tracks, and collaborations for the label instead hone in on a vocal-heavy type of ghostly R&B. As an album, Odinocow carries hints of trance, house and polished electronica ('Blizhe') as well as raw broken beat hybrids ('Dengi Ne Sgorayut'), though the primary unifying factor is the voice.

The heavy use of autotune, downtempo arrangements and wistful, machine-distorted human emotion are referenced in the album's title, which translates roughly to lonely Nocow. Whilst past albums have oscillated between steady dance structures and more wildly experimental arrangements, there is a recurring theme of simplicity at play here. Nocow aims to craft memorable songs by harmonising over contrasting ambient soundscapes, from glacial to warm, through to trap/rnb and 4x4 dance-pop.

With such an emphasis on exploring his voice and his songwriting craft, Nocow injects a new level of soul and integrity to his already well-established productions. Odinocow is a departure from his past work in some ways, though is also an example of a musician striving to reflect their truest vision of the self. "By finding yourself, you become able to love yourself, and, as a result, the world. So the album is really about love."

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Tracklisting:
A1 Stanislav Karpenkov - EvpaTrans+
A2 Stanislav Karpenkov - Reefs Flower
A3 Stanislav Karpenkov - ET+
A4 Stanislav Karpenkov feat. Terrence Dixon - Background Data
A5 Stanislav Karpenkov - 1.1
B1 Stanislav Karpenkov - SA-1-rp-5
B2 Stanislav Karpenkov - Telpher
B3 Stanislav Karpenkov feat. Kuzma Palkin - Jet Ski Max
B4 Stanislav Karpenkov - Last Wave
B5 Stanislav Karpenkov - New Keyboard

Sales Note
After three years of deep work, Stas Karpenkov's debut album is released on Gost Zvuk in the form of an abstract, free-form study. The album is saturated with the Black Sea breeze and the natural beauty of the peninsula, a land associated with the life of the author. It's a musical representation of its surrounding reliefs, an ode to the cyclicity of the waves, and a journey through soundscapes. These manifestations of maritime romance also include the experience of co-producing with Terrence Dixon and Kuzma Palkin on a couple of tracks that play an important role in the idea of the record.

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Tracklisting:
A1 The Oaken Chariot - They are looking at us from above
A2 The Oaken Chariot - BIZNES TIME
A3 The Oaken Chariot - Free Poetry
B1 The Oaken Chariot - Wasteland Luxury
B2 The Oaken Chariot - Cleaner than love
B3 The Oaken Chariot - Whirlabout
B4 The Oaken Chariot - Random patterns

Release Note:
What is the sound of the Russian dub? There is a storied history of attempts to adapt roots music to Russian soil, but most of them can be attributed to reggae (the so-called 'northern' variety) rather than dub. Gost has a history with the town of Smolensk. It's home to Gamayun, whose great album Filterealism was released on our label last year. Now Anton, one of Gamayun's members, presents his new duo Dubovaya Kolesnitsa (The Oaken Chariot). In his words, it has no connection to his other band at all and is an attempt to go back to the roots of a genre that doesn't truly exist.

The Russian word for oak, 'dub,' looks exactly like the genre, and the chariot emerged from the name for the group's jams - 'telega' - which can be translated as a cart. All the music here is the result of live improvisations: no samples, just instruments (notably Vasiliy Shilov's bass). These recordings have been slightly edited, and even the almost indecipherable texts are freestyle. There's no place for real riddims in Russian dub: sometimes this record sounds like something akin to dub variations on underground Russian hip hop (and we mean that in the best possible way).

We should also remember that dub and reggae (and hip hop as well) all started as the voice of people. The voice of those who are always in the minority and try not to be silent. The most prominent dub producers and reggae performers were against hierarchy, imperialism, and colonialism - and their music was born out of the desire to protest against it. As Anton puts it, Oaken Chariot, the "Russian mutation of dub," is an attempt of voicing the concern. And he links this attempt to a historic Russian tradition of Foolishness for Christ, also known as yurodstvo. The "fool" in question is not naive at all; he's trying to seem lunatic on purpose. For Anton, the music of Oaken Chariot is a rebellion with a cut-off tongue. Here, illegible speech, full of inarticulate sounds, is a sign of the inability of the statement. But this inability represents a statement itself that is inevitable.

Yet, the music of Oaken Chariot is genuinely fun, free, and mesmerizing (like the happenings of holy "fools"), but we could also approach it more conceptually. Theoretician Michael E. Veal describes dub as a 'postsong', taking the form of "linguistic, formal and symbolic indeterminacy." The duo's faintly eerie compositions call back to the notion of musical hauntology. There is an attempt, without any direct references, to reconstruct the feeling of something that was never there at all. A little nostalgic and very forward-thinking at the same time, the music of Oaken Chariot is best described in its own words. In the opening track, a voice can be heard saying "eto delo v lob," which means something like "it's a straight-on thing." This is very direct, almost in the vein of folk music. This is a great - and, it must be said, successful - experiment in searching for the soul of Russian dub. Simple as that.

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Tracklisting:
A1 HMOT - Instrumentation I
A2 HMOT - Instrumentation II
B1 HMOT - Context
B2 HMOT - Instrumentation IV (Encore)
B3 HMOT - Instrumentation IV

Release Note:
"In the beginning there was Jack... And Jack had a groove." We know this old tale pretty well. But what do these words really mean? And does this meaning even exist nowadays?Our fellow musician and sound researcher Stas Sharifullin, known as HMOT, presents his report Jack Studies in the form of a release on the Instrument, Gost Zvuk sublabel. Formally, it is a reissue of his single Prolegomena to Home Music Ontology, released in 2017 on Cyland. But these old tracks have been expanded, remastered by Rupert Clervaux and complemented by the two new ones. HMOT originally prepared the tracks on Jack Studies for release on Gost Zvuk, so these instrumentations are finally coming home after a long journey. Context is everything - and in the new environment, this music speaks even louder.Originally, house music was associated with HIV/AIDS activism and the fight against racial oppression, among other things - and this was completely lost in translation in Russia. House was stripped of its political and symbolic potential, and Jack Studies tries to show how the context is slowly fading from our memory. But it's not just an observation. It's a tool of light intrusion that the author has already tested in his DJ sets. Once, he says, he played Instrumentation IV (Encore) for eleven minutes at the Kantine am Berghain.Now that we are finally talking about Western and Eastern ways of making it in music, Jack Studies is more relevant than ever. You can see it not only as a joke said louder this time, but also as a critique of modern house music. You can also see it as a reflection on our strangeness to house music and how we can interpret it in our own way; as Sharifullin astutely suggests, as home music. He sees no line between tragedy and comedy, citing the plays of Samuel Beckett as the root of Jack Studies' irony. "They are funny and somber at the same time. To me, this release is sad, but the music here is joyful." Home music is the paradox. But it is also the beginning of something new. And in the beginning there was... what? Jack Studies has an answer.

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Tracklisting
A1 Wulffius - Monotone in G minor
A2 Wulffius - My Cosmic Synthesizer
A3 Wulffius - Frequency Piano Jam
A4 Wulffius - See That. Are That
B1 Wulffius - Heels At The Pebble Beach
B2 Wulffius - Typ Sounds Deep
B3 Wulffius - Grape Bounce
B4 Wulffius - I Am Weird

Release Note
Sorang, the debut album of Yalta native Wulffius, represents his work over the last eight years. The playful creature on the cover, Stone Eater, is based on childhood sketches of producer's father. The name of the album alludes to the first collection of his father's poems, which took its name from a short story by Konstantin Paustovsky, a master of nature writing in Russian prose. Sorang is the name of the south wind that "blows once in centuries", and you can hear its unique warmth in these tracks. There is a sense of wholeness here, and a palpable style and atmosphere that permeates the individual pieces.

Wulffius creates what he himself refers to as "B-sides": something too strange to be danceable, with "complex ease" and rhythmical variety. The music has a charming serenity and beauty thanks to Wulffius' intuitive approach, which is childlike and whimsical in the best possible sense. By the way, Paustovsky wrote Sorang in an hour and a half at a speed writing competition. You can hear a similar spontaneity here, but make no mistake, this is the work of a master and has been crafted over a period of years. It all comes from experience.

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The first vinyl LP by Moscow-based Boris Solomatin also known as DJ Kassir. An outsider from the beginning, this singular producer has shaped his universe around the denial of common sense. Obsessed with absurdity, confusion and weirdness in everyday life, he creates his own narrative where low quality is part of the message. His layering of obscure sound artifacts into psychedelic collages makes the music seem like a sonic counterpart to Russian meme culture. He acts as a modern ragman pursuing the documentation of this delirious post-reality using the language of sound. The album consists of the works created by him and his fellow producers around 2015-2017 and it's truly a blessing that these haven't been lost and are finally available on vinyl.

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Working with sonic archetypes rather than genres, in recent years Moscow's Pavel Milyakov has transcended the average practices of what one might call "the electronic music scene" and built his personal artistic universe where the visual and time-based arts are blended into one another. His new conceptual album PSY X, a collaboration between Gost Zvuk and Buttechno's own imprint Rassvet, can be understood as a collection of audio, video and graphic documents fused together in a homogeneous form. Profoundly rethinking the interactions between various media, Pavel utilizes a vast variety of creative tools and technologies - from generative music algorithms to laser equipment - to create (in)determinate "environments", rather than simply "tracks" or "pictures". The result is simply stunning: a meticulously crafted visual container that encases kinetic, alluring and deeply immersive music from one of Russian burgeoning scene's most vivid voices.

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The tenth, jubilee release of "Instrument" series is a sudden turning point and immediately changes the rules of the game, anticipating emerging trends. Oleg Buyanov - one of the main GOST contributors responsible for prominent records "True White" and "Height Difference" makes his debut in "Instrument" framework. OL's new release creates a path of complete diverseness - a unique mix of ambient, dub and mutational electronica, though the author's hip-hop DNA is still recognisable.
The release title as well as its symbol flirts with the privacy of communication in the context of its facilities and tools of the present world. Music acts as the info-channel, which provides unseen and coded data to a person from aside. The vagueness of mood, recurrent rhythm changes, and order of arrangement seem to rhyme with the paranoid feeling of being wiretapped. OL (along with another GOST ZVUK resident Flaty) recently had a similar experience of sound synthesis with their Serwed project whose recent LP was released via West Mineral Ltd. The groove of "SORM" is swirling, distorted and sometimes "disengaged"; sound guided by its waves exists in a constant process of decomposition, dissolution and then reassembles in new configurations.

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"Filterealism" starts from the territories where Gamayun haven't stepped before, from the music that only seems to be simple, but in fact it turns out to be very compound. Their recordings are not escapist in any sense of its meanings anymore; the whole album consists of divisions, explorations and adoptions through the personal and collective experience of music-making. The technical side of this sound acts likewise: you can hear a large amount of routine items (furniture, utensils and deformed recordings of the nature) among "conventional" electronic gadgets and live instruments.

"Filterealism" sounds just like some Soviet electronic music pioneer, which had shifted his focal grip from the modulations and synthesizers to all the simple things of surrounding and completed the piece with profounder shot of weirdness and commonplace wondering. And it literally works like a wonder.

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Aleksei Nikitin, whose first release kindled the GOST ZVUK history (and whose brilliantly sparkish "Ledyanoy Album" was issued on the label a couple of years ago), goes back to Ground Zero after his trilogy on Figure and REKIDS' "Atoner" LP. All four tracks of the eighth GOST INSTRUMENT's vinyl present a rather way-out approach, surprisingly uncommon for Aleksei's form style. But this seemed minimalism tends to be valid only at first glance. Starting from plain rhythm, "Elektromechanika's" further groove is drifting on lots of tousled synths. "Far Voices", an exercise in interweaving of echoes and voice samples, ends right at the moment when you expect track's next iteration. The B-side is not without surprises too: the acid beat of "Oasis" rises almost suddenly after drone-alike "Monothone". Summarizing all the above, getting into this record is not only the extremely clear case, but you should also try to play it from random track, or even in "B2-A1" order.

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Five years ago, the expression Russian electronic scene bore a tone of futurology and expectancies rather than a real state of affairs. It was possible to put together musicians of local and genre importance easily in general, but not of significance in national scale. With rise and further development of Gost Zvuk, Russian electronic music achieved power not only as cultural phenomenon within country s borders, but also fully proved to be a thing of international meaning. Starting operations in 2014, the label quickly defined its domains of authority and engagement and created full-bloody community of musicians, where everyone has a special view on his own work and unique sound. The projects presented on this compilation can be rightfully called the contemporary vanguard of Russian and global electronic music.
Each of resonant artists holds his own disparate creative field and impact. However, in this diversity the unity of creation of beauty and ingenuity is born, that distinguishes Russian independent electronica. All compiled tracks perfectly characterize the artists involved, sometimes from extremely striking sides; from HMOT s chaotic improvisations to kedr livansky s ethereal grooves, from unearthly landscapes of Gamayun to undistracted concisions by Ol or Buttechno. Both electric boffinry and club anthems merge into united vision, placed in graceful frame of Rashad Becker s mastering.
Maybe this compilation won t close the question What is the Russian Sound? , which has been arising for more than twenty years. Nevertheless, it is able to give an extensive view on the evolution of Russian electronica in the 2010s.

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Tracklisting:
A1 Teffa - Event Horizon
A2 Teffa - Turn On The Sound
B1 Teffa - Make it a Dub
B2 Teffa - Make it a Dub (Split Remix)

Sales Note
Subotage Records is proud to present Teffa's release, the "Periodic Wave EP." Taffa, an emerging Dubstep artist, has crafted a collection of four deep Dubstep tracks that will captivate listeners and transport them into a realm of hypnotic sounds. With his unique style and passion for electronic music, Teffa pays homage to the genre's roots while exploring innovative directions of his own.

Each meticulously composed song on the "Periodic Wave EP" showcases Teffa's ability to experiment with various sonic elements, resulting in mesmerizing soundscapes that push boundaries. This EP promises an exceptional listening experience for both Dubstep enthusiasts and electronic music lovers. Immerse yourself in the infectious beats and distinctive melodic arrangements of Teffa's "Periodic Wave EP" and discover the future of Dubstep. Subotage Records is honored to be a part of Teffa's musical journey.

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Laff & Wow’s debut on Beatbude Records! Improvised sounds of different instruments converted into lyrics by an automatic speech recognition program and recited by international robo voices.

All music performed and recorded by Andreas Haslacher and mastered by The Cologne Wizard.

The LP includes a magazine with more informative artworks by Lutger Lonin!
Limited to 275 copies.

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The Well Street label welcomes Yushh for her debut EP. The Pressure Dome label-head (who has previously landed on Facta & K-LONE's Wisdom Teeth as well as Banoffee Pies) brings a mind-altering mix of sounds here. There is sparse and futuristic space techno on 'Kara Arriba' then deeply introspective downbeat on 'Siro Silo'. 'Dough' is a percolating rhythm piece with rubbery bass and dreamy pads while 'OXI Ambigan' floats through space next to fizzing synth details, distant nebulas and alien life forms.

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Posm is a convergence of talents, emerging from a series of spontaneous jams that took place nestled amongst the hills of Kuringgai country. These sessions continued for two months, weaving hypnotic, incantatory suites through improvisation. The instrumental palette rotates between effortlessly blending acoustic and electronic instrumentation into a heady, organic synthesis, creating sounds that harmonise with the verdant landscape and flourishing fauna of the Bilgola hills. The music itself is an unforced fusion, finding the synchronicity in their improvisations. It feels exploratory, and you can follow along with them in the shared joy of making music in tune with each other and their surroundings.


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Balmat co-founders Philip Sherburne and Albert Salinas have been fans of Shy Layers’ lilting, Balearic pop for years, so when Shy Layers’ JD Walsh asked us to listen to a set of demos he was working up with fellow Atlanta multi-instrumentalist Jeff Crompton, we jumped at the chance. And once we heard their work in progress, the decision was almost immediate: We have to release this.

Together, Walsh and Crompton are Anagrams, and their debut album together, Blue Voices, might initially seem like a departure from Balmat’s habitually electronic terrain. It’s not ambient music, but it’s also not not ambient music, at least to listeners in the right frame of mind. The two musicians, who met when Walsh moved from Brooklyn to Atlanta in 2016 and began collaborating a few years later, see the music in similarly ambiguous terms. “I like it because it’s not jazz,” jokes Crompton, a veteran and credentialed jazz player. “And JD likes it because it’s jazz.”

Crompton is a musician (and former high-school band teacher) with deep roots in Georgia’s improvised and experimental music scenes; his credits include shows with Eugene Chadbourne, a guest appearance with Godspeed You! Black Emperor, and a collaboration with Duet for Theremin and Lap Steel’s 12-hour drone performance at Knoxville’s Big Ears. On Blue Voices he plays alto and tenor saxophone, clarinet, electric piano, and organ. Walsh has been releasing music as Shy Layers since 2015, when he started self-releasing on Bandcamp; the following year, Germany’s Growing Bin packaged his first two EPs as a self-titled album, and in 2018, Tim Sweeney’s Beats in Space label put out Shy Layers’ sophomore album, Midnight Marker. Where those records channeled Walsh’s playful harmonic instincts into wistful songwriting with tropical overtones, on Blue Voices he lets his experimental tendencies take the lead. Playing acoustic and electric guitars, electric lap steel, bass, Moog Matriarch, modular synth, and programmed drums, he concentrates his energies on richly textural layers and abstract assemblages of tone color.

Across the album’s 11 tracks, there are faint echoes of familiar touchstones: the atmospheric twang of Daniel Lanois’ pedal steel on Apollo: Atmospheres and Soundtracks; the mercurial modal runs of Ethio- jazz; the late-summer calm of Fuubutsushi; the versatility of players and composers like Patrick Shiroishi and Sam Gendel, who are asking similar questions about where jazz ends and some other, nameless territory begins. Mostly, though, what Blue Voices captures is the quixotic sound of two restless musical imaginations making it up as they go along, two voices discovering a shared language in a hitherto unexplored shade of blue.

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Repress!!

Dan Kye is the mysteriously evoked moniker from multi-instrumentalist, producer, and vocal sensation Jordan Rakei. The New Zealand-born artist - who now resides in London - presents his first long-player from Dan Kye, ‘Small Moments’, on Bradley Zero’s Rhythm Section INTL. An ode to the dancefloor, the musical project was born out of Jordan’s lockdown experience, created from the comfort of his own home. Recorded with just a laptop, extra live instruments and guest musicians, ‘Small Moments’ seamlessly transcends across electronica, jazz and funk, with each genre being effortlessly fused with Jordan’s melancholy vocals. Allowing himself to push the boundaries, Jordan’s Dan Kye moniker draws on the energetic and uplifting elements of house and techno and perfectly mixes it with the sultry vocals and emotion that come with the live elements we know and love from Jordan Rakei. The record offers listeners a journey through more floor-heavy tracks such as ‘Mogeri’ and ‘Raro’ to more groove infused offerings such as ‘Rainbow Road’ (which is named after one of the maps in Mario Kart and inspired by the energy of Prince’s iconic live concert at The Aladdin in Las Vegas), whilst tracks, like ‘Sober’, take on a more lyrical and anthemic feel.


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XY0815 wraps up his magnum opus with an additional collection of eight tracks. The second volume of 'Gates Need Inputs' blends crafty, melodic electronica with intricate rhythms.

Synth escapades to curb the dystopia.
Mastered by Alden Tyrell.

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MONDOJ20R = Dark Green Vinyl Repress! Languoria is a collaboration between Denmark's Sofie Birch and Poland's Antonina Nowacka. While Birch describes herself as an ambient musician, Nowacka''s primary instrument is her own voice; they share in common a facility for creating complex, layered work. Polish label Mondoj has teamed up with Unsound Festival, who initially brought this project to life for their 2021 Warsaw edition. After another show in Cracow later that year, the two met in Copenhagen to record a series of compositions. Unsound will also premiere Languoria this year in Cracow as well as during their New York offshoot.Sofie has previously published music on Stroom, Seil, Longform Editions and Intercourse. Antonina's debut album "Lamunan" was released in 2020 by Mondoj. Antonina is also half of the A/V experimental duo WIDT.

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