160 Pages Book (Boodk/Auduio Combination sold as "Merch Item"), containing 13 QR codes to download 13 songs.

Aho Ssan debuts on Other People with second solo album and book 'Rhizomes' featuring Nicolás Jaar, Moor Mother, Angel Bat Dawid, clipping., Blackhaine and more

2. GENRE/S: Electronic / Alternative



3. TRACKLIST:

1. Ouverture feat Nyokabi Kariuki
2. Rhizome I Feat Josefa Ntjam
3. Cold Summer Part I Feat Blackhaine
4. Le Tremblement Feat Nicolás Jaar & Resina
5. Memoria Feat R?n C?p ?uôi & Richie Culver
6. Till The Sun Down Feat clipping. & Resina
7. Rhizome II Feat Lafawndah
8. Hero Once Been Feat 9 Antiope
9. Tetsuo I feat James Ginzburg
10. Tetsuo II
11. Away feat Exzald S & Valentina Magaletti
12. Rhizome IV Feat Moor Mother, Angel Bat Dawid & Mondkopf
13. Fermeture Nyokabi Kariuki




4. SHORT INFO:

Aho Ssan debuts on Other People with second solo album and book 'Rhizomes' featuring Nicolás Jaar, Moor Mother, Angel Bat Dawid, clipping., Blackhaine and more

Paris based composer Aho Ssan, the artist moniker of Niamké Désiré, presents his new full-length 'Rhizomes' on the Other People label following his debut LP 'Simulacrum' (2020) and collaborative record 'Limen' (2022) with fellow musician KMRU.

'Rhizomes' draws inspiration from a concept coined and developed between Gilles Deleuze and Felix Guatarri. The idea of an ever evolving structural model, constantly in motion and spreading out in all directions at once. It has no beginning and no end, but always remains in a middle, through which it grows and overflows.

"The root thought is the one that kills everything around itself while the rhizome is the root that stretches out to meet other roots," Désiré explains considering the works of French writer Édouard Glissant who addresses questions of identity, crossbreeding of cultures and its evolution.

Much like the name it borrows, Aho Ssan's 'Rhizomes' is a multimedia project that embarks on a myriad of disparate, unique musical and artistic partnerships. This piece adapts this concept to explore the influence of sound materials on creation, the appropriation of a sound object, and the collaborative nature of a composition that responds to modernity.

"Rhizome represents an underground stem system that fosters connections between various organisms and allows them to flourish collectively. It's an album that celebrates collaboration and brings together a diverse group of talented artists," Désiré continues.

Aho Ssan collaborated with a comprehensive cast of artists to create a musical rhizome including Nyokabi Kariuki, Josefa Ntjam, Blackhaine, Nicolás Jaar, Resina, R?n C?p ?uôi, Richie Culver, clipping., Lafawndah, 9T Antiope, James Ginzburg, Exzald S, Valentina Magaletti, Moor Mother, Angel Bat Dawid and Mondkopf. Cooperation and community are at the root of this project and the lens through which all the compositions can be understood through.

Aho Ssan will present 'Rhizomes' AV show together with visual artist Sevi Iko Dømochevsky at Berlin Atonal 2023. 'Rhizomes' received a Honorary Mention at Prix Ars Electronica 2023 Digital Music


5. VITAL SALES POINTS:

In conjunction with the album, 'Rhizomes' comes complete with a set of illustrations by Kim Grano in a book release. The drawings become a hybrid language, each an emotional response to the musical half. The book contains an extended version of the album with 3 additional songs and 2 longer versions of the album songs. It also includes a sample pack by Aho Ssan and a collection of solo tracks by Elliot Blaise, KMRU, Lamin Fofana, Brodinski & Se?bastien Forrester, Valence Drake, 9T Antiope, Exzald S and Valentina Magaletti. The extended version package is only accessible through the QR codes in the book.

More

Book (No Audio Included)

GENRE/S: Alternative / Electronic / Noise

TRACKLISTS (Chapters):

1-Pedro Paramo on his way to meet the dead
2-I was convinced that an atom of your love could keep me goinng
3-Sometimes a day can last a lifetime
4-The tune of Titan 3
5-John Coltrane and John Fahey crossing the Danube
6-So long lover




SHORT INFO:

Charbel Haber is Lebanese musician, performer, visual artist and composer from Beirut. His work has seen him collaborate with artists from a wide range of disciplines - film, video art, visual art, theatre, dance - both in Lebanon and abroad.

As a solo artist and as a member of post-punk band Scrambled Eggs, he has composed music for directors Khalil Joreige and Joana Hadjithomas, Ghassan Salhab, Mohamad Malas, video artists Lamia Joreige and Akram Zaatari, Maqamat dance company and playwrights Rabih Mroueh and Lina Saneh, to name but a few. His prolific and collaborative career includes free improv group Johnny Kafta Anti-Vegetarian Orchestra, psychedelic Arabic music ensembles Malayeen and Orchestra Omar, cold wave band The Bunny Tylers and minimal ambient duo Good Luck In Death. He is the founder of Those Kids Must Choke and co-founder of Johnny Kafta's Kids Menu - two experimental record labels - and he has recorded and collaborated with notable artists from the fields of free rock and improv such as Oiseaux-Tempête, Radwan Moumneh, Tarek Atoui, Jean Francois Pauvros, The Ex, Michael Zerang, Mats Gustafson, Eddie Prevost, Xavier Charles and Tony Buck.

VITAL SALES POINTS:


And once again, here I am telling you to go look for the truth and its beauty in the words of dead poets, in the little tales of ravaged cities, in aborted dreams, in the melancholy of the ruins of tomorrow, in meaningless plastic totems, in the enigmatic end of restless fools.

I'll be here long after you all disappear.

These are the first and last sentences from Charbel Haber's latest offering, A Common Misunderstanding of the Speed of Light: a multi-media musing on the chronic and the chronological, the subversive nature of time. This combination of a record and book observes the slow passing of life and the illusion of retrogradation in his every day. Simply by documenting - via image, text and tune - Haber assigns value to everything that is cast in amber by this project. There's an acceptance and appreciation of the destitution he witnesses, it is an homage given in overlapping forms.

ACMOTSOL has two parts. The book, hardcover in an embossed orange, features photographs and texts taken from Haber's personal digital diary spanning from 2020 to the start of 2022. Broken into six chapters - named for the six tracks on the record - the entries are an artist's log of sorts during a peculiar period of global hyper stagnation and navigating the aftermath of the Beirut explosions. The 96 pages highlight Haber's interest in decay, negative space and the temporality of the human condition. Instead of presenting the images and texts as they were originally paired online, they're reordered and recontextualized in the book. New connections are formed, as tenuous and fleeting as the content they surround. The images interrupt the texts in many instances, forcing pauses and inviting distraction.

At the center of the book is a sudden burst of orange pages, with stylized pluckings of the text framing a QR-code that grants access to the record. With the brilliant orange covers and matching innards, pregnant with the music at the core, it's almost as if these central pages act as a way to turn the book inside out. There, the book's purpose is altered, fixated on a mirror image of itself. It forms a self-completing arc for the project, a loop.

ACMOTSO's second half is that mirrored album. Six tracks totalling just under 52 minutes. The music could be a continuation of his solo albums Of Palm Trees and Decompositions (2016) and It Ended Up Being a Good Day Mr. Allende (2012), an exploration into the expansiveness of seemingly simple loops of a lilting guitar. Careful electronic effects add dimensions or reground the listener. There's a swelling of sound, the illusion of the push of space before it retracts back into itself or fades into the distance. Much like the images and texts the music complements, the songs challenge the purity of cycles. Endings are beginnings, beginnings are endings or is everything just the middle? Haber is quietly and elegantly grappling with the troublesome act of place-making. In music, in words and in visual storytelling.

ACMOTSOL is a work that can be calming or disorienting, depending on what is requested of it. Similar to the way loops and cycles can signify both meditation and mania. The tendrils of Haber's past - his home of Beirut, fictional and real characters encountered, authors read, films watched, composers listened, walks taken - knit themselves together for a presentation of our immediate present. An evidence of a happening. A considered project of time.

All photographs, texts and music by Charbel Haber. Album mixed by Radwan Ghazi Moumneh. Design by Maziyar Pahlevan. Printed by Albe De Coker in Belgium.

This dual-part project will be released on XX XXX 2022 on 'Other People.'

Description by Nereya Otieno.

86 images
6 songs*
52 minutes*
96 pages
86 texts

*there are no audio files coming with the book.
More

LP [Limited Edition Vinyl]
GENRE/S: Alternative / Electronic / Noise

TRACKLISTS:

1. At The Opposite Pole of Architectural Virtue
2. In One Corner The Male Relatives
3. Serene Company
4. Tiles of The Façade
5. Chafing Dish
6. Such Gardens There Are
7. Capping Verse
8. Overdose Ferocious
9. Patience Of A Traitor
10. Bareekullah Picnic
11. In Thrall

SHORT INFO:

Tehran-born, NY based brothers Mohammad and Mehdi collaborate with Ian McDonnell, a.k.a. Eomac on a new record entitled "Patience of a Traitor". Inspired by the traditional bath houses in their native Tehran, the brothers say: "This record speaks to preserving the things that are timeless, through revisiting the past. The traditional Persian bath house - its architecture, the role it played in keeping, building community, the bathing rituals - served as our ultimate symbol. Now we drink from one cup, and fill the jar with the other."

More

LP [Limited Edition Vinyl]

GENRE/S: Alternative / Electronic / Ambient

TRACKLIST:

1. Addio
2. Felicitazioni
3. Piccolo e Cattivo
4. Mio Signore
5. Tranquillo
6. Oboe Vento e Rumore
7. Ti Saluto Parte 2
8. Contacto
9. Casa di Emma
10. Ti Saluto Parte 1

SHORT INFO:

Dienne's 'Addio' is a 32 minute study on loss and mourning. Following the death of her grandmother due to covid, and unable to say a proper goodbye due to travel restrictions, Dienne set out to give her "Addio" through musical form. She lets objects fall, leaves windows open, and lets the wind dust off the shelves. This is the sound of everyday mourning, a taste instead of an event. A lingering, broken and patient work of undeniable beauty.

Credits:
Artwork by Africanus Okokon and Maziyar Pahlevan.
Mastering by Gert Van Hoof.

Bio:
Dienne is a Belgian composer, vocalist and multi-instrumentalist. She builds songs and soundscapes portraying images & stories that play behind her eyes. Starting with the oboe as a child, before adding the piano and flute to her repertoire, she later produced soundtracks for theater and dance performances. Her debut 'Addio' will be released on 'Other People'.

More

LTD 2LP [Includes Art Prints by Zofia Kulik]

Compiled on vinyl for the first time

GENRE/S: Library / Ambient

TRACKLISTS:

1. Krzysztof Knittel: Lapis (1985)
2. Bohdan Mazurek: Canti (1973)
3. Magdalena Dàugosz: Yes and No (1990)
4. Barbara Zawadzka - Greya - III (1991)
5. Barbara Zawadzka Greya - IV (1990)
6. Barbara Zawadzka Greya - II (1987)
7. Rudnik - Epitaph of Stones (1984)
8. Boguslaw Shaeffer - Symphony. Elec…e (perf. by Wolfram) (1964-66) - I
9. Boguslaw Shaeffer - Symphony. Elec… (perf. by Wolfram) (1964-66) - II
10. Boguslaw Shaeffer - Symphony. Elec…(perf. by Wolfram) (1964-66) - III
11. Boguslaw Shaeffer - Symphony. Elec… (perf. by Wolfram) (1964-66) - IV


SHORT INFO:

Would It Sound Just As Bad If You Played It Backwards?"

A Collection of Sounds from the Studio Eksperymentalne Polskiego Radia (1959-2001)
Art by Zofia Kulik



"Would it sound just as bad if you played it backwards?" assembles a collection of audio experi-ments created at the Polish Radio Experimental Studio (PRES) from 1959 to the beginning of the century. These exceptional works are presented alongside images from the Polish artist Zofia Kulik, whose career reached its apogee between the late 1960s and early 70s. While PRES and Kulik remain touchstones in the recent history of the Polish avant-garde, presenting them togeth-er in one release may not have seemed like an obvious choice. There are, of course, some histori-cal intersections-the most notable being a shared interest in Polish artist and architect Oskar Hansen's Open Form theory. Open Form promoted a modular theory of architecture that became a tool adapted by its users and inhabitants. Hansen's ideas influenced Kulik's early works and also manifested in the PRES's iconic "black room," a music studio designed by Hansen, himself, which was equipped with moveable sound panels that absorbed or reflected sounds to promote a greater, creative freedom from its users. And yet, as it usually goes, the most obvious connections are usually the most deceitful. Whereas Kulik initially followed Open Form, she later turned away from it. And as for the black room-it mostly worked in theory but not in practice. What is it then that makes the two work together?

Within the realm of art history, Kulik's work is often divided into two periods: her early, artistic endeavours connected to Open Form, and the KwieKulik collaboration (with Przemys?av Kwiek), followed by her later turn towards a closed form, characterised by a departure from pro-cessual art in favour of material works of art. Yet these terms don't necessarily bring out the es-sence of Kulik's works. The artist explained that Hansen's Open Form was important for how it opened his students to perceive their environments in a different way. Reminiscing about those times, she states, "I wanted to catch the moment when the object I was looking at was real. I de-cided that as a static item it can never be real-it's possible only in the process of looking at it. That translates to the object being recorded and presented in certain sequences [...] there's the astonishment at the materiality of objects, colours, transformations."

Kulik's works chosen for this release are taken from two projects, Lady Halina and Cones (1968-71) and Excursion with White Screen. Route: Cemetery, The Palace of Culture, which were in-cluded in Kulik's diploma at the Sculpture Department of the Academy of Fine Arts in Warsaw. The projects consisted of slide projections presented on three screens, with specific temporal se-quencing. Lady Halina and Cones presents a woman's body, its forms, geometrical figures, and shapes undergoing a process of transformation. About Excursion with White Screen, Kulik says "this white sheet was supposed to signify an empty screen in different spatial situations in the city. I thought that I would later project a slide onto that screen, imposing another image after-wards, like a collage, but suddenly that screen became a material object instead of an abstract, pure idea of a potential image within an image. It became an object in itself and I began to notice that the screen sometimes wrinkles in the cemetery, and sometimes moves with the wind." A myriad of new meanings and references arise in the twenty-first century from Kulik's sequenced films. From the perspective of a young woman, Lady Halina and Scones poses questions about the objectification of women, the boundaries of their agency, and the recognition of their subjec-tivity within the patriarchal world in which their bodies often functioned as objects of control. In Excursion with White Screen the symbolism of a white sheet placed against a background image of a cemetery or the Palace of Culture questions the role of these religio-political monuments, the white screen acting as an empty, and potentially alternative, space between them.

The music chosen for "Would it sound just as bad if you played it backwards?" spans most of the history of the Polish Radio Experimental Studio, including tracks as early as W?odzimi-erz Koto?ski's "Concrete etude, Study for One Cymbal Stroke," and ending chronologically with Wolfram's rendition of Bogus?aw Schaeffer's "Symphony. Electronic Music." Just as with Kulik's works, the contemporaneity of the music presented is astonishing. The album opens and closes with Krzysztof Knittel's 1980s compositions, "Lapis" and "Poko," and perfectly encapsu-late his descriptions of his experiences in the studio: "We acted without any initial plans or elec-tronic scores, there were no goals to be achieved, no creative method defined in advance. We used our aesthetic and technological knowledge freely, the shapes of tracks emerged during our shared work in the studio."

The album also includes "Mictlan I" (1987) and "Yes and No," (1990) two stunning works by Magdalena D?ugosz, who studied composition with Krystyna Moszuma?ska-Nazar and music theory with Józef Patkowski. Since 1979 she has been teaching in the Electroacoustic Music Stu-dio at the Academy of Music in Kraków.

Also featured is the avant-garde composer El?bieta Sikora, Knittel's fellow member from the KEW Composers' Group, with her stark pieces "Letters to M" and "View from the Window," (1971), and Barbara Zawadzka, whose "Greya" (1988) is meant to evoke different sequencings of the colour grey. In this piece, particularly, it's hard not to appreciate the similarity to Kulik's notion of sequencing and transformation of objects.

Bernadetta Matuszczak's "Libera me" (1991) is an example of a somewhat different creative ex-perience. In a radio interview conducted by Marek Zwyrzykowski in 1992, the composer stated that she wasn't intending to discover any "extraordinary electronic effects"; instead, she focused on the piece's "expressive layer." With the help of Tadeusz Sudnik from PRES, she incorporated into "Libera Me" the characteristic melody from the Polish version of the Orthodox hymn "Holy God, Holy Mighty, Holy Immortal" and then combined it with sounds of explosions and instru-mental recordings, a veiled response to the US's interventions during the Gulf War.

Eugeniusz Rudnik, the composer and sound engineer whose name is among those most strongly associated with PRES, contributes with his "Epitaph for Stones," (1984) a dedication to Jerzy Popie?uszko, the Polish Roman Catholic priest associated with the Solidarity trade union and an-ti-communist movement who was murdered by the Security Service. Bohdan Mazurek, who took over the reins of the studio from Rudnik in 1962 is also included with his piece "Canti" (1973).

As mentioned above, the album also includes W?odzimierz Koto?ski's seminal "Concrete etude, Study for One Cymbal Stroke," a piece sourced from the single stroke of a mid-sized Turkish cymbal; it is often considered to be an important starting point for the development of experi-mental music in Poland. And, finally, the album features two performances of Bogus?aw Schaeffer's "Symphony. Electronic Music," the first by Bohdan Mazurek which remains very close to the composer's score, and a contemporary version by Wolfram, which takes much more creative liberties.

In a text about his seminal work, Schaeffer stated that he "decided to include the factor of inter-pretation in a work that was greatly precise by nature" underlining the importance of shifting el-ements: "the development of music lies in individual elements shifting in the hierarchy of their functions." Indeed, an interest in shifting hierarchies seems present in Kulik's powerful images and most of the sound pieces contained in this release. When the Polish Radio appointed Eu-geniusz Rudnik to present PRES's technical capabilities to a conservative delegation of Soviet composers, he was met with a bitter reply: "Would it sound just as bad, if you played it back-wards?" asked the rigid composers. Rudnick's answer was to create "Skalary," (1966) a multi-version piece which could be played from start to finish and from finish to start, at different speeds, as well as with altered left and right channel distribution. This modular openness calls to mind the empty sheet in Kulik's images. Whatever the context, its static emptiness creates space for a different reality than that which those in power had in mind. This brings us back to Kulik's thoughts on her experiences as a student in the late 60s, a pivotal time in which she determined the process of looking and listening was central to reality itself, thereby shattering the rigidity of traditional forms and religio-political power: "I decided that as a static item, an object can never be real-it's possible only in the process of looking at it."




More

LTD 2LP [Includes Art Prints by Zofia Kulik]

Compiled on vinyl for the first time

GENRE/S: Library / Ambient

TRACKLISTS:

1. Wlodzimierz Kotonski - Study for One Cymbal Stroke (1951)
2. Symphony. Electronic music, part I (performed by Bohdan Mazurek) (1966)
3. Elzbieta Sikora - Letters to M. (1980)
4. Bernadetta Matuszczak - Libera me (1991)
5. Elzbieta Sikora - View from the Window (1978)
6. Magdalena Dlugosz - Mictlan I (1987)
7. Barbara Zawadzka - Greya part V (1991)
8. Krzysztof Knittel - Poko (1986)



SHORT INFO:

Would It Sound Just As Bad If You Played It Backwards?"

A Collection of Sounds from the Studio Eksperymentalne Polskiego Radia (1959-2001)
Art by Zofia Kulik



"Would it sound just as bad if you played it backwards?" assembles a collection of audio experi-ments created at the Polish Radio Experimental Studio (PRES) from 1959 to the beginning of the century. These exceptional works are presented alongside images from the Polish artist Zofia Kulik, whose career reached its apogee between the late 1960s and early 70s. While PRES and Kulik remain touchstones in the recent history of the Polish avant-garde, presenting them togeth-er in one release may not have seemed like an obvious choice. There are, of course, some histori-cal intersections-the most notable being a shared interest in Polish artist and architect Oskar Hansen's Open Form theory. Open Form promoted a modular theory of architecture that became a tool adapted by its users and inhabitants. Hansen's ideas influenced Kulik's early works and also manifested in the PRES's iconic "black room," a music studio designed by Hansen, himself, which was equipped with moveable sound panels that absorbed or reflected sounds to promote a greater, creative freedom from its users. And yet, as it usually goes, the most obvious connections are usually the most deceitful. Whereas Kulik initially followed Open Form, she later turned away from it. And as for the black room-it mostly worked in theory but not in practice. What is it then that makes the two work together?

Within the realm of art history, Kulik's work is often divided into two periods: her early, artistic endeavours connected to Open Form, and the KwieKulik collaboration (with Przemys?av Kwiek), followed by her later turn towards a closed form, characterised by a departure from pro-cessual art in favour of material works of art. Yet these terms don't necessarily bring out the es-sence of Kulik's works. The artist explained that Hansen's Open Form was important for how it opened his students to perceive their environments in a different way. Reminiscing about those times, she states, "I wanted to catch the moment when the object I was looking at was real. I de-cided that as a static item it can never be real-it's possible only in the process of looking at it. That translates to the object being recorded and presented in certain sequences [...] there's the astonishment at the materiality of objects, colours, transformations."

Kulik's works chosen for this release are taken from two projects, Lady Halina and Cones (1968-71) and Excursion with White Screen. Route: Cemetery, The Palace of Culture, which were in-cluded in Kulik's diploma at the Sculpture Department of the Academy of Fine Arts in Warsaw. The projects consisted of slide projections presented on three screens, with specific temporal se-quencing. Lady Halina and Cones presents a woman's body, its forms, geometrical figures, and shapes undergoing a process of transformation. About Excursion with White Screen, Kulik says "this white sheet was supposed to signify an empty screen in different spatial situations in the city. I thought that I would later project a slide onto that screen, imposing another image after-wards, like a collage, but suddenly that screen became a material object instead of an abstract, pure idea of a potential image within an image. It became an object in itself and I began to notice that the screen sometimes wrinkles in the cemetery, and sometimes moves with the wind." A myriad of new meanings and references arise in the twenty-first century from Kulik's sequenced films. From the perspective of a young woman, Lady Halina and Scones poses questions about the objectification of women, the boundaries of their agency, and the recognition of their subjec-tivity within the patriarchal world in which their bodies often functioned as objects of control. In Excursion with White Screen the symbolism of a white sheet placed against a background image of a cemetery or the Palace of Culture questions the role of these religio-political monuments, the white screen acting as an empty, and potentially alternative, space between them.

The music chosen for "Would it sound just as bad if you played it backwards?" spans most of the history of the Polish Radio Experimental Studio, including tracks as early as W?odzimi-erz Koto?ski's "Concrete etude, Study for One Cymbal Stroke," and ending chronologically with Wolfram's rendition of Bogus?aw Schaeffer's "Symphony. Electronic Music." Just as with Kulik's works, the contemporaneity of the music presented is astonishing. The album opens and closes with Krzysztof Knittel's 1980s compositions, "Lapis" and "Poko," and perfectly encapsu-late his descriptions of his experiences in the studio: "We acted without any initial plans or elec-tronic scores, there were no goals to be achieved, no creative method defined in advance. We used our aesthetic and technological knowledge freely, the shapes of tracks emerged during our shared work in the studio."

The album also includes "Mictlan I" (1987) and "Yes and No," (1990) two stunning works by Magdalena D?ugosz, who studied composition with Krystyna Moszuma?ska-Nazar and music theory with Józef Patkowski. Since 1979 she has been teaching in the Electroacoustic Music Stu-dio at the Academy of Music in Kraków.

Also featured is the avant-garde composer El?bieta Sikora, Knittel's fellow member from the KEW Composers' Group, with her stark pieces "Letters to M" and "View from the Window," (1971), and Barbara Zawadzka, whose "Greya" (1988) is meant to evoke different sequencings of the colour grey. In this piece, particularly, it's hard not to appreciate the similarity to Kulik's notion of sequencing and transformation of objects.

Bernadetta Matuszczak's "Libera me" (1991) is an example of a somewhat different creative ex-perience. In a radio interview conducted by Marek Zwyrzykowski in 1992, the composer stated that she wasn't intending to discover any "extraordinary electronic effects"; instead, she focused on the piece's "expressive layer." With the help of Tadeusz Sudnik from PRES, she incorporated into "Libera Me" the characteristic melody from the Polish version of the Orthodox hymn "Holy God, Holy Mighty, Holy Immortal" and then combined it with sounds of explosions and instru-mental recordings, a veiled response to the US's interventions during the Gulf War.

Eugeniusz Rudnik, the composer and sound engineer whose name is among those most strongly associated with PRES, contributes with his "Epitaph for Stones," (1984) a dedication to Jerzy Popie?uszko, the Polish Roman Catholic priest associated with the Solidarity trade union and an-ti-communist movement who was murdered by the Security Service. Bohdan Mazurek, who took over the reins of the studio from Rudnik in 1962 is also included with his piece "Canti" (1973).

As mentioned above, the album also includes W?odzimierz Koto?ski's seminal "Concrete etude, Study for One Cymbal Stroke," a piece sourced from the single stroke of a mid-sized Turkish cymbal; it is often considered to be an important starting point for the development of experi-mental music in Poland. And, finally, the album features two performances of Bogus?aw Schaeffer's "Symphony. Electronic Music," the first by Bohdan Mazurek which remains very close to the composer's score, and a contemporary version by Wolfram, which takes much more creative liberties.

In a text about his seminal work, Schaeffer stated that he "decided to include the factor of inter-pretation in a work that was greatly precise by nature" underlining the importance of shifting el-ements: "the development of music lies in individual elements shifting in the hierarchy of their functions." Indeed, an interest in shifting hierarchies seems present in Kulik's powerful images and most of the sound pieces contained in this release. When the Polish Radio appointed Eu-geniusz Rudnik to present PRES's technical capabilities to a conservative delegation of Soviet composers, he was met with a bitter reply: "Would it sound just as bad, if you played it back-wards?" asked the rigid composers. Rudnick's answer was to create "Skalary," (1966) a multi-version piece which could be played from start to finish and from finish to start, at different speeds, as well as with altered left and right channel distribution. This modular openness calls to mind the empty sheet in Kulik's images. Whatever the context, its static emptiness creates space for a different reality than that which those in power had in mind. This brings us back to Kulik's thoughts on her experiences as a student in the late 60s, a pivotal time in which she determined the process of looking and listening was central to reality itself, thereby shattering the rigidity of traditional forms and religio-political power: "I decided that as a static item, an object can never be real-it's possible only in the process of looking at it."
More

LP

CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.


8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music

8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole

9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.


NICOLAS JAAR BIOGRAPHY

NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE

Tracklist:

1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk

More

- 2LP is mastered for Exceptional Sound

LTD Edition includes : 2LP + Book + OCard + Clear PVC Sleeve

CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.


8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music

8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole

9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.


NICOLAS JAAR BIOGRAPHY

NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE

Tracklist:

1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk

More

LTD CD : CD + Book + Clear PVC Sleeve

CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.


8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music

8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole

9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.


NICOLAS JAAR BIOGRAPHY

NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE

Tracklist:

1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk

More

CD Version

CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.


8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music

8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole

9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.


NICOLAS JAAR BIOGRAPHY

NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE

Tracklist:

1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk

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AAL 3LP '2017-2019' on Other People featuring Lydia Lunch.
F = vinyl-only edit

Tracklist 3LP

A1. Fantasy
A2. If Loving You Is Wrong
B. With An Addict
C1. If You Can't Do It Good, Do It Hard feat. Lydia Lunch
C2. Alarm
C3. Deeeeeeefers
D. Faith
E1. Penny
E2. You (Forever)
F. Vinyl-Only Edit More

AAL Single 12" on Other People featuring Lydia Lunch and FKA twigs.

Tracklist EP


A Illusions Of Shameless Abundance
Featuring – Lydia Lunch

B Alucinao
Feat. Estado Unido & FKA twigs
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Tracklist LP:

1. In Praise Of Shadows
2. Figure
3. Distance
4. Rest
5. Weight
6. South
7. Tides

Sary Moussa is an electronic musician who has been active in the Beirut underground scene since 2008. He released his first full-length album Issrar in October of 2014 under the moniker radiokvm. His latest record Imbalance, finds Moussa revisiting the soundscapes of his childhood; from the echoes of political unrest, to Greek-Catholic chants, and the quiet nights of a secluded Southern village. The album combines sound design with intricate melodic arrangements to create a choir of synthesizers and noise singing in and out of sync.
In addition to his solo work, Moussa has also composed music for theatre and dance performances, short films, and museum installations.


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LP

“Bandiera Di Carta” represents the ongoing collaboration between instrument builder and composer Pierre Bastien and the
London based experimental duo Tomaga (Valentina Magaletti and Tom Relleen).
Bastien has been called a “mad musical scientist with a celebrity following” by The Guardian (UK) having collaborated with the
likes of filmmaker Pierrick Sorin, fashion designer Issey Miyake, singer and composer Robert Wyatt as well as Aphex Twin,
who released three of his albums on his label Rephlex.
Tomaga have made more than a dozen records since forming in 2014, pursuing a path of fearless experimentation and sonic
brinksmanship that has won them fans and plaudits from far and wide, including Thurston Moore, with whom they collaborated
on the CAN Project with Malcolm Mooney, Deb Goodge and others in 2017, as well as Wire, Silver Apples and Stereolab, with
whom they toured extensively in summer 2019.
The artistic collaboration between Pierre and Tomaga began with two commissions: from Fructose Festival in Dunkirk and the
revered underground festival Supersonic in Birmingham UK. Recording initially at a studio in the industrial port of Dunkirk, the
uneasy bond between borders and states seems to have been a theoretical motor to the collaborative sessions, as well as the
bleak landscape of the seaport frontier. This inspiration found further manifestation in the cover image for ‘Bandiera Di Carta’.
Resembling a white paper flag, it is, in fact, a photograph of Bastien’s paper and air sound machine installed on stage at
Teatro Carignano in Turin as part of the trio’s performance there. This charged, ambivalent image of a blank flag evokes the
transcendence of the national, a prescient visual motif that meditates on the contemporary uncertainty around notions of
national identity and borders but perhaps also a ‘carte blanche’ for the artists involved, in which they can deviate from the
confines of their usual practice into new and strange territories.
For each piece, Bastien’s unique sonic style: by turns his kinetic mechanoid motors, capriciously arrhythmic pipes, or the
peculiar susurrus of paper, creates a world in which Tomaga introduce their musical palette. Magaletti’s percussion anchors
these sometimes chaotic forces into beguiling syncopations, with Relleen’s synthesizer and organ work creating harmonic
counterpoints and interruptive provocations, to which Bastien responds with lyrical turns on prepared trumpet, rubber band, tin
foil and bass ocarina.
The results are curiously evocative of free jazz by the likes of Sun Ra or Art Ensemble of Chicago paired with the percussive
sound worlds of artists like Francis Bebey or Muslimgauze along with unique and sometimes bizarrely exotic tonal landscapes
of composers like Catherine Christer Hennix, Carl Stone, or Egisto Macchi. All three musicians seem to find space to bloom in
ways that are markedly different from their individual work and the resulting album is a strikingly original and powerfully bold
affirmation of what can happen when venturing beyond the normal in pursuit of the other.All tracks written & produced by Tomaga (Tom Relleen & Valentina Magaletti) & Pierre Bastien.
Mixed and mastered by Rashad Becker.


Tracklist

A1 Senza
A2 Pipes Of Dunkirk
A3 andiera Di Carta
A4 The Meeting
B1 Machines With Ideas
B2 Paper Ritual
B3 Doldrum
B4 Circles In The Ruins

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LP

vtgnike is danil avramov, born in Vladimir,russia. started actively
making music in 2010 after moving to moscow. after releasing couple of
eps under different monikers, got a few vtgnike d.i.y. cds(one of
those probably got into nico's ears in NY) i've got beautifull DUBNA
LP on other people(yes really still think its a great record) and few
month after its release got in jail because of drug charges dated
2009. long story here. im 100% on weed legalization and
decriminalization of other drugs in a logically gentle and mentally
stable sociaty(and the world is not equal, its diversed and i respect
all non violent cultures :-). got free in 2016(THANKS TO EVERYONE
INVOLVED AND NICO) and got another album with a gostzvuk fam.
i am a proud resident of NII club.
in producing i've been switching music genres all my life ) electronic
music that has a flow in it, dosnt need to be glued to any specific
range of bpm, etc.

Tracklist

1. Vechermix
2. Sentimental Geometry
3. Sweep
4. Sausemix
5. VVK
6. Nervnii RnB
7. Can't Tell
8. Slowshit
9. Primechord


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AAL record on Other People.
Pressed on to wax due to popular demand.

Tracklist:
A 1. THIS OLD HOUSE IS ALL I HAVE 3:39 A.A.L (AGAINST ALL LOGIC)
2. I NEVER DREAM 6:46 A.A.L (AGAINST ALL LOGIC)
3. SOME KIND OF GAME 6:47 A.A.L (AGAINST ALL LOGIC)
B 4. HOPELESS 5:41 A.A.L (AGAINST ALL LOGIC)
5. SUCH A BAD WAY 4:53 A.A.L (AGAINST ALL LOGIC)
6. FLASH IN THE PAN 7:28 A.A.L (AGAINST ALL LOGIC)
C 7. CITYFADE 5:41 A.A.L (AGAINST ALL LOGIC)
8. NOW U GOT ME HOOKED 5:51 A.A.L (AGAINST ALL LOGIC)
9. KNOW YOU 4:25 A.A.L (AGAINST ALL LOGIC)
D 10. YOU ARE GOING TO LOVE ME AND SCREAM 5:35 A.A.L (AGAINST ALL LOGIC)
11. RAVE ON U 9:56 A.A.L (AGAINST ALL LOGIC)
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Deluxe Cover Art 1 LP Vinyl

Track List - (songs should be titled exactly as given after the numbers below):

(1) Flat File (12:20 min)

(2) Pitch Black (12:10 min)

(3) [[ redact__ion ]] (06:44 min)

(4) White Lie (18:15 min)


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Beautiful Deluxe Artwork, Limited

ot to not to is an experimental RnB project by VA native Ian Mugerwa that combines low fidelity electronic recording techniques with unconventional song structures to produce music that serves as homage to dusty old blues recordings.

At 19, Ian left his hometown of Fairfax for Richmond, where he slept on friends' floors for several months while recording Goshen. During the day he would "hunt dussy" and during the night he would haul borrowed equipment over to the VCU music facilities and record until the morning. He was moderately successful on both fronts.

The resultant recordings form a coming of age album, a snapshot of Ian from the ages of nineteen to twenty. Ian's goal was to explore new aesthetics in black music through use of nontraditional methods, creating less polished, less sterile RnB in the process. Such methods included layering 40+ cello tracks to create the illusion of an orchestra, or collaging four, separate, 4-minute tracks of improvised percussion into one. Most drums were recorded last.

Despite the focus on experimentation, it was important to Ian that he be crafting pop music. It is his belief that an impactful artist has, at least to some degree, a moral responsibility to deliver their art to the maximum amount of people (to efficiently help art as a whole progress). In other words, if restraint can be exercised, it ought to be.

Similar artists include James Blake, Phil Elvrum, Mark Hollis, and D'Angelo.

Tracklist:

1. Withdrawal and Restraint
2. Mamama
3. Little One
4. Regretta II
5. Addiction and Indulgence
6. Never
7. Ever (Kalimba II)
8. Regretta I (ft Noah Smith)



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Territory: WW-UK/EIRE & USA,Canada

Double Vinyl
Pressed on BioVinyl and packaged in environmental wrapping


To celebrate its 30th anniversary, Plastikman's redefining acid techno masterpiece, Sheet One, has been mastered from the original tapes and reissued on vinyl via Mute and NovaMute.

Released in 1993 on Mute's subsidiary label NovaMute, this record was the debut for Richie Hawtin's alias Plastikman. 30 years on Sheet One is a landmark album in the field of electronic music, it changed the shape of what the genre could be and became.

Introducing one of techno's most recognisable logos, the album achieved a degree of notoriety for its acid blotter-style perforated artwork. Musically it focuses on laser-precise minimalist rhythms to drive a series of echo-box acid lines that gradually acquire power over the course of lengthy album tracks, with frequent use of the Roland TB-303, which gained prominence in the electronic music world as a staple of Chicago's acid house scene. Hawtin once described Sheet One perfectly in an interview with MusicRadar, saying "...It's music for the end of the party as you're melting into the floor, which is exactly what the name Plastikman was made to represent."

This seminal album helped to establish the template for minimal techno, and is a must listen for lovers of electronic music.

Available on double bio vinyl.

TRACKLIST
A1 Drp
A2 Plasticity
A3 Gak
B1 Okx
B2 Helikopter
B3 Glob
C1 Plasticine
C2 Koma
D1 Vokx
D2 Smak
D3 Ovokx

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Special remarks: 2 VINYL ONLY TRACKS // 180G VINYL // PRINTED KRAFTPACK SLEEVE

Tracklist 12":

A1 See Through My Eyes
A2 See Through My Eyes (Miroloja Remix)
B1 Sigma (Vinyl Only)
B2 Sigma (Roger Gerressen Remix) (Vinyl Only)

Next up for Pornbugs is a collaboration project with Frink – ‘See Through My Eyes’. Remix support comes from Miroloja and Roger Gerressen.

DJ and production duo Pornbugs have been blasing a trail since 2005 and set up the label
Bondage-Music not long after to showcase their sound and the talented House artists around them. Frink is the epitome of underground. A talented artist with a steadfast fanbase that releases banger after banger with integrity and soul.

‘See Through My Eyes’ is a solid slice of contemporary house music. Deeply hypnotic and wildly addictive, its vibey bass, scattergun percussions and icy, cinematic pads feel like an warm audio blanket on a cold winters night. On the remix, Miroloja Strips away at the layers for a deeper groove.

‘Sigma’ sees the triplet explore the tribal side of House. Rubber bass wraps around the opening tribal framework and develops into a classy deep houser with bags of soul. Roger Gerresen takes the baton and runs on the remix. Dubbing out the stabs for an icy, hypnotic journey. Perfect for the early morning hours after a long club night!














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2023 repress, WG Standard Sleeve

Tracklist:
A1) GameOvr A2) GameOvr (Cassy Remix) B1) Trigonometry B2) Trigonometry (La Fleur Remix)

Infotext:
Sasha continues to make this year his own as he drops his debut EP on Watergate, 'GameOvr'. The EP features two original tracks, including the long-awaited 'Trigonometry', and first class remixes from Cassy and La Fleur. After his recent critically acclaimed sell-out live shows at the Barbican and his 'Out Of Time' EP on Kompakt, not to mention gearing up for his RESISTANCE residency with John Digweed in Ibiza, Sasha officially confirms his debut release on Watergate Records. 'Trigonometry' has been a highlight in Sasha's sets in recent months and has sparked many a heated debate online, from excited pleas for a Track ID, to urgent demands for a release date. The track is as ethereal as it is compelling, constantly building up to the sublime break down and those iconic chords that have left ravers spellbound worldwide. Swedish born Berlin-based La Fleur puts her stamp on the remix, keeping the riff but adding gravitas with a rhythmic bassline. She's fast become a key player on the house and techno circuit, with a string of releases on the likes of Cocoon, Watergate, and Sasha's own Last Night On Earth imprint. 'GameOvr' shows the producer's tougher side; a strong techno track in keeping with Sasha's constant focus on the future, always exploring new directions, though his signature groove is still on board. Revered Panorama Bar resident Cassy, whose stunning album 'Donna' was one of 2016's outstanding releases, turns her hand to remixing the title track, delivering a harder edged driving cut with a heavier kick drum, echoing chords and hypnotic percussion. This EP marks yet another creative landmark in this, one of the most fruitful and exciting phases in Sasha's distinguished career.


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black vinyl

Tracklist
1. Der Strahlende Verlierer
2. Hardwired Tangent
3. Hardwired Hypotenuse + Asymptote

Berlin party series and label AWAY Music continues its limited vinyl series called "Reissued", dedicated to re-releasing iconic cuts from the vast collaborative catalog of Move D & Pete Namlook. The third installment "Reissued 3", which follows the series' first two EPs from previous years, features again some exceptional pieces that were previously only available on CD. Move D and Pete Namlook are electronic visionaries whose 26-album relationship explored and intertwined psychedelic synthscapes, deep house and techno, future jazz, and downtempo on Namlook's cult imprint Fax Records. Their innovative and influential works keep inspiring electronic music producers today, showcasing their willingness to collaborate and push the boundaries of electronic music. First up on the A side, “Der Strahlender Verlierer”, from the 2006 Album “Let the Circle Not Be Broken”, begins atmospherically before pushing subtly into open filter and undulating synth territory. Introspective and accepting, the piece gradually lets the sum of its parts coalesce into a peaceful whole with sustained chords and the flicker of played steel strings.
“Hardwired Tangent” from the 2001 Album “Wired” rounds out the first side with edgier and more ominous tones. Brooding and bubbling its way through artificial textures absorbed by carefully weighted rhythmic tension. Shuffling jazz electronics. The moody low-mid hum providing buoyancy throughout. Also from the 2001 album, the B side’s “Hardwired Hypotenuse + Asymptote” is a synthetic journey. Textural, pseudo-organic, pulsating with urgency. The motoric percussion imparting structure to the sonic alchemy. Tactile yet integrated components offer the listener (or dancer) multiple entry points into the music. This is both artful and kaleidoscopic — a treatise on contemplative and psychoactive house music.
"Reissued 3" is a true testament to the innovative spirit and pioneering work of Move D and Pete Namlook. With these tracks now available on vinyl for the first time, AWAY's limited series is a must-have for old and new fans alike.

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Territory: Available for the World Minus UK/EIRE & USA, Canada

Limited edition 12" vinyl, 1000 worldwide pressing

TRACKLIST
AA1 Stechmück (Rrose Remix)
AA2 Tempus (Alessandro Cortini Remix)
A1 Stechmück (Sleaford Mods Rework)
A2 Stechmück (Version)


Release Info:
Pole, aka innovative German electronic artist Stefan Betke, presents a limited edition 12" single with new exciting remixes of tracks from his latest album, Tempus.

This 12" sees the title track 'Tempus' remixed by long-time Nine Inch Nails contributor, label mate and "synth connoisseur" Alessandro Cortini. The vinyl also includes the track 'Stechmück' remixed by Californian interdisciplinary artist Rrose, reworked by UK's electro-punk duo Sleaford Mods and edited by Pole. The original song embraces the sound of Betke's dying Minimoog, which you can hear manipulated in different ways across the different versions.

Düsseldorf-native musician, producer and mastering engineer Pole is known for his unique musical language oscillating between melody and avant-garde in electronic music, with audible influences from Dub and Jazz music. Tempus contributed to his ongoing musical evolution, while retaining a relationship to previous work, with Pitchfork stating "It's the sound of an artist drawing from his repertoire while demonstrating that he is still looking to the future."
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a pair of 2 cocoon slipmats black with neon orange print print (pair!) More

non-exclusive
2LP R&S and Apollo Records present an official vinyl repress of this most classicand timeless album The vinyl uses the 2013 re-masters made from original DAT tapes cut by Matt Colton and presented in original artwork.

All time favourite Aphex Twin Album. Nice and accesible experimental techno. Originally released in 1992. What else could be said here, we finally are stocking copies on arguably the most important and influential electronic album of album time, Aphex Twin's Selected Ambient Works 85–92. You will always need this!!!

Tracks: A1 Xtal
A2 Tha
A3 Pulsewidth
B1 Ageispolis
B2 i
B3 Green Calx
B4 Heliosphan
C1 We Are The Music Makers
C2 Schottkey 7th Path
C3 Ptolemy
D1 Hedphelym
D2 Delphium
D3 Actium

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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. CLANDESTINO - A2. DESAPARECIDO - A3. BONGO BONG - A4. JE NE T’AIME PLUS - B1. MENTIRA... - B2. LAGRIMAS DE ORO - B3. MAMA CALL - C1. LUNA Y SOL - C2. POR EL SUELO - C3. WELCOME TO TIJUANA - C4. DIA LUNA... DIA PENA - D1. MALEGRIA - D2. LA VIE A 2 - D3. MINHA GALERA - D4. LA DESPEDIDA - D5. EL VIENTO More

12“ + DOWNLOAD

Tracklist:
A1) Gorje Hewek & Polo - Altitude
A2) Gorje Hewek, Roy Rosenfeld & Dulus - Vida
B1) Gorje Hewek & Dulus - Earth
B2) Gorje Hewek, Dulus & Molac - Astro World
B3) Gorje Hewek, Hernan Cattaneo & Dulus - Kaleidoscope

Release Info:
Gorje Hewek follows up last year’s impressive ‘Life EP’, with a new 5-track package brimming with
collaborative spirit. The work also marks the Watergate label debut of the legendary Hernan
Cattaneo.
The artist is a mainstay of the All Day I Dream collective and a master of intricately woven electronic
compositions, which also transfix the dancefloor. For his return contribution to Watergate Records he brings
a string of cohorts in toe – Dulus, Polo & Molac from his excellent Shanti Records imprint, alongside ADID
affiliate Roy Rosenfeld and Argentinean great Cattaeno.
The opener ‘Altitude’ is a dreamy bass-driven heater that unfolds beautifully over an eight-minute period
and is highlighted by a key driven melody that’s both playful and emotive. ‘Astro World’ is an eclectic slice
of organic house that captivates with a string-laden break before dropping down into a rhythmic second
half. The EP’s title track is a silky sunset cut resplendent with twinkling pads that has enough groove to
seduce a dusty dancefloor. ‘Vida’ begins life as a slinky percussive jam, before the dam breaks and a
colourful river of melody drives the track home. A delight. ‘Kaleidoscope’ stays true to its name driven by a
lush chord melody that cascades throughout. A gem made for big moments.

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WORLD EXCLUDING GERMANY, SWITZERLAND, AUSTRIA (GSA) , AUSTRALIA, NEW ZEALAND

Special remarks :

Lenticular-Cover
2x12" 180g black
Gatefold
2x printed Innersleeves
Dl-Card
D1 "Running" exclusive track - only available via album vinyl

Genre: Electronica/Dance

Tracklist 12":
A Side
1. Laura
2. The Prey
3. We Don´t Sleep
4. Harlem River

B Side
1. Into The Glow
2. Otherside
3. Don´t Hold Back

C Side
1. Falling
2. Under Dark
3. Reflections

D Side
1. Running
2. Regen (Interlude)
3. Take Me Away



Short Info:
Released in 2018, Monolink's debut album, Amniotic, has collected over 100 million combined streams to date. The project was largely supported through remixes from the titans of the modern house and techno scenes such as Patrice Bäumel, Tale Of Us, Rodriguez Jr, Ben Bohmer, Artbat, Adam Beyer and Nicole Moudaber. These remixes all went on to achieve Beatport Top 10 placings, with Artbat's remix of 'Return to Oz' reaching a staggering 43 million combined streams.
"Under Darkening Skies" will pick up where "Amniotic" ended.
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