Celebrating the interconnected strands of head-tripping electronica she holds dear, Nadia Struiwigh arrives on Dekmantel with her fourth album of widescreen machine soul. Birds Of Paradise joins the dots between electro, techno, ambient and jungle as a reflection of the symbiotic relationship between the contrasting elements which drive all life on earth - the inescapable and chaotic forces of cause and effect. Echoing the free-spirited approach of electronic music in the mid-90s, it’s an album which rejects absolutes in favour of emotionally honest expression, true to Struiwigh’s deeply felt passion for the sounds and styles which defined her own journey into music. Since first emerging in the wider scene, Struiwigh has ably demonstrated her instinct for different sonic approaches across her accomplished career, whether exploring expansive ambience on album projects or holding down the physical intensity of a residency at Berlin techno temple Tresor. Her 2017 debut album Lenticular on Central Processing Unit most closely resembles the approach on Birds Of Paradise, where introspective beat constructions and nuanced sound design folded into a natural, flowing whole unbound by perceived rules around genre. The narrative flow uses contrasting energies to glide though distinctive spaces, unfolding with the considered pace of a truly immersive listening experience.

From the rich, undulating beatless pastures of ‘JSF48’ to the intricate mechanics of ‘02nd’, the dubby downtempo of ‘cmmn cmmn’ to the crunchy beatdown of ‘Dreamsynth’, the spaces Struiwigh defines on Birds Of Paradise are brilliantly vivid and bound together by an affinity for emotionally-charged ambience. At times the effect is nostalgic, calling to mind the exotic ecosystems of Future Sound Of London or Higher Intelligence Agency, but even these passages are charged with a restless futurism informed by the imagined vistas of science fiction as a comment on the realities of the here and now.

Widely recognised for her expertise in a multitude of production processes (not least her extensive knowledge of outboard gear), Birds Of Paradise pools Struiwigh’s devotion to her craft into an exquisite instant-classic to be savoured and absorbed in the same fashion as so many iconic electronica albums which have come before.

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More info soon.

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Four outstanding electronica excursions by the Rotterdam via Australia producer Nadia Struiwigh, on her debut on the Rotterdam based label Nous'klaer Audio. A first taste of what's to come: An LP of 9 tracks will follow later in 2021.

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Nadia Struiwigh is an electronic music DJ & producer from Rotterdam, Netherlands. Sitting somewhere between Biosphere and Boards of Canada, Struiwigh's refined downtempo electronica takes you on a journey full of synthesized soundscapes that flirt with ambient techno. Awash with melody and warm electronics, Lenticular is an expertly crafted piece from an artist who has found her sound and is now effortlessly outputting inspiring compositions. Reminiscent of Warp's Artificial Intelligence series, this is electronic listening music for quiet nights and club drowsy dawns.
Both tracks are taken from her forthcoming album of the same name.





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***Standard edition with black vinyl, black inners and printed centre labels***

Nous'klaer Audio proudly presents Paerels III (aka Pearls 3), the third and final edition of its beloved 3x12" compilation series. This release brings together a refreshing splash of sounds, unbound by genre, blending deep-listening pieces with driving techno, rave-tinged house, and a few playful surprises. Contributions come from both familiar faces and new voices on the label, with some tracks pulled from the archives and others fresh out of the studio - curated by label-head Oberman. Featuring artists like Megan Leber, Mattheis with a remix from Pye Corner Audio, Marie K, Mattias El Mansouri, Cooper Saver, Kems Kriol, Martinou, Human Space Machine, Koraal, Eversines, Erik Luebs, Mathilde Nobel with an Oceanic remix, Mary Lake, and lastly Gotu Jim.

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***Limited edition with clear vinyl, white inners, printed centre labels and holographic sticker on B-, D- and F-side***

Nous'klaer Audio proudly presents Paerels III (aka Pearls 3), the third and final edition of its beloved 3x12" compilation series. This release brings together a refreshing splash of sounds, unbound by genre, blending deep-listening pieces with driving techno, rave-tinged house, and a few playful surprises. Contributions come from both familiar faces and new voices on the label, with some tracks pulled from the archives and others fresh out of the studio - curated by label-head Oberman. Featuring artists like Megan Leber, Mattheis with a remix from Pye Corner Audio, Marie K, Mattias El Mansouri, Cooper Saver, Kems Kriol, Martinou, Human Space Machine, Koraal, Eversines, Erik Luebs, Mathilde Nobel with an Oceanic remix, Mary Lake, and lastly Gotu Jim.

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Eversines returns to Nous'klaer Audio with a bouncing four-tracker EP. Warm acid lines laced with shimmering pads on top of electro-leaning drums. A versatile release to bring in the bag for club-nights and outdoor morning sessions. Full of feelings and always grooving.

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Nous'klaer Audio proudly presents Nicola Cruz's latest full-length album, Kinesia. On his third studio album, the Ecuadorian producer masterfully blends rich studio sessions with deep analog synthesis. Kinesia invites the listener to channel an inner voice - to pick up thoughts, words, and messages as if ancient information traveling through time has been received. This album functions as a form of 'antenna,' translating these ideas into compositions and movement. The album begins with a 5/4 rhythm structure, summoning the voice of machina into a textural atmosphere, led by Perma, Nicola's vision of an infinite breaks vortex, and sustains the tension with the meditative Telepathine, a substance fictionally associated with telepathy. Regardless of the tempo, each track is intricately laced with chants, subtle percussion, textures, and spacious details that draw you back for more. With Kinesia, Nicola Cruz continues to evolve his signature sound and takes you along for the ride. While the album is crafted for a deep, introspective journey, the kinetic influence remains ever-present on dance floors.

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***Limited Repress in Black Sleeve and Stamp*** Berliner Robert Dietz lands on the Rotterdam label Nous'klaer Audio with the summery five-tracker RIP To My Idea Of You. A record infused with beautiful melodies and bright energy boosting drums - for the club, home and everything in between.

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Preceding Nicola Cruz' new album Kinesia coming on Nous'klaer Audio this autumn, the Rotterdam label and Ecuadorian producer present the first album single with two vinyl only remixes on a limited 12". Under his alter-ego Fauna Extinta, Nicola Cruz reworked the track Perma into a sublime grooving house remix and dub version. Limited to 200 copies. Stamp design by Pedro Zoz.

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Comforter2's 2023 tape album gets the remix treatment! By none other than Peach, Alex Kassian, Downstairs J and RDS.

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Repress!

Konduku returns to the nest for the fifth and final installment on his Nous'klaer Audio K-series. A diverse four tracker embodying Konduku's signature style of poly grooves and vibrant euphonies. A flow from dark to light that marks the end of this special series of releases.

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After last year's RIP To My Idea Of You, Robert Dietz is back on Nous'klaer Audio with a complete solo EP of high energy cuts rounded out by the aptly named Sudden Peace. With flying colours, highlight Farbpaletten is as propulsive as it is large. A typical Dietz track that touches on trance, but not in the way you would expect. These are tracks to draw out to sun and fill up any floor. 3 Mirrors is Robert Dietz's most explosive outing yet. Comes with in a duo pantone sleeve by Rotterdam artist Tim Mastik.

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*2024 black vinyl repress version*

Nous'klaer Audio presents Martinou - Chiral, the followup full-length to his 2021 album Rift. This time nine tracks across two vinyls. An album flowing 'in a way' like Rift, but it's different: More outspoken, heavier sound design and it peaks on a blissful note. "Open up the blinds and take me there. We'll break the surface tension. We'll dive in. I'm locked in your devotion. You give an inclination to our demise. It will be our exit. To bliss, we'll be its guardian. Once there was love. Clear as glassy water. No ripples, no waves. I followed while you led. Our arrival was warm. Hot, even. Stunning to a startling degree. Hands intwined, frolicking towards the blue. Hours passed, and white heat cede to an orange hue. We cooled down. Red. We rallied. Black. It began. Into the deep darkness we ran. White sand, it has a tendency to get everywhere. Salt water will only dehydrate you more. Shriveled and dry. Scratchy and coarse. More. And then we were lost. Fingers once locked grew distant. Morning, dear. Where have you gone? We looked. A glimpse from afar. Red. We rallied. Shall we share a bottle of wine? Black, lost again. Afternoon, friend. Where were you? Red. Alone. Black. We rallied. Shall we try somewhere new? Sand and salt. Evening, sir. Reservation for one? Reservations a plenty, I say. Evening, miss. Dining alone? Aren't we all? Dining, miss, not dying. Oh, yes, alone. Black. Sand and salt. I found you. No. No. Wait, do I know you? You feel like a dream. Don't touch me. Move along, sir. Who are you? Leave. Who are you? Where did you go? Keep moving. I am, I will. Time to move on. I'm moving! Leave. Don't touch me. Leave. Why are you? Exit. Purple. Orange. Yellow. White. Blue. Morning, dear. Shall we have breakfast? I think I'll sleep some more. But it's our last day. I know. See you downstairs when you're ready. OK. I open up the blinds. A bird breaks the surface tension. Locked in. To Devotion? No. Demise. An inclination. Reverie. Take me there. Where? Exit (To Bliss) "

Text by Gregory Markus

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Fluid, perspicuous, hypnotic, deep, Amsterdam's Human Space Machine, co-founder of the renown De Lichting collective, offers up a Swiss Army Knife of poignant techno tracks perfect for the mid-day festival set when the afternoon sun beats down and for the dark corners of the night when all you want to do is disappear. Record opener "Mopo" thuds hypnotically with a digital, crystallized, acid-tinged bass line into the second track "Arp", whose squishy chord stabs punctuate a mesmerizing rolling shuffle. Penultimate track "Lyf" plays out like a high speed pursuit- where pulsating tension propels the listener deeper into the groove while record closer "Newendam" bubbles around a bouncing bass hook offering teetering glimpses of light and bliss as the sun rise teases. Comes in a special duo-pantone printed jacket by Rotterdam based artist Tim Mastik. With words by Gregory Markus.

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Coming soon.

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Nous'klaer Audio and Sound & Vision's RE:VIVE initiative have teamed up for the third and final LP in their film scoring trilogy. Capping off with a soundtrack made for a progressive, angular take on a color-soaked, geometric educational archival film. Combined with a soundtrack for a film that is a personal intensifier to the city of Rotterdam, which is the home of Nous'klaer Audio. The collaboration invites two musicians to compose for these archival films from the collection of Sound & Vision, the national media archive of the Netherlands. This final instalment features through and through Rotterdammer, Kems Kriol and the Amsterdam based Turkish composer, pianist and DJ Loradeniz. Kems Kriol accompanies the amateur documentary collage film "Rotterdam in de Jaren 90", a dark period of strife, economic and social crisis for the now booming metropolis, with the compassion and empathy of someone who experienced those years first-hand but with enough time removed to reflect with heart. Loradeniz angularly and precisely moves her way through the delicate film "Tegenlicht", a surprisingly colorful and fluid educational film about painting, a bold juxtaposition that propels the film into the 2020s. Extended info: Side A, Tegenlicht (English: back lit) is a 1969 education film by Ton Gramsbergen. The short meditative film, follows stained glass artist Leo Hofman through his entire workflow to create beautifully abstract stained glass window panes. Loradeniz?angularly and precisely moves her way through the delicate Tegenlicht creating a bold juxtaposition that propels the film into the 2020s. Employing processed vocal work, deep dry kicks, and jarring percussion-- reminiscent of scratching glass-- Loradeniz's haunting modernization suits the cinema and the club equally, a testament to the rising composer's fluid versatility and creative prowess as a musical pantomath. Side B, Rotterdam in de Jaren 90 directly contrasts the zoomed in artistry of Tegenlicht. The amateur documentary Super 8 footage captures Rotterdam in one of its most tumultuous times from police brutality, poverty, drugs, violence, racism and the city's ongoing architectural modernization. Kems Kriol, who lived in Rotterdam during this time period, brings a deeply emotional weight to the Ed Millecam amateur documentation, as an artist with the compassion and empathy of who experienced those years first-hand but with enough time removed to reflect with heart. Kems Kriol's influences from modern and avant garde composers, jazz, acid bass lines and field recording Kems Kriol made at different locations featured in the film equate to a musical collage wholly comparable to the city's diverse population. The prior installments in this series featured Nous'klaer Audio staples, Ranie Ribeiro, Mattheis, Thessa Torsing (upsamy) and Tammo Hesselink.

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Number 4 in the Bad Timin' series is here, featuring a quartet of shovel-ready tunes perfect for ur club set, radio show or gym session. Let the gains begin... Six months in the making, the "Sound Man" (aka Jex Opolis) spent the extended winter slumped in his studio crafting these tunes... "Pneumatic" builds pressure with crunchy synth riffs, while "Molecools" drops slide guitar over some proggy breaks. Filling out the EP are two mixes of "Catalytic," a tune that came to life after the muffler on Jexy's 2003 Toyota went kaput.

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2023 Repress!

In 1997 and 1998, the late great Japanese composer, producer, and DJ Susumu Yokota released two of the most eclectic albums of his decades-long career, Fruits of The Room and Greenpeace. Recorded under his Stevia alias for Tokyo Techno pioneer DJ Miku’s Newstage Records/NS-COM, they were Yokota-san’s homage to the foundational days of club music in Japan.

This year, Glossy Mistakes are proud to present the first official vinyl editions of Fruits of The Room and Greenpeace, originally released on CD during the golden days of the format. Packaged in reimagined cover artwork created by the celebrated Japanese visual artist Masaho Anotani, these two albums perfectly capture the diversity at the heart of Yokota-san’s oeuvre. Across Greenpeace sees Yokota-san conjuring up a heady concoction of dusty loops, sampledelic breaks, kraut-rock and psychedelic downbeat. A remarkable listening experience based on the inspired era of a genius.

When Yokota-san wrote and produced the music on Fruits of The Room and Greenpeace in 1997, he was reflecting on the broader culture that surrounded dance music in Japan in the early to mid-nineties. It was an era when the psychedelic culture of late sixties America, the afterglow of UK acid house/rave, the new age movement and cyberpunk dovetailed together. Within DJ Miku and Yokota-san’s social circles, the thinking of Timothy Leary, Ram Dass, Allen Ginsberg, Jack Kerouac and William S. Burroughs electrified the air.

By 1996, the moment, brilliant and blinding as it was, was over. “We all felt that the rave scene fizzled out,” DJ Miku says. As he puts it, there was a collective feeling around him that it had all become too much. From the calm that followed, DJ Miku, Yokota-san and their open-eared peers made the decision to switch tracks and start from scratch. DJ Miku believes that with his Stevia releases, Fruits of The Room and Greenpeace, Yokota-san wanted to express the sweet and sour nature of the passing of those wild early days and his wish for true peace. “At the time, we saw eye-to-eye, with an implicit understanding of each other,” he explains. “Even now, twenty-five years later, I am confident it was like that.”

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Trystero comprises Scottish/Luxembourgish producer Thomas Lea Clarke (aka MR TC) and Low Bat, otherwise known as one half of the formidable duo Jean-Luc. Their debut album, Sfumare e Vedere, was conceived over three days aboard Urban Boat, a 1960s barge transformed into an arts and performance space. Moored along the river just outside of Paris, the duo embarked on a joint residency, discovering their complementary creative energies and a mutual passion for all things strange and psychedelic.

As frontman, Low Bat is a fire-powered poet, his unparalleled stage presence resonating through Trystero's music. The French native and fluent German speaker has a natural flair for languages. For this project, he sings in a combination of Italian and English about love, loss, and class struggle, constructing surreal wordplay about pelicans and puttanesca. Meanwhile, Clarke's drone-lead electronic accompaniment takes its cues from sizzling acid, 1990s snap rhythms, post-punk, krautrock and shoegaze. Firmly rooted in these tripped-out genres, Trystero journeys to entirely new cosmic dimensions.

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Command D's life in the lush, green surrounds of Sydney/ Eora shines through in his Animalia debut, with a warm, dubby four tracker. Diving between slinky downtempo and groovy dance-floor beats, balmy bass-lines, crisp percussion & blissful pads wrap the release in an atmosphere of blissful summer joy.

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Two Berlin techno icons merge their art for a first collaborative EP on Amsterdam's Delsin Records. The two prolific producers have been playing a series of back to back DJ sets in the past months before they joined forces in the studio. The result is a flawless combination of their own unique styles, atmospheric break-beats from Answer Code Request matching the impeccable grooves and deep subs of Amotik.

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Apnea concludes an eventful 2023 with "Sulitkveteba EP" by Tbilisi's Hamatsuki. Recognized for past releases on Fantastic Planet and Mind Controller Rectifier, Hamatsuki crafts a three-track journey that explores the depths of music. Fusing sustained lo-fi pads, ethereal gated echoing vocals, and entrancing trippy acid lines, this EP resonates with a nostalgic rave essence. Each track takes listeners on a vivid sonic adventure, capturing the spirit of bygone rave eras while infusing a fresh perspective into the beats.

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Tracklisting
A1 Funky Trip - 88
A2 Funky Trip - 88 (Petit Batou remix)
B1 Funky Trip - 88 (Barac remix)

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Yellow Vinyl Repress!

When we established Balmat in 2021, neither of us could have imagined that within two years, we’d be putting out an album by one of our musical heroes: Mike Paradinas, aka µ-Ziq. The British producer has been an inspiration to label co-founders Albert Salinas and Philip Sherburne since the 1990s. In fact, his album-length remix project The Auteurs Vs µ-Ziq was one of the very first pieces of electronic music that Philip bought, way back in 1994. To have the opportunity to release his music now feels like a real full-circle moment.

Paradinas, of course, needs no introduction. Under a slew of aliases, chief among them µ-Ziq, the British artist revolutionized leftfield electronic music in the 1990s—coincidentally, this year marks the 30th anniversary of his debut album, Tango N’ Vectif, for his friend and sometime collaborator Aphex Twin’s Rephlex label—and his label Planet Mu has built up a formidable catalog of visionary, forwardlooking records, mapping virtually every corner of the electronic spectrum. With 1977, he turns the clock backward in a sense, and not just with the album’s title: Rooted in classic ambient and electronic sounds, these 15 tracks evoke the anything-goes spirit of the early ’90s, before the tools and tropes had calcified into cut-and-dried styles.

There’s no shortage of familiar sounds on 1977. There are echoes of raves and chillout rooms and transmissions from the fringes of techno; there are detuned synths and glistening reverb tails and, above all, gauzy vox pads, the eerie glue that holds it all together. The title, he says, is meant to invoke a general sense of nostalgia, bookmarking a year in his boyhood when he became more selfaware. More than anything, 1977 sounds like µ-Ziq distilled: Stripped of his signature breakbeats and customary chaos, Paradinas’ first-ever strictly (well, mostly) ambient album presents the essence of his music in a whole new light.

Along the way Paradinas touches on dark-ambient drones (“Marmite”), horror-film themes (“Belt & Carpet”), jungle breaks (“Mesolithic Jungle”), and even house music (“Houzz 13”), which marks the first bona fide dance-floor moment on Balmat to date). Yet the album never—to our ears, anyway— feels expressly retro. Rather, Paradinas plucks timeless sounds out of the ether and gives them a gentle tap, spinning them into unexpected new orbits. At times, 1977 feels like an experience of extended déjà vu: When we first listened to it, we had the sense that we already knew this music. It was as though we had heard it years ago, perhaps on a battered cassette tape lent to us by a friend, and been searching for it ever since. We hope you feel the same.

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Chapelle XIV Music proudly presents ‘B01V’ by the enigmatic Sato, aka Satoshi Tomiie. The tracks on this EP are produced and curated with DJs in mind, offering different takes and alternative versions of the much sought-after “Blue, Black And Grey.”

A1. ‘B01V’ – The album “Blue, Black And Grey” was a live recording, where the original ‘B01’ served as the second track of continuous play. ‘B01V’ presents an alternative version of ‘B01,’ while maintaining the deepness and vibe, this cut focuses on a DJ mix.
A2. A57V, B1. A56V, and B2. A58V are all different studio takes of A57, A56, and A58 from the album. Although they share similar titles and elements with the ones on the album, they sound like almost different compositions as they were all recorded during Satoshi’s live performances in the studio.”

This 12? pressing serves as a bridge between the mindful journey of the initial 8-tracker double album and the corporeal reality of the dancefloor, making it an essential piece for both collectors and DJs alike.

The sleeve follows the visual identity of the original, displaying Julien Gachadoat’s computer art, which encapsulates the sound frequencies of the album into tangible shapes. Here, these visuals are now reflecting the reinterpreted audio content, keeping the continuity and synergy between both releases intact.

Remember, this is a strictly limited release, designed for those seeking an alternative take on Sato’s mindful journey. Don’t sleep on this one.

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After 8 years Georgian pioneer George Dzodzuashvili is back as Post Industrial Boys with a new album. It's his most personal record to date and opens up its own world: a world full of memories of a bygone time and observations so precise you almost feel like you are living and capturing them yourself with a Super8 camera.

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Classic 90's Larry Heard production for this x-rated* track by Ché on the updated re-issue of "The Incident". Originally came with four mixes on Trackmode Recordings from 1994. Now with extra "Prototype 1" version unearthed from the Alleviated archives. *NOTE: disclaimer included on original 12" release: "The scene expressed in this recording is a fantasy in the age of promiscuity and HIV (let alone full blown aids). The truth is, be careful about who you love and always wear a condom".

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LP with obi. Toshiyuki Miyama & The New Herd's 1972 Jazz, big band masterpieces re-released on clear green color vinyl! Nio dances and pigeons dance. A mysterious melody that flows in a strong groove. Pursuing the possibilities of big band sound, this is the true essence of new hard and its climax.

TRACKLIST

A1.Kakurenbo
A2.Kitsune no Yomeiri Koushinkyoku
A3.Enka ni Taisuru Kanashimi
A4.Niou to Hato
A5.Hakuchou no Nemurutoki
B1.Sumidagawa no Nagare
B2.Kiganbi
B3.Seijinshiki

INFO

Japanese jazz and big band masterpieces re-released on clear green color vinyl!

Nio dances and pigeons dance. A mysterious melody that flows in a strong groove. Pursuing the possibilities of big band sound, this is the true essence of new hard and its climax.

New Hard, led by Toshiyuki Miyama, is one of Japan's leading big bands. Since the release of ``Perspective'' in 1969, they have opened up new horizons in big band jazz with their cutting-edge sound. This work "Niou to Hato" is one of the representative works of new hard released in 1972. Kozaburo Yamaki was in charge of the entire composition and arrangement, and deeply pursued one of his long-standing themes: "Japan." Japanese features, traditions, and scenes expressed through elaborate, multi-layered arrangements and performances. A profound and dynamic melody with a Japanese atmosphere that can be described as mysterious. Starting with "Seijinshiki," which is led by a strong groove, the album is lined up with songs full of deep flavor and great excitement. This is the true essence of new hard work and its climax.
text by Yusuke Ogawa (universounds/Deep Jazz Reality)

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