We all remember with mixed feelings the past two years of domestic isolation: a temporary anomaly in which the world had to adjust to a new routine, a new rhythm. In these daunting yet precious circumstances, Italian producer Markeno has found his rhythm back, dusting off old records and re-approaching his past musical love affairs that he believed to be long forgotten. Here, in the fertile limbo that connects past and future, “Dock lown (exploring)” is born: a 3-tracker release with a chameleonic nature and an undeniable groove, in which Markeno is able to tactfully combine different genres such as indie, post-rock, African mu- sic, electro and funk.

In the contemporary music scene, overly saturated with catchy melodies and seductive lyrics, it is refreshing to encounter a composition like “Fase 01”, which starts from a purely percussive structure. Just when the ear is settled and well inserted into the tangle of drums, here comes the melodic twist, no less than at the fourth minute, injecting an unexpected groove and chalking out the contours of a track with multiple personalities: a little esoteric, a little synth-wave, quirky and badass. The temperature rises with “Zona Ros- sa”, in which the electro hint sketched in “Fase 01” becomes more pronounced, opening the doors to a dense psychedelic scenario. A shamanic loop accompanies the electric bass and escorts us through the smoke of the bonfire, veils swayed by the wind and colored lights that sparkle in the night. The ritualistic humming of ‘’Zona Rossa”’ is still hearable, floating in the rarefied atmosphere, while the last track “Limbo” makes its entrance and confirms once again the poliedric but congruous essence of this release, whose percussive attitude lures you in and whose hypnotic and groovy body makes you stay. At least for one more dance.

Sara Berton More

Random Numbers is proud to present its newest V.A. release, the most ambitious to date, which sees the contributions of 16 producers close to the label and kindred to the sonic quest Random Numbers has been pursuing since 2015.

“Second Wave” is the organic continuation of the journey initiated with the V.A. Parallel Routes, released at the beginning of the 2020 lockdown.

This collection of 12 tracks - like the 12 months that have just passed, delivers a multi-faceted testimony of our experience with the pandemic, translating feelings of absence, desire and necessity into a mind-bending sound exploration.

Despite crossing a wide range of tempos and genres, a common thread is found in the mystic, trippy and ritualistic atmospheres that populate this release. The metamorphic nature of each track continuously surprises the ears, blurring the boundaries between heady listening experience and dance floor bliss. More

Bear Bones, Lay Low links up with Pizza Noise Mafia's Carrageenan and comes with a monster of an EP. BIG TIP More

Dark Entries celebrates its 15th anniversary by returning to where it all started, our initial darkest entry: Eleven Pond’s masterpiece Bas Relief, an ultra-obscure album from 1986 that would become a definitive dark pop holy grail. Eleven Pond was James Tabbi (vocals, acoustic guitar), Jeff Gallea (drum machine, synthesizer, vocals), Jack Schaeffer (guitar) and Dan Brumley (synthesizer, samples, vocoder, melodica). They met in Rochester, NY, while attending art school, brought together by their shared love of 4AD and Factory Records. Taking cues from acts like Joy Division, Fad Gadget, and For Against, Eleven Pond’s infectious basslines, churning guitar riffs, and atmospheric synths will charm all fans of moody music. But what really makes Bas Relief shine is the timeless songwriting on classics like “Tear and Cinnamon”, “Portugal”, and the anthemic “Watching Trees.”

With only 500 copies in it’s initial release, Bas Relief resurfaces with a fresh remaster that corrects a pitch shift from previous reissues. Each copy is housed in a screen printed jacket, like the 1986 edition, and includes a lyric sheet, two postcards and a bookmark. Bas Relief is a true lost relic of the cold 80’s and an essential piece Dark Entries history. More

Repress!

Don't let this one go over yo head son! The final repress from Sound Signature HQ is an essential slab of late 90s Motor City deepness from Theo, presented once again for contemporary reassessment and sounding every bit as jaw dropping 14 years on. Dropping back in 1999, title cut "Overyohead" came to be regarded as a quintessential Theo Parrish track; strings incandescent with soul and lovingly off centre Rhodes riding those heavy drum arrangements towards a sweet piano infused crescendo. Face down, "Dance Of The Drunken Drums" is a prime example of Theo's own distinct brand of cavernous beatdown. More

For its second release, System of Objects is proud to welcome another British artist: Graham Dowdal aka Gagarin and his debut eponymous album. This 90s ambient techno hidden gem was released as a CD on Graham’s own imprint, Geo Records, in 1997. The album is on par with the genre’s masterpieces such as Sun Electric, Sandoz and Locust, and truly showcases Gagarin ingenious work. Here he explores a wide range of tempos from dark trance-infused techno to melodic ambient bliss, and lush intricate downtempo to intelligent extraterrestrial jungle. This is really a one of a kind discovery, albums like this don’t pop up every day. More

REPRESS! More

Multidisciplinary artist Jermay Michael Gabriel and producer Giovanni Isgrò team up as Plethor X to present a debut EP of anti-colonial resistance, an unfolding experiment in self-determination.

Colonial trauma has no linear trajectory, and neither does memory. It seeps and sinks into the fibres without a temporal pattern, crossing generations, back and forth between past, present and future. Plethor X channel the multifaceted dimensions of such phenomena, exorcising trauma through sound, embracing cultural legacies and collective memories as a form of healing.

The driving force behind the record is the Habesha musical tradition, distinctive of Jermay's childhood - samples of the masinko, an Ethiopian and Eritrean one-stringed instrument, are used extensively - transposed into rhythmic structures onto which Isgrò playfully grafts elements of footwork, ghetto house, as well as gqom and singeli—a space-time gateway of complicity and experimentation.

Plethor X's soundscapes are Afro-futurist ecosystems of explicit messages—'Don't use the N word' is distinctly heard in 'Negro'—coalesced with frenzied percussive textures built through destruction. With 'Bet' we experience Muna Mussie's hypnotic recitation of Tigrinya words drawn from a set of nursery rhymes and words emblematic of Eritrean culture. The voice of Mussie, who shares the same origins as Jermay, serves here as a vehicle to express a certain identity melancholia, the repetitive mode sounding like a soothing process of reconciliation. PAN-affiliated producer STILL makes his own contribution by reworking Plethor X's material in 'Fendika', raising the rhythmic tension with his signature colourful, plugged-in dancehall style.

That with Europe is a bridge to an indefensible continent, with a predatory, plundering nature, sold as 'civilisation'. In 'What You Mean', Isgrò and Jermay conspire against their own Eurocentrism, regurgitating it from within.

?Mastered by Giuseppe Ielasi, cover-art by Jermay Michael Gabriel, photo by Jim C. Nedd, layout by incepBOY.

?Limited Edition of 100, 140gr. black vinyl, Includes instant download code. More

Legendary Calypso Records is back in action!
Nabile Dj project released “Moonlight” in 1995, a deep journey into progressive synths, rave vocals and fat drums.
Alex Neri and Alessio Collina give freshness with new versions of this unmissable record! More

Repress! More

Through the medium of a distinctly synthesised, sustained ambience, seasoned artist and composer Jasmine Guffond arrives on OOH to explore the tension between technology and human creativity in an increasingly ambiguous playing field. Alien Intelligence came into being during Guffond's residency at fabled Parisian institution GRM in 2021. While learning how to generate sound and make music with the in-house Serge modular synthesiser, the Australian artist noticed the typical role of human input for machine output was being subverted by the behaviour of certain electronic elements, which came to exercise their own influences on the direction of the music. Taking this idea one step further, Guffond proceeded to explore the programming environment MaxMSP, a customisable interface which allowed her to blur the lines between human input and machine directives even further. Across the three extended pieces which make up Alien Intelligence you can hear the results of Guffond's inquisitive approach as she coaxed the machines into bringing their own ideas to bear on the music. The tension inherent in this thematic duality is mirrored by the contrast between glacial ambience and chaotic interference across the album More

CFRT’s fourth instalment consists on some of the early days productions of Sven Röhrig under his techno and house pseudonym: 3 Phase. Originally released on Push, 1996. More

Craig Clouse has devoted the past several decades to exploring a wide range of avant-garde avenues for his brainchild Shit & Shine. The monolithic riffs of raw and powerful psych'n'roll hysteria, the freeform dance miasma, sub-heavy electronica and the blissful stupidity crafted for ecstatic ascension: all perfectly-placed in the idiosyncratic world of Shit & Shine. There's also fertile soil for twisted noises in their lowest form, often obscured by groovier comrades in S&S releases yet vitally important for the substance of Clouse's compositional carcass and OOH-sounds has given him the required space to stretch out his longtime interest in developing loose structures and crackling landscapes to transcend his rhythmic comfort zone. Making an enthusiastic transgression into noisy tones, "Joy Of Joys" has a friendly way of presenting difficult material. The rough and ready cheapo electronics sparkle in full electrifying mode, welding an ascetic gamut of aural hypnotics with a wormhole of uncompromising loop brut. Clanks, bangs, twangs and creeping, ragged globs of sound bloom on the bones of repetition to focus on the swinging stream of dirty anarchy. Stepping out of any context and genre disciplines, S&S finds new sonic trajectories in "Joy Of Joys" which perfectly sit in-between a wobbly cabal of international sub-underground acts: the idiot-avant strategies of LAFMS, early Mego bad digitalia, no-brow enthusiasm of Wolf Eyes family, micro-DIY ethos of Chocolate Monk and the sheer hellish nonsense of US noise circa '00s. Clouse was already established as a landscape painter with a series of faux naïf paintings charmingly accompanying his releases. With his heart full of passion for abstract minimalism, he continued these narrative forms but was always in search of the confidence to paint non-figurative art. The first step into the chaotic abyss is coming from his sonic side by abandoning the beat and riff layers of his previous works to complete nakedness and reductionist courage. At once Clouse makes an evolutionary lurch into extremes as well as taking us back to basic forms in "Joy Of Joys". He creates an entire new parallel world to Shit & Shine with his maverick imagination presenting us with one of the most mutant releases to bear his name. [Arthur Kuzmin] More

Repress! More

'Peace is where the real chaos begins…..we've been "normalised" for so long' (SY) An entanglement of sound, embodying euphony and noise, control and disorder. The conventional practice of producing and listening to music often tends to conceal and immobilise the multiplicity, the deviations, and the more unusual aspects of acoustic phenomena, in order to preserve an economical artistic perception. But what if we were to fuel spontaneity and embrace a pluralistic vision, by accepting the impossibility of absolute creative competency? Perhaps we would produce material that not only confronts the prospect of failure but actively accommodates it, as a viable aesthetic framework. dScott Young's work is an attempt to unlearn certain 'normalized' approaches to sound, representing a jolt to the system, a wild construction of invention and misdirection, one that reconnects us with the value of disarrangement. The non-hierarchical layering of sound and image on 'Post Peace' defies linearity and rationality. On the collaborative composition 'Tuck', written with Manchester based artist Joe Beedles, the two create music in reverse, inspired by a fictitious review written about the self-same piece. This sense of freeform originality is mirrored by the intimate portraits that Italo-Australian visual artist Rebecca Salvadori has produced for the artwork. A series of autonomous forms that transcend straightforward classification. Unerringly raw yet mature, Young's music evolves as an organic cycle, encompassing spry, cerebral, dub-inflected dynamics. Full of duality and enterprise, never conclusive. On 'Post Peace', there's freedom in forgetting what you know. More