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

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

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

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

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Tracklist CD - Mix CD:

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


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

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Tracklist:
A. In Aggregate
B. Carob

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

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LP plus Free Digital Download included


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

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

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

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Format: 7”

Tracklist:
E. Singing Wire
F. Geared

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

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Format: 7”

Tracklist:
C. Danke Dingo
D. Iron Hive

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

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Format: 7”

Tracklist:
A. Badger
B. Sawhorse

About:
This is the first instalment in a series of three 7" records in luxurious packaging which see Stefan
Goldmann probing the upper temporal reaches of techno. Clocking in at 150 bpm, these tracks are
bold and blazing signals for a collective return to highly energised club experiences. 'Badger' is a
breaks-infused peak time weapon while 'Sawhorse' morphs more subtly through hypnotic and
seesawing synth patches. More bouncy than harsh, this material shows impressively how different
tempos allow for their own variety of joyful expression.
Beautifully packaged, all three 7"es come in a thick matte-black outer sleeve with front side cut outs
and reflective-lacquer details, with individual colour-coded inner sleeves. Rounds two and three of the
trilogy will be released in January and February 2022.

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

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


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Tracklist:

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


Info:

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



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Tracklist:
1. Planinar, 2. Sofra, 3. Vilayet, 4. Etropolis, 5. Katran, 6. Teghlicci, 7. Makara, 8. Kapan, 9. Teslá


INFO:
Stefan Goldmann's 'Veiki' is a bold foray onto new rhythmic ground for machine-based dance music. While Veiki's sounds appear firmly grounded in contemporary techno, its pulse is neither based on the 4/4 tradition nor on the breakbeat continuum. The metres employed here are distinctly asymmetric – i.e. they never add up to binary entities, but are odd-numbered instead. With patterns of 7, 9 or 11, they offer possibilities for dislocating the center of gravity not available to standard rhythmic fare. Thus this may represent one of the few systematic efforts to move slamming machine techno onto an alternative rhythmic foundation: Real broken beat.

Asymmetric / irregular metres are part of the ancient music tradition of the Eastern Mediterranean as well as of South Eastern Europe. The patterns employed here are also present in the traditional music of Bulgaria with which Stefan Goldmann grew up. Citing no other aspects and using no 'ethnic' samples, these tracks lead a way to resolving the problem of how to bring the tools and traits of cutting edge electronic music to alternative traditions of music, or vice versa. Structure over surface.

Of course irregular metres have been visited for structural exploration for Western musicians of different backgrounds, such as Don Ellis, Steve Coleman or Burnt Friedman & Jaki Liebezeit who have all developed highly distinguished and idiosyncratic approaches in relation to these. Thus a reduction of the phenomenon to its core and emergence as a clear-cut and reproducible form appeared imminent for at least two decades. The inexplicable surprise though is that despite the ongoing rhythmic differentiation of breakbeat and techno this obvious step seems to have never been taken decisively. Now here it is.

Vital Sales Points:
- Live premiere from Buenos Aires streamed by MUTEK (full professional video online)
- Recent DJ set at Boiler Room
- Extensive Global Promo by Modern Matters / Macro.
- Upcoming event Feb 2020: Stefan Goldmann curates “Strom Festival” for Philharmonie Berlin, (world-leading classical music institution) featuring Nina Kraviz, KiNK, Robert Henke, Ryoji Ikeda etc.


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The music in this album is derived from works originally commissioned for the five hour music theatre
work ALIF, as premiered at Berlin’s MaerzMusik Festival of 2016. Revised from 2017 to 2019 for the
album format, the works herein are an excellent representation of Stefan Goldmann’s ongoing
investigation of the wider potentials of techno.

Tracklist:
Tracks: 1. Broca – 2. Zahir – 3. Covert Bias – 4. Tacit Script – 5. Scaling Net – 6. Turbulent Scalar –
7. Apophenia – 8. HMS Solitude

Info:
Tacit Script builds its own network of interdependent grids in which sound objects move and thrive
along multiple dimensions.

All frequencies fall into custom scales, developed individually for each track and generated by bending
the standard chromatic system. Most electronically produced music operates with a 1V per octave
tuning which is divided into 12 equally spaced steps, equivalent to the piano keyboard. Stefan
Goldmann skews or stretches this variable in order to achieve different microtonal spacings, wider or
narrower, thus eliminating the octave – commonly a fixture in most music. Intervals might thus be at 75
or 110 or 138% of their ‘regular’ ratio. Melodic objects then traverse these unfamiliar spectral
structures, singing electric songs with alien voices.

Divergent metric layers drift apart, only to be pulled back together at critical points. Clearly pulsed
elements hammer out persistent patterns, yet complex polymetric friction persists over long stretches
of time. Altern-ating continuous sweeps and abrupt shifts through wavetables define the highly
synthetic, yet organically developing timbres of Tacit Script. Relentless repetition is the force which
yields coherent composite shapes in this setting. The results are emphatically in the realm of techno –
what is being pushed forward are the interrelations of its constituent layers.

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

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

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Track list:
A1. The Last Time
A2. Come Back
B1. The Last Time (K-LONE 2-Step Mix)
B2. Come Back (Chloe´ Robinson & DJ ADHD Remix)

Dutch duo Dam Swindle appear on Aus Music's 200 series and two new house originals come with remixes from K-Lone and Chloe Robinson & DJ ADHD
Dam Swindle have been helping to define the underground house sound for a decade, not least with their Heist label. The pair deal in timeless, fad-free sounds that are rich with dance floor dynamics and hint at a love of everything from disco to tech and plenty in between. They are notorious crate diggers who have played the world's most cultured clubs, their recent track Allright (Just A Tribute) on Phonica’s 20 year celebration has received widespread love by DJ’s this summer on the festival circuit and now they offer up two more of their studio gems for their 3rd full release on Aus.
This EP is the second in a series of four releases from different artists to mark the 200th outing of Will Saul's influential Aus Music. It is an era-defining label that has platformed some of the scene's brightest stars way before they broke out. Since launching in 2006, the label has remained dedicated to releasing club-ready music with a cultured edge from deep and melodic house to the earliest bass- driven post-dubstep fusions.
This EP kicks off with 'The Last Time', a blissed-out deep house sound with impassioned vocal cries tugging at the heartstrings. Mellifluous synth daubs percolate through the mix to a captivating, feel- good effect. Next is 'Come Back,' an infectious house bubbler with gloopy synths and something of a garage shuffle in the kicks. It's fresh and packed with neon colour that brims with soul.
New school house and garage tastemaker and core Aus Music family member K-LONE steps up with a remix hot on the heels of his two-part EP series on the label. His version of 'The Last Time' is typically deft as soft focus chords swirl around prickly garage house beats. The distant vocal, the cavernous bass and the wistful feel all make it another classic.
Last but not least, Chloe´ Robinson & DJ ADHD are frequent collaborators on labels like Fabric Originals as well as Chloe´’s Pretty Weird imprint where they serve up potent, bass-heavy sounds. Their version of 'Come Back' is expertly stripped back. It teases and pleases with a blend of filthy low- end oscillations, slinky drums and tooting chord hooks that are effortlessly fun and effective.


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Format : Vinyl 12” (180 gr., Limited Full Cover)

Track list:

A1 I Can Tell You What You Want
A2 A Taste of the 90s
B1 Dirty Jazz
B2 You Know What I Mean?

Release Info:

DJ Sneak returns to his roots on his Synesthesia EP on Heist Recordings.

Last year, when DJ Sneak visited our studio during ADE, we spoke for a long time about his newly found joy in house music, producing music in the current landscape, and letting go of all the things that made him uneasy with the scene for a long time. At one point, he grabbed a bunch of his hard drives, fired up our Dave Smith & Pioneer Toraiz sampler (the one we used for our live shows and the workstation he swears by for producing and arranging all his music), and showed us what must be one of the most impressive collections of demos we’ve ever seen. He talked us through his ideas for a new record on Heist with the enthusiasm of a producer who had just bought his first MPC60 back in the 80s. His ‘Back to love’ EP was still due to release and we already knew the follow-up would be equally amazing.

Fast forward about a year and after amazing feedback on his Heist debut from platforms like XLR8R, DJ Mag, Faith fanzine and plenty of radio coverage, along with DJ support from the likes of Joy Anonymous, Louie Vega, Jamie Jones, Honey Dijon, TSHA, Dj Seinfeld, Jennifer Cardini, Carista, he drops a new record on Heist recordings; The Synesthesia EP is another showcase of the raw talent of DJ Sneak, skillfully working his gear and churning out massive tunes full of classic Chicago house references, 90’s euphoria, and chunky synths.

The EP kicks off with ‘I can tell what you want’, a deep and bubbly groover where DJ Sneak takes some naughty chopped up R’n’B vocals and adds a pinch of the ghetto sound that he adopted in his formative years in Chicago. Sneak manages to take that influence and deliver something altogether contemporary with this track, ticking all the right boxes of catchy vocals, moody chords, a nasty bassline, and clever sampling.

If the first track embodies his Chicago spirit, then ‘A taste of the 90s’ embodies DJ Sneak’s New York spirit. With funky guitar and key licks, loopy horns, shuffling percussion and plenty of changeovers in the arrangement, he masterfully shows us the joy of classic house music. There’s always another element that gets added or taken away to build anticipation or release the energy with its chunky low end. It’s a true party starter with the energy of a young DJ Sneak spinning his first records way back when.

On the flip, we’ve got ‘Dirty jazz’. This delicious piece of Deep House is built around off-kilter drums with a syncopated bass line and quirky sample cuts. It’s got enough beef to keep the energy going, and the right amount of weirdness to grab your attention whenever this is played.

The closing track ‘You know what I mean’ adds another layer of weird-sounding vocals that will stick with you until long after the song is over. This track – and the whole EP for that matter – oozes the playful energy of a producer who’s completely comfortable with his musicality. It’s fun and playful, delivered with the class that only a hero of the underground like Sneak can do.

On the Synesthesia EP, DJ Sneak takes you deep on a trip through his musical roots and keeps you on the edge of your seat with 4 tracks bursting with personality.

Grab this record while you can and share the love,
Heist Recordings.

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Territories: World excl. UK

FORMAT 12" vinyl, generic sleeve, dl card

TRACKLIST
1. / A1 Dark Light 05:09
2. / A2 Fire Chant 04:30
3. / A3 Grátt Silfur 04:41
4. / B1 Green Light 05:11
5. / B2 Ráðabrugg 05:31
6. / DX1 Ruff Cut (Digi Bonus) 05:41
7. / DX2 Only One Way (Digi Bonus) 05:02
8. / DX3 Everyday (Digi Bonus) 04:59

Growing up on the north Atlantic island of Iceland bestows one with an unusual and often intense relationship with light and colour: Summers come with endless days, Winters with scant sunlight yet increased sightings of the Aurora Borealis; the mysterious and awe-inspiring glow across the sky. Channelling these energies, Exos
comes to Tresor with his Green Light EP, a five-track collection of the sort of spectrally rich techno synonymous with the Northman’s 27-year career.
Across the EP, the five tracks fizz and pulsate driving ever forward, making the release’s title a three-way play on words referencing the continuous travelling of photons, the verdant warping of the Northern Lights, and the universal colour for Go, for forward propulsion. Smart wordplay can also be found in titles like Grátt Silfur, a term in Íslenska (literally “grey sliver”) which signifies a tension between two parties, further extending the colour metaphor and dark/light dichotomy found elsewhere.
The digital release comes with three extra tracks that continue the dynamic energy, pushed along by the same shifting, mutating force where the music often feels like voices calling out from the darkness or the shimmer of light as the sun rises across the horizon.
Green Light EP continues this year’s blazing return from an artist who, similar to his output, is never stagnant: ever changing form yet ever moving forward.


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GENRE/S: techno, electro, breaks, idm, bass

TRACKLIST:
A1/01 - Candor
A2/02 - Crease
B1/ 03- Rusky Shan
B2/ 04 - SHD
B3/ 05 - Endless


SHORT INFO:
In what feels almost like an annual autumn tradition now, we’re mighty excited to announce the next release on our label, “Candor“ by Hett.

Working with friends has an especially rewarding quality which is why we’re particularly happy for Hett to join the AWK label family. Having known about his excellent production skills for a while, we were quite eager to unearth this hidden gem. It took a moment to put together but everyone’s patience paid off and we can proudly present you this beautiful 5 track record.

The Wearside raised and Berlin based artist provides the perfect formula for a club ready yet emotively aware package, making it hard to believe that this is only his debut EP. A work of music that embodies the refreshing candor of a forward thinking attitude whilst also giving a respectful nod to the past.

AWK 006, “Candor“ by Hett will be out on October 24th 2024. We hope you enjoy it as much as we do!



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Tracklist
01 Let's Start Our Own Thing
02 JMAR
03 NOK
04 Same Format

Shortinfo:
Dar Embarks, the hardware-based collaboration of Chicagoans Dan Jugle and Ken Zawacki, share four precious recordings of bouncing, highly-acidic machine funk and industrial ambiance. This is a posthumous release for Dan Jugle, who departed in 2018.

Dan was a multi-instrumentalist and a pillar of Chicago's techno scene who left an indelible mark on it with his distinctive sound. His infatuation with electronic music began in the mid-90s when he found his way to Midwest raves as soon as he was old enough to drive to them. He began working with analog gear to create his own expression of the music he heard there. Jugle, Zawacki, and Mike Broers started experimenting with a thrifted Roland TR-707, figuring out the controls through trial and error. They performed together as Ghost Arcade in the early 2000s.

Years later, Jugle and Zawacki reunited creatively, forming Dar Embarks and building the foundation for their project. Jugle gained a reputation for crafting washed-out, saturated club tracks as Juzer, a project formed with Beau Wanzer. Dar Embarks' debut EP Fleer (released on CLEAR USA) and Juzer's Horseplay (on Anthony Parasole's label The Corner) were both released in 2014, both elevated by Dan Jugle's live-action knob-twisting and button-pushing composition inspired by sci-fi and comic books. Despite his early passing, Jugle's legacy lives on through his work and his passion for Midwest techno that his friends and fans still remember and carry.

Lovingly wrapped up and presented to Acid Camp by Ken, these heaters are finally set free to move asses and minds.

Artwork by Jeremiah Chiu
Layout by Danielle Davis
Mastered by Tim Xavier at Manmade Mastering
Distributed by wordandsound



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12"

TRACKLIST:

A1 Flowers
A2 Dream Factory

B1 Trust
B2 Ali e Nino
B3 Diana


SHORT INFO:
"The true narrative shall forever shroud itself in mystery to the outside world.
It is whispered that man never truly set foot on the moon, but merely touched it.
Just as the tale of this record unfolds, two souls from distant realms brushed ever so close, yet destiny denied them a lasting encounter, not even a fleeting union of Nino's and Ali's wings.
Perhaps, it was fated that the circle of a past life, woven with trust, blooming with flowers, and exchanged glances, must close in the cosmic pursuit of Venus, chasing the Crescent Moon, serenading love to its own Sun."








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No sales to Japan!

LP: 180g vinyl, half speed mastered, heavy sleeve, obi, gold ink
Genre: Jazz, Fusion, Funk

Tracklisting LP
A1. Shrimp Dance
A2. Kuro To Shiro
B1. Walk Tall
B2. Cat
B3. Romance


Info

We Release Jazz is ecstatic (purrrr!) to announce the official reissue of Hiroshi Suzuki's glorious jazz-fusion-funk Holy Grail Cat (originally released in 1976), sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both versions come with liner notes by Teruo Isono.
Cat was recorded in October 1975 at at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two day session of groove magic. The chemistry was still intact. The skills and style had grown.
The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums).
Celebrated in jazz collectors circles, in the lofi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike.

Points of interests

- For fans of jazz, fusion, funk, trombone, Japanese jazz, smooth rides, cats, allure.

- Official reissue of the glorious jazz-fusion album by Japanese trombonist extraordinaire Hiroshi "Neko" Suzuki.

- 10th release from We Release Jazz, following Ryo Fukui's Scenery, Mellow Dream, A Letter from Slowboat, and Ryo Fukui in New York, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, Marc Moulin's Placebo Live 1971 and Boillat Thérace Quintet albums. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada's Through The Looking Glass and Lunar Cruise with Masahiko Sato, Pierre Barouh's Le Pollen, Jun Fuka-machi's Nicole, Grauzone's discography, …)


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Tracklist
(A)
1. COSMIC CHAMELEON
2. THOUGHTS UNLIMITED
3. SUNRISE 5000
(B)
1. ON+ON
2. FANTASTIC FANTASTIC ANGEL
3. ALWAYS RETURNING

Blurb:

Introducing ‘SONGS ABOUT THE SUN’ by ELWD. The London-based producer, commonly known for his signature sample style blended with live instrumentation, presents six new beats. Inspired by how the sun has always been a constant throughout his life and the nostalgia of a time when life seemed carefree, he unveils a new powerful and vitamin D-infused sound. ‘COSMIC CHAMELEON’ is a house gem that blends Balearic vibes with jazzy instrumentation, making it the perfect song to accompany a sunny, carefree day.










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Format: 3xLP coloured vinyl

Tracklist:

A1. DJ Oyster – Ricci One (Gerd Janson Remix)
A2. Lauer x Johannes Albert – Mokka Paradise
B1. Cinthie – Set Me Free
B2. Wolfram - Macho
B3. Lui Hill – With You
C1. Phonk D – Medusa
C2. Levitation Venue – Calippo (Super Mix)
D1. Sound Support – Subway Location
D2. Accent Circonflexe – Manipulation? Non!
E1. Lukas Lehmann – Pull Up The Blinds
E2. Move D – Dance On
F1. Terry Lee Brown Junior – Mono Mono Mono
F2. Retina Dreams - Strachelrochen

Info:
Since ten years Galerie Kurzweil enriches the electronic club scene and has made a name for itself worldwide, not least thanks to excellent bookings and its impressive sound system. To celebrate its anniversary, Galerie Kurzweil releases a 3 x color vinyl compilation with beautiful artwork by Jofeca and exclusive tracks by renowned artists Gerd Janson (aka DJ Oyster), Cinthie, Lauer x Johannes Albert, Sound Support, Wolfram, Move D and its residents Thomas Hammann (aka Retina Dreams), Terry Lee Brown Junior, Lui Hill, Phonk D, Lukas Lehmann, Levitation Venue and Accent Circonflexe. If you want to get hold of this sexy collector's item, you should pre-order directly – the compilation is limited to 400 copies.







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Genre: Techno


Tracklist 12":
A1 Ecilo – Georgia Dream
A2 Ecilo – Atomic Distant
B1 Ecilo – Millions Of Eyes
B2 Ecilo – Time Lapse




Short Info:


Four dubby, raw and fastpaced techno cuts from Ecilo

Mastering & lacquer cut by Kassian Troyer at Dubplates & Mastering Berlin


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Tracklist:
A1. 1984 Re-Edited (4:56)
A2. 1984 Retrospective Dub (4:26)
A3. 1984 GJ Bonus Beats (4:07)
B1. 2024 Retrospective Dub (5:05)
B2. 2024 Introspective Dub (5:28)

Greg Wilson returns to Running Back with another special project.
Forty years on from the release of the groundbreaking ‘Street Sounds UK Electro’ LP, ‘Real Time’ (two versions of which opened the separate sides of the album), finally gets a 12” release. Despite its prominence on ‘UK Electro’, it was the only inclusion not to be issued on 12” back in 1984.
Zer-o, like Syncbeat and Forevereaction, were the same trio – Manchester musicians, Martin Jackson and Andy Connell, and DJ Greg Wilson, making his first foray into record production. They also teamed up with rappers, Kermit and Fiddz, for the Broken Glass
track, ‘Style Of The Street’, one of the early UK hip hop releases. Fictional production and songwriting credits were added by Street Sounds to suggest a thriving British electro scene, the music having blown-up in New York during ‘82/’83, with the ‘Street Sounds Electro’
series, launched in October ’83, documenting these developments and unlocking a significant youth market who’d religiously collect these compilations.
Featured here is a Greg Wilson edit of ‘Real Time’, the ‘retrospective dub’ (the ‘UK Electro opener, which was in fact the original demo version of the track), and a Gerd Janson bonus beats edit. Flip it over and you’ll find a pair of 2024 reworks – the retrospective
dub, and the more downtempo introspective dub – courtesy of Greg and Ché Wilson, whose recent collaborations have included remixes for Gabriels and Confidence Man.


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Territory: Germany, Austria, Switzerland only

Format: LP, obi-strip
Genre: Post-Rock, Alternative

Tracklist

A1 The Flesh of Lost Summers
A2 A Happy Death
A3 The Light in the End

B1 Partings
B2 A Collapse of Horses
B3 The Mountains are a Dream that calls to me


Forgetting You Is Like Breathing Water, the self-titled debut from the duo of trumpeter Will Evans and guitarist, synthesist, producer and multi-instrumentalist Theo Trump, arrives like a vault revelation. It feels like a decades-old yet newly unearthed masterwork of gorgeous ambient improvisation, the sort of thing scholars live to research and shepherd into deluxe reissue.

The patient, crystalline chords that swell and resonate like a series of confessions; the textured brass murmurs that suggest a ’60s or ’70s Fire Music master at their most poignant. Provocative found-sound experiments threading arcane religious recordings through dystopian soundscapes. Ear-shattering free-noise tumult. Where and when did this music come from? Who are these voices?

As it turns out, Forgetting You Is Like Breathing Water springs from an engrossing human story, though it isn’t necessarily the one you’d expect. This work of stunning maturity is in fact an entrance by two little-known explorers in their early 20s, who grew up together in Virginia, in the shadow of the Blue Ridge Mountains. It documents one of those perfect, sparkling moments in post-adolescence when big decisions and responsibilities are right around the corner, but for a spell, two young artists are able to create among the comforts and nostalgia of their shared past.

It also represents a reunion of sorts, as Evans and Trump connected as toddlers, became inseparable as boys, then pursued independent lives and creative paths as young adults. “Theo is my oldest friend,” Evans says, “and I feel like that’s what this band is — us meeting right in the middle of our interests.”

Now, having conjured this magic, they’ve detached once again: Evans, whose other works include the indie/avant-jazz unit Angelica X, is currently based in New York City. Trump recently moved to England, where he’d participated in his family’s theatre company, to go to school and further his solo ambient project. “This album didn’t start out as something super ambitious,” Evans explains. “It was more just an excuse to spend time together again and make music.”

***

In conversation, Evans and Trump are a delight, especially for cynics who might think that Gen-Z is only capable of doomscrolling. They come across as kindly young intellectuals who grew up using the internet as it was intended, for exposure to ideas and art across genres and generations. Trump points to indie-folk and the oracular post-rock of late Talk Talk, Bark Psychosis and Gastr del Sol. Pressed for his guitar heroes, he cites Bill Orcutt, Mary Halvorson and Marc Ribot, and mentions his devotion to alt-country. Heyday electro-industrial stuff like Skinny Puppy and Nine Inch Nails also meant a lot to him.

Evans is equally intrepid, though his background has a greater jazz focus. Ambrose Akinmusire, among today’s most thoughtfully commanding trumpeters, is a favorite. As for the soulful murmur he offers throughout Forgetting You, Pharoah Sanders’ wistful and lyrical contributions to Floating Points’ work is a touchstone.

The two grew up down the street from each other in the northern Piedmont town of Batesville, Virginia. Their families were friends, holidays were celebrated together and they became the most loyal of pals. As children they had a pretend band.

Then life unfolded, they attended different schools and their paths diverged. Evans discovered John Coltrane and became a jazz obsessive, as Trump found punk and hardcore and later began making ambient music. As a dedicated jazz trumpeter, Evans studied formally and widely; Trump was an autodidact, teaching himself guitar and absorbing synthesis and production techniques. The late teens and very early 20s brought moves away from home and back to home, as well as plenty of listening and learning. The Covid pandemic meant an opportunity to reconnect on long walks. Through it all, together and apart, they remained reverent of each other.

By early 2023, they found themselves living again among the Blue Ridge Mountains. In the evening, after giving trumpet lessons in Charlottesville, Evans would make the eerily beautiful trek “over the mountain” to Trump’s home in Staunton, Virginia. They’d talk and eat and begin to improvise, deep into the night. Evans played trumpet and sometimes drums. (Given the wee-hours recording schedule, the neighbors didn’t appreciate the latter.) Trump plugged a rickety, junk-store Telecaster-style guitar into a cheap solid-state amp and explored open tunings; he also layered on lap steel, electric bass, synths and electronics.

They locked in and relished each other’s gifts. In Trump, those include patience and intentionality and sonic decision-making; for Evans, a distinctive trumpet sound that both musicians think of as a singer’s voice. “Will’s playing is so thoughtful and well placed,” Trump says. “My goal from a producer’s mindset is that the trumpet will occupy the space that vocals would take.”

Often, they got lost in the best way. “The thing I look for most when I’m playing is that feeling of disappearing into what you’re doing,” Evans says. “Usually when that happens, the music is good.”





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