- 180g vinyl & reverse board jacket with insert design by Daniel Castrejon


Tracklist LP:
A1 Paradox of Finitude (02:40) , A2 Cracks in the Shield (07:57) , A3 Mortality Salience (06:48)
B1 Senescence (02:30) , B2 A Panic Rumbling Beneath (07:10), B3 The Scheme of Things (08:48)
Short info:
An innate facet of the human condition is the very personal way we choose to process our own fatality.
Faced with dealing with the feelings of anxiety, death and fear after nearly drowning whilst diving in the
South Atlantic in his youth, Ricardo Donoso chose to channel them into his creative process. The result
was Scuba Death, a project that was fully realised on Donoso’s widely acclaimed 2014 Further debut,
Nitrogen Narcosis. After spending time devoted to establishing his Kathexis label as well as delivering a
trilogy of albums under his given name for the Denovali label, Donoso returns to Further with a second
Scuba Death offering, The Worm At The Core.
The 36 minutes of The Worm At The Core expand on the creeping conceptual thrust of that Scuba Death
debut, the title referencing the work of late 19th Century American philosopher William James. In his
1902 book, The Varieties of Religious Experience: A Study in Human Nature, James described the
knowledge we all must die as "the worm at the core" of the human condition, further adding that this
universally-shared fear informs all our urges, be it creative or destructive.
New Release Information
Donoso continues to funnel this innate fear for positive, creative means on The Worm At The Core,
which presents an important element of continuity from his previous journey to the depths as Scuba
Death. The melodic strains that signalled the end of Nitrogen Narcosis on ten minute closer “Rapture Of
The Deep” resurface to shape the opening movements of The Worm At The Core on “Paradox Of
Finitude”. There are however subtle shifts present here, Donoso opting to look to land rather than water
for sonic inspiration with the six tracks based around location recordings of thunderstorms.
These field recordings still play an integral role in the Scuba Death panorama along with Donoso’s deft
craft of analogue equipment and sampling, whilst Rafa Selway’s expert cello play is heavily
incorporporated throughout The Worm At The Core, further adding to the album’s inherent organic
qualities. The results are another evocative slow, ebbing pulse of an album encompassing the low BPM
dub techno swell of “Cracks In The Shield” and “A Panic Rumbling Beneath” and richly textured
soundscapes rife with haunting emotion such as “Mortality Salience.”
Vital Sales Points:
- Ricardo Donoso is a Brazilian composer who records music for film and television
- He has previous albums on Digitalis, Kathexis & Denovali
- Mastered by Rahshad Becker @ Dubplates & Mastering
- Artwork by Chloe Harris






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Deluxe LP w 180g, Reverse Board Sleeve, MP3 Download

- HOLOVR is Jimmy Billingham who also records under the alias’s Tidal, Venn Rain, Journey of Mind & Holographic Mind
- He has released music on Firecracker Records, Opal Tapes and Hooker Vision as well as his own Indole Records

Release Information
Anterior Space may strike some listeners of a certain age as an echo of the gilded age of “armchair techno” exemplified by Warp Records' Artificial Intelligence comps. There's a similar convergence of
the cerebral and the blissful in the four epic compositions HOLOVR (aka Jimmy Billingham) finesses from his analog and digital synths as that found on those early-'90s pieces by Black Dog, B12, and others. Discussing the creation of Anterior Space, which is the first HOLOVR release to feature no beats, Billingham reveals, “Dropping drums gave me a bit more freedom in terms of tempo and rhythm, and it was actually really liberating. Having fewer elements in a track also meant it was possible to record live, which is my preferred way of working, as you can capture an actual snapshot of time and a natural, in-the-moment negotiation of the different elements of a track. I'd know a track was ready if I could sit there and listen to it looping round for long periods of time and really get lost in it, and then I'd try and capture a nice section of that in the space of 10 minutes or whatever.” You can hear this on Anterior Space's opening 11-minute track, “Into Light.” Its subtle gradations of warped tones and implied rhythms teem with hyperactive elegance. The titular light glints off of several jeweled facets, like a disco ball made out of diamonds. The slow, mobile-like rotation of synth baubles
over a foundation of yearning, icy drones on “Apparent Motion” creates the illusion of a shimmering stasis, but there's actually a great deal happening here. “There's lots of subtle variation in the tracks, with pattern length differences and parameter tweaks,” Billingham says. “I'm really into the hypnotic effect that you can get from this; the feeling of constant change within something that is otherwise staying the same.” Thankfully, all these elements on “Apparent Motion” coalesce into a celestial chillout zone and serve as an aural icepack for your overworked mind.
On “Temporary, Autonomous,” the lightest of acidic squelches prod this track into a similar rarefied ether as the less propulsive cuts on Plastikman's Sheet One. Eleven-minute closer “Involution” is a gradual procession of globular ambience that seems always to be changing and yet also emitting a steady-state glow. It's an aural illusion that permeates all of Anterior Space, and it will freeze your perception of time to a blessed perpetual now.

Tracklist LP:
A1 Into Light (11:02)
A2 Apparent Motion (9:41)
B1 Temporary, Autonomous (8:36)
B2 Involution (11:10) More

Deluxe LP w 180g, Reverse Board Sleeve, MP3 Download

- Jonathan Fitoussi is a French composer and audio engineer working at the Institut National de
l’Audiovisuel – INA - Recorded with EMS Synthi AKS, Sequential Circuits Pro-One, and YC45D electric organ. - Mastered by Rahshad Becker @ Dubplates & Mastering - Seven Aquatints (1973) artwork licensed from Robert Mangold

Tracklist LP:
A1 Aquarius (6:51) , A2 Triangulum (5:39) , A3 Orion (4:43)
B1 Oiseau de Paradis (5:24) , B2 Andromede (6:00) , B3 Cassiopee (6:58)

Short info:
“The stars we are given. The constellations we make. That is to say, stars exist in the cosmos, but constellations are the imaginary lines we draw between them, the readings we give the sky, the stories
we tell.” Rebecca Solnit
The above quote by the American author Solnit inspired Parisian producer Jonathan Fitoussi's debut album for Further Records, Imaginary Lines. He used those words and the concept of Harmony Of The
Spheres to create the six ravishing interstellar evocations on Imaginary Lines, to spin his own intriguing yarns about the cosmos. While conjuring the vastness of space, Fitoussi imbues the journey with profound feelings of awe and beauty. “This idea that the constellations are an imaginary representation that man drew in the sky to serve as landmarks in space and on Earth is greatly appealing to me, and works very well with the story behind this album, on which each song title bears the name of a constellation,” Fitoussi says. “With Imaginary Lines, I wanted to work with this idea as its core; on one hand geometrical and linear, like the shape of the constellations, characterized by the use of repetitive sequences, and on the other hand, through sections of improvised organ to evoke the more spiritual dimension, and l’invitation au voyage.”
Imaginary Lines sounds like it was made with acute academic rigor yet it is also lavishly beautiful and sensuous. “I like having a mixture of a solid base to work from,” Fitoussi says, “which is characterized here by a repetitive sequence, that leaves room for improvisation as well. This is something that recurs often in my work: creating a stable structure which then allows me to create spaces within it. I also love architecture, with its lines and volumes, and I think this influences my work as a composer.”
To manifest Imaginary Lines, Fitoussi mainly employed an EMS Synthi AKS synthesizer and a Yamaha YC45D organ, which he processed through tape echo with two tape recorders. In addition, Fitoussi says, “many of the sounds were also fed back into a large metallic resonator (similar to the Ondes Martenot), which produced beautiful reverberations.”
“Aquarius” starts the album on a spinetingling note, with its windchime and vibraphonelike pulsations reminiscent of Mike Oldfield's Tubular Bells (which, of course, has associations with the soundtrack for The Exorcist). Fitoussi creates a suspenseful foundation over which he drops dramatic bass plunges and cascades of astraldusted and oceanspumed synths. “Triangulum” offers a Philip Glasslike
repetition of lustrous synth chords, but is less manic than most of that minimalist master's work. The track's subtle modulations and gradual intensification foster the sense that something momentous is about to happen—which it does with “Orion,” whose brisk percolation and glassy tones recall Harmonia's Deluxe, but shot into deep space. This is the sort of elegant urgency and streamlined propulsion you might hear on an avantgarde scififilm soundtrack.
“Oiseau De Paradis” and “Andromede” evoke the feeling of effortless ascension through smooth, celestial oscillations, with the latter coming off as slightly more hectic, generating the illusion of pursuit.
“Cassiopee” brings the album to a close with a more downcast, contemplative mood, its swirling tones and cyclical motif spurring you to ponder existential thoughts... or to just marvel at the universe's
mysterious magnificence. Fitoussi connects these farflung dots with éclat.

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Deluxe LP w 180g, Reverse Board Sleeve, MP3 Download - Debut album from Jake Muir
Tracklist LP:
A1 Ammophila (5:51) , A2 Calanque (7:24) , A3 Boira (5:57)
B1 Ria (5:06) , B2 Sinking Stream (2:00) , B3 llitera (4:09) , B4 Convection (7:48)

Short info:
Everyone's looking for inner peace of some kind—even warmongers. As most intelligent people know, music is one of the most effective ways to achieve that blessed, blissed state. The debut album by Seattle producer Monadh (Jake Muir) offers yet more crucial aid in the war on stress. Muara is an ambient album in the purest, chillest meaning of the term. Its seven tracks are awash in aquatic signifiers and textures; each one is a rejuvenating dip in healing, icy waters. (Muara is Javanese for “estuary.”) Which isn't to say that Muara should be filed in New Age sections of record shops (not that there's anything wrong with that). Rather, what the album most resembles is the ambient output of artists like Biosphere. Loscil, and The Sight Below—musicians who uncannily make you warm to cold tones. “The way I make music is really stream of consciousness,” Muir says. “My friend calls it 'slow improv.' I happened to be watching a lot of older Japanese cinema, especially samurai stuff, from the '50s to the '70s while making the album.” Natural habitats also played a significant role, Muir notes. “My favorite music is informed by mood and place.” This deep into the 21st century, it's not easy to create ambient music that sounds vital and untainted by hackneyed tropes. Monadh succeeds in this difficult task, through a combination of his field recordings from the Pacific Northwest and meticulously chosen samples mostly lifted and pitchshifted from library records of a pastoral and romantic bent. He also cites Andrew Pekler's Sentimental Favourites and Biosphere's Shenzhou as inspirations. Right from the first track, “Ammophilia,” you can feel your tensions dissolve as Monadh coaxes a gentle whirlpool of darkblue drones with an undertow of poignant melody
swirled into the mix with utmost subtlety. “Calanque” seems to be emerging from a fathomless cave, like a palliative gas, a calming ether. It's the chillest of chillout cuts, inducing a peace beyond peace. And so it goes throughout Muara, with slight variations in intensities and moods, but overall maintaining a watery tonal float on which listeners can glide into mentally stimulating relaxation. By the time the final track
“Convection” surfaces, you feel perfectly centered... for a change.
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Deluxe LP w 180g, Reverse Board Sleeve, MP3 Download

A1 Cyclura Cornuta (2:03)
A2 Xenosaurus Platyceps (6:26)
A3 Conolophus Subcristatus (1:20)
A4 Caiman Latirostris (5:48)
B1 Corytophanes Cristatus (4:16)
B2 Iguana Delicatissima (3:48)
B3 Acanthosaura (4:41)
B4 Amblyrhynchus Cristatus (3:22)


Short info:

Robert Witschakowski takes a break from rewiring the rules of electro with his prolific The Exaltics project to deliver the eerie soundtrack album, 'Acanthosaura'.

Working with Nico Jagiella - with whom he co-runs the Solar One label - the pair have created the soundtrack for a world of flickering shadows, dark ambient textures and ominous bass tones. It's the first Crotaphytus release in six years and according to Witschakowski, a project stemming from his love of reptiles and movie soundtracks. Like previous Crotaphytus releases on Solar One, 'Acanthosaura' is a deeply atmospheric affair.

With each track title a reference to different types of lizards, from the death-paced drums of "Cyclura Cornuta" to the slow-motion ebm-disco groove of "Xenosaurus Platyceps" and the murderous subs of "Caiman Latirostris". In between, the dark ambient passages of "Conolophus Subcristatus" and "Amblyrhynchus Cristatus" as well as nods to The Exaltics' spaced out electro in "Iguana Delicatissima".

However, Robert insists that the album remains true to the project's ethos.

"Crotaphytus is always dark and haunting. The project has no rules and that gives us the total freedom to make everything with it. I make also different styles with The Exaltics, but I have a concrete vision every time. With Crotaphytus, we let it flow and see were we land at the end.

"For this album, we tried to create an atmosphere like you are in a deep jungle, chased by giant lizards. Ambient has really the power to transport feelings. I guess this is subliminal in us from watching films. Most soundtracks have a lot of music without beats, so we collected tracks with beats and also ambient ones. It's like a soundtrack for a movie," Robert explains.

Listen closely and you can hear the sound of the jungle at night as "Xenosaurus Platyceps" draws to an end or on the dusky dread that sets in on album closer "Amblyrhynchus Cristatus". From that perspective, there are similarities to The Exaltics.

"I'm a sucker for atmospheric music. I need to imagine things by hearing music. Other worlds, fantasy, come down from a daily struggle, so it's a must when I'm involved in a project. I could say half of Crotaphytus, the atmosphere, that is me, and the other half, is the power Nico gives to the project," he points out.

'Acanthosaura' is the first Crotaphytus release on Further, but not the last. "I'm really happy how it came together. It's growing into a very interesting project and with all this atmospheric ambient it fits very well with Further. I would work with them anytime again," says Rob.

In the meantime, listen to Crotaphytus scale the heights with the dark ambient masterpiece, 'Acanthosaura'.


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Deluxe LP w 180g, Reverse Board Sleeve, MP3 Download

Human Rays—Stockholm, Sweden producer Robin Smeds Mattila—says that the music on A Tension was made during nocturnal sessions in a studio full of mostly cheap analog and digital gear, all in one
take. “I kind of let the mood guide me and just go with it,” he says. The result is a gripping fourtrack´suite of emotionally charged minimal ambient that was created quickly but sounds like it was rigorously
sweated over for many weeks. After a handful of releases that explored noisy, quasiindustrial techno,
Mattila here deviates into a more abstract, melancholy mode with A Tension. His creative process involves experimenting “to see how far I can push a sound with a pretty lofi setup. Improvisation and
limitations are part of the thing that makes it interesting.” This approach yields riveting dividends right from the start on A Tension. On “Condensity,” the sparse pinging and distant, muted beats commingle with what sounds like rough wind or waves, hinting at the Arctic vibes that Biosphere conjured on Substrata. It's at once chill and chilling, tranquil and unsettling.
“Between The Hours” places spindly, woody beats beneath a dramatic sweep of synthetic strings, ebbing and flowing like Fripp & Eno's monumental “An Index Of Metals.” “Neverendless” might be even more redolent of the North Pole than “Condensity,” its severely minimal isolationist ambience suggesting Mick Harris' nonemorecold Lull or Thomas Köner's Permafrost. On “Manual Litany I,” Mattila takes what sounds like a sentimental synth melody and smears it into a mantra of compelling drudgery. He notes that the track draws inspiration from William Basinski, who's famous for his series of profoundly poignant Disintegration Loops albums. “It's an attempt at making an organic loop, so it's just me playing the same thing over and over on a synthesizer and letting the mistakes become part of the composition together with just playing around with an effects processor.”
From these simple, humble means, Mattila forges a record that triggers subtle, intricate feelings. A Tension is that rare kind of music that freezes out all extraneous stimuli and submerges you in a frigid netherworld in which calm and disquiet exist in icedout harmony.

Tracklist LP:
A1 Condensity (10:24)
A2 Between The Hours (8:34)
B1 Neverendless (6:03)
B2 Manual Litany I (13:04)
More

Deluxe LP w 180g, Reverse Board Sleeve, MP3 Download

- Celer co-founder with Danielle Baquet-Long
- Artwork by Nao Watahiki

Tracklist LP:
A I (18:28)
B. II (16:55)
Short info:
Some records just barely nudge your consciousness, but they do so in such an intriguing manner that their tentativeness and ephemerality lure you in deeper than you expect. Such is the case with Overflow Pool by Mogador, a new project by Will Long. This prolific producer—who is best known for his profoundly meditative ambient music under the name Celer—favors the longform, beatless approach to composition, as he lets his rigorously honed tones unspool with a gentle insistence. Overflow Pool consists of three lengthy pieces full of lingering, aqueous chords that are spaced out by suspenseful lacunae. Each piece revolves around episodes of briskly struck piano chord clusters that are left to decay to near silence, for maximal contemplativeness. These are followed by a lowerkeyed retort, as if to ground the listener and to keep her from getting overly optimistic from the preceding burst of Harold Buddonuppers tones. Similarities to Brian Eno's Thursday Afternoon are also evident, as Mogador methodically doles out morsels of oceanic calm geared to align your chakras like some 21stcentury
Stephen Halpern LP. It sounds ideal for flotation tanks, deeptissue massages, and general relaxation.

Long observes that Mogador differs from his Celer output “because it's completely unprocessed. This is a pure room recording with no extra effects; only piano and reeltoreel
delay.” The Yokohama, Japanbased musician says that his primary aim with Overflow Pool “was to make something that doesn't happen all the time—it's so sparse, that it blends into the room. It happens so seldom that it's easy to forget about. You just catch it here and there. That's the feeling I wanted.” It's a feeling that's all too rare in modern music—peacefulness without sentimentality.











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Deluxe LP w 180g Vinyl Printed inner sleeve - MP3 Download

- Kranky, Idle Hands, 100% Silk, Endless Flight, and Entr'acte recording artist.
- 2nd Further release after his 2015 album “Noise Tape Self”

Tracklist LP/CD:
A1. Public Voyeurs (7:14) , A2. Relix (14:02)
B1. Fossil Data (9:18) , B2. Tower of Babble (8:11)

Like some ingenious combination of John Cage's chance operations and the numbers station data stream captured on The Conet Project, Strategy's new album immerses listeners in baffling sonic waters.
It's a riveting work that converts the enigmatic effluvia of shortwave and dispatch radio chatter into thrumming, staticriddled clouds of ambience. An undercurrent of unease wafts through Information
Pollution's four lengthy tracks, as barely audible molecules of aural junk never meant for public consumption get repurposed into an unsettling strain of inverted chillout music.
Information Pollution was born out of restraints. After moving into a new house with little space to set up his studio properly, Strategy (Portland producer Paul Dickow) could only work with a few devices at a
time. He'd acquired an old Akai reeltoreel tape deck with tube preamps from his father, who'd recently cleaned out his own studio. Using radios, homemade effects boxes, and the tape deck, Strategy recorded these sound collages live to tape, without touching any synths or deploying any samples. “I discovered a lot of ghostly shortwave sounds,” Dickow says, “but also ambulance, parking, and school bus dispatch channels on forgotten frequencies that I think might have been once used for police or broadcast TV.” The result falls somewhere between Philip Jeck's eroding turntable symphonies and William Basinski's poignantly decaying Disintegration Loops.

Dickow relates that he uses the term “Information Pollution” to classify “any spam, broadcast saturation, junk mail, invasion of unwanted information [that enters] the socialemotional public realm.” As with the material Strategy created with cassette tape loops on his last Further release, 2015's Noise Tape Self, “there's a sense of machines having their own life, beyond our control.” But instead of chaos, Strategy has produced an artful alchemization of discarded tones. Although Information Pollution sounds unlike anything in Strategy's sprawling catalog, he likens the album to his activities within Portland's '90s/early '00s experimental/noise scene. The reason he hasn't issued anything in this style till now? He wanted to wait till he was sure he'd “given it the necessary rigor and study.” With this album Strategy has shaped the random output of radios into a gripping document. As Dickow puts it, “This is the audio equivalent of photographing the oil slicks that appear in the puddles of parking lots."












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FURTHER 100! - Deluxe LP w 180g Vinyl Printed inner sleeve and offset printed insert sheet (poster) with liner notes - MP3 Download
Fact Mag: Fans of austere and superbly crafted techno may be familiar with Nuel through his 00s Aquaplano Sessions with fellow Italian artist Donato Dozzy, which were deservedly reissued a couple of years ago on Spectrum Spools.

- 2nd album after his 2011 debut on Further 'Trance Mutation' and his first new music in 5 years

Tracklist LP/CD:
A1. Steppin' Stone (3:30) A2. Polaris (6:05) A3. Hyperboreal (9:10)
B1. -Om (7:30) B2. Be Well (8:01) B3. The Rest is Noise (4:07)

Italian DJ and producer Manuel Fogliata hasn't released a lot of records over the last ten years, but the few he has put out have always been worth tracking down. Perhaps best known for his work alongside Donato Dozzy in creating the much sought-after Aquaplano records at the tail end of the last decade, Nuel's solo outings have been just as consistent and just as impressive. Whether taking on metallic electro or syrupy, bass-heavy ambience, Nuel's attention to detail and his keen ear for a groove has made each release something to treasure.

Nuel's only previous full-length, Trance Mutation (Further Records, 2011), was a masterpiece of minimal repetition. It was possessed of a gossamer-light surface, all trippy rhythms and wonderfully playful melodies, but it was deep too. Made with just one microphone and a handful of instruments in his studio in a small Italian town, it's one of those records that can somehow present the whole of a track in the first few bars but stay fascinating for ten minutes or more. While initial impressions might suggest little in the way of continuity between the organic tribalism of Trance Mutation and the colder, more mechanic sounds of Hyperboreal, Nuel's ability to go deep into a particular mood, a particular sound, links the two. An expert in the art of minuscule variations, Nuel's compositions are always changing, always evolving somewhere within their ecosystem.

"Each time I decide to make new music I try something different, something never I did before, and I start thinking at the choice of the sources, the set-up and so on," says Fogliata. "It's really difficult for me doing the same thing twice. It's seriously a challenge, I don't know why. Maybe because part of the inspiration come from this process. The worst thing in doing the same thing twice is that the excitement for a new experiment and research is gone, and I can't go anywhere from that. So if there is any continuity between releases, which is not what I'm looking for, it could be some traces of my way of approaching music, and my taste."

Like its predecessor, Hyperboreal was made with the minimum of fuss. Recorded using just one semi-modular synth - the boutique and sadly discontinued Ekdahl Polygamist - and a handful of pedals, the album came together in just a few days while Fogliata was staying with Giuseppe Tillieci (aka Neel - famed mastering engineer and one-half of Voices From The Lake) at his apartment in Rome. The Polygamist's combination of modular flexibility with the aesthetic cohesion of a complete instrument was the inspirational spark which set the album in motion.
"I fell in love with it from the first sight," says Fogliata of the synth. "Aesthetics are very important to me, if I don't like the way a synth looks like I can't get anything from it. Just like when meeting a nice person but there's no physical attraction, it can be a good friendship, nice conversations but 'love' is missing, and making music is making love so this aspect has a huge influence on creativity. Being surrounded by beauty makes me feel better and reinforces the positive feedback."

Hyperboreal begins ambiguously, the fluttering dissonance of 'Stepping Stone' immediately setting the mood. It's dark but not gloomy, not resigned. There's something shadowy about its contained aggression, like it might lash out at any minute. It doesn't. Through the winding paths of the following tracks - 'Polaris', 'Hyperboreal', '-Om' - nothing becomes clearer, nothing moves towards any kind of resolution. The flutters of the opening track become a swirling mass on 'Polaris', and a venomous rattle on the title track. '-Om' sees things calm just a little - the maddening, almost frantic pulsations of the previous tracks slowing, evening out into a bed of twitching feedback and resonant echoes. There's even a hint of a regular beat, barely audible beneath the buzzing tones of synthesised electricity.

"Intensity plays a fundamental role in what I do," says Fogliata, and listening to the opening half of Hyperboreal, you'd have to take him at his word. These are not casual sonics.

'Be Well', the penultimate track' marks a change; from dissonance to a sort of consonance, a lifting of the shadows that have so far lingered around the record. It feels, in a peculiar way, almost uplifting, like watching ice melt in the sunlight. The record closes with 'The Rest is Noise', and though it seems to return again to a darker place, it does so with the memory of sunlight, warmth, and life. Suddenly the noise is not oppressive, but comforting. It is gentle, welcoming, as it closes around you.

As its title suggests, this is an album for colder climates, for stark and inhospitable landscapes. Its opening side is tough going at times, a truly unsettling void of vaporous tones, a blizzard of sound refusing to coalesce, refusing to make sense. Slowly though, Hyperboreal opens itself up to the listener, emerging patiently from an abyssal darkness into a beauty as still, as sharp and as breathtaking as an Arctic dawn.














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FURTHER 100! - CD Version - reverse board digipack cd
Fact Mag: Fans of austere and superbly crafted techno may be familiar with Nuel through his 00s Aquaplano Sessions with fellow Italian artist Donato Dozzy, which were deservedly reissued a couple of years ago on Spectrum Spools.

- 2nd album after his 2011 debut on Further 'Trance Mutation' and his first new music in 5 years

Tracklist CD:
1. Steppin' Stone (3:30) 2. Polaris (6:05) 3. Hyperboreal (9:10)
4. -Om (7:30)5. Be Well (8:01) 6. The Rest is Noise (4:07)

Italian DJ and producer Manuel Fogliata hasn't released a lot of records over the last ten years, but the few he has put out have always been worth tracking down. Perhaps best known for his work alongside Donato Dozzy in creating the much sought-after Aquaplano records at the tail end of the last decade, Nuel's solo outings have been just as consistent and just as impressive. Whether taking on metallic electro or syrupy, bass-heavy ambience, Nuel's attention to detail and his keen ear for a groove has made each release something to treasure.

Nuel's only previous full-length, Trance Mutation (Further Records, 2011), was a masterpiece of minimal repetition. It was possessed of a gossamer-light surface, all trippy rhythms and wonderfully playful melodies, but it was deep too. Made with just one microphone and a handful of instruments in his studio in a small Italian town, it's one of those records that can somehow present the whole of a track in the first few bars but stay fascinating for ten minutes or more. While initial impressions might suggest little in the way of continuity between the organic tribalism of Trance Mutation and the colder, more mechanic sounds of Hyperboreal, Nuel's ability to go deep into a particular mood, a particular sound, links the two. An expert in the art of minuscule variations, Nuel's compositions are always changing, always evolving somewhere within their ecosystem.

"Each time I decide to make new music I try something different, something never I did before, and I start thinking at the choice of the sources, the set-up and so on," says Fogliata. "It's really difficult for me doing the same thing twice. It's seriously a challenge, I don't know why. Maybe because part of the inspiration come from this process. The worst thing in doing the same thing twice is that the excitement for a new experiment and research is gone, and I can't go anywhere from that. So if there is any continuity between releases, which is not what I'm looking for, it could be some traces of my way of approaching music, and my taste."

Like its predecessor, Hyperboreal was made with the minimum of fuss. Recorded using just one semi-modular synth - the boutique and sadly discontinued Ekdahl Polygamist - and a handful of pedals, the album came together in just a few days while Fogliata was staying with Giuseppe Tillieci (aka Neel - famed mastering engineer and one-half of Voices From The Lake) at his apartment in Rome. The Polygamist's combination of modular flexibility with the aesthetic cohesion of a complete instrument was the inspirational spark which set the album in motion.
"I fell in love with it from the first sight," says Fogliata of the synth. "Aesthetics are very important to me, if I don't like the way a synth looks like I can't get anything from it. Just like when meeting a nice person but there's no physical attraction, it can be a good friendship, nice conversations but 'love' is missing, and making music is making love so this aspect has a huge influence on creativity. Being surrounded by beauty makes me feel better and reinforces the positive feedback."

Hyperboreal begins ambiguously, the fluttering dissonance of 'Stepping Stone' immediately setting the mood. It's dark but not gloomy, not resigned. There's something shadowy about its contained aggression, like it might lash out at any minute. It doesn't. Through the winding paths of the following tracks - 'Polaris', 'Hyperboreal', '-Om' - nothing becomes clearer, nothing moves towards any kind of resolution. The flutters of the opening track become a swirling mass on 'Polaris', and a venomous rattle on the title track. '-Om' sees things calm just a little - the maddening, almost frantic pulsations of the previous tracks slowing, evening out into a bed of twitching feedback and resonant echoes. There's even a hint of a regular beat, barely audible beneath the buzzing tones of synthesised electricity.

"Intensity plays a fundamental role in what I do," says Fogliata, and listening to the opening half of Hyperboreal, you'd have to take him at his word. These are not casual sonics.

'Be Well', the penultimate track' marks a change; from dissonance to a sort of consonance, a lifting of the shadows that have so far lingered around the record. It feels, in a peculiar way, almost uplifting, like watching ice melt in the sunlight. The record closes with 'The Rest is Noise', and though it seems to return again to a darker place, it does so with the memory of sunlight, warmth, and life. Suddenly the noise is not oppressive, but comforting. It is gentle, welcoming, as it closes around you.

As its title suggests, this is an album for colder climates, for stark and inhospitable landscapes. Its opening side is tough going at times, a truly unsettling void of vaporous tones, a blizzard of sound refusing to coalesce, refusing to make sense. Slowly though, Hyperboreal opens itself up to the listener, emerging patiently from an abyssal darkness into a beauty as still, as sharp and as breathtaking as an Arctic dawn.














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Lp with Deluxe Printed Sleeve +Mp3 Download -
Latest album from Pat Murano's Decimus project - part of a series of 12 LPs dedicated to the zodiac of Decimus Magnus Ausonious - Founding member of No Neck Blues Band

Tracklist LP:
A Untitled - B Untited

Short info:
How do you deal with the world's nightmarish montage of bad news, the glut of information that triggers feelings of futility and insanity? One way to cope is to plunge deeper into the madness, at least
temporarily, for a dip into the healing pool of catharsis. Few people in music today provide a more immersive alternate reality on record to combat our own horrible one than Decimus (former No-Neck
Blues Band guitarist/synth player Pat Murano). Musical categories dissolve in the mind as you try to ascertain what's going on in Decimus' sonic universe. As with some of the most advanced and individualistic musicians on the planet (Coil, Demdike Stare, Mnemonists, Nurse With Wound), Murano instinctively generates sounds that appear to bypass normal listening responses and flow directly to the subconscious. Deep immersion in Decimus 7 leads the listener to a disturbing, mind-altering realm. Every aspect of these two epic sidelong pieces feels as if it's controlled by a malevolent super-being hellbent on subverting conventional notions of music. The A side's untitled track sounds like an alien transmission trying to fight through static and command your soul. Grossly distorted Chrome-like grumbling and icy synth motifs waft over artfully spluttering drum-machine beats, establishing a disorienting, unsettling tone. With alchemical zeal, Murano fills the stereo field withperilous atmospheres, warped, distant melodies, Doppler Effected drones, and bleating percussion. When he brings in a trudging, sludgy 4/4 beat wreathed in mysterious mumbles and aural effluvia, it's like an unlikely collaboration between :zoviet*france: and Severed Heads.
Side 2's untitled piece starts with distant, bludgeoning beats hitting with unpredictable tempos and force. Four minutes in, a semi-familiar bulbous rhythm coheres into a bizarre strain of slow-motion
New Release Informationtrance music, swathed from all directions with slithery, bleepy synth tones and machine-elf utterances geared to enhance your DMT trip. Things inevitably tilt toward chaos and return to the enigmatic static that opened the album. By record's end, you have no direction home... nor even a concept of what “home” is anymore. This may be the ultimate distillation of Decimus' chthonic genius.


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David Moufang has been creating electronic music for over 20 years. He DJs and produces under the name Move D
Jordan Czamanski records as Jordan GCZ, as part of Juju & Jordash (with Gal Aner)

Lp with Deluxe Printed Inlet Poster +Mp3 Download

Tracklist LP:
A. Side A Live Excerpt (15:33) B. Side B Live Excerpt (17:40)

In May 2013 at a nondescript Seattle space called 1927 Events, twothirds of Magic Mountain High—Germany's David Moufang (aka Move D) and the Netherlands' Jordan Czamanski of Juju & Jordash—teamed up for a live performance that made everyone in the room feel privileged to have witnessed it. It was the kind of set during which you say to yourself, “I hope to hell somebody's recording this.” Thankfully, somebody was doing just that, and the 99minute
Live In Seattle is the sterling result.
People throw around the word “deep” to describe electronic music with cavalier frequency, but in the case of Moufang and Czamanski (who also records as Jordan GCZ), that adjective barely encapsulates the kind of fathomless sound they create. Their work as Magic Mountain High—which includes Juju &Jordash's Gal Aner—combines the two artists' springloaded, psychedelic techno and libidostokinghouse, exponentially multiplying their propulsive and disorienting qualities. Live In Seattle captures them working at the zenith of their improvisational powers for a rabid crowd—despite their European gear not
functioning and having to use unfamiliar equipment, which is a testament to the pair's ability to create and adjust on the fly.The show begins with anticipatory cymbal taps and a beautifully morose melodica motif that wouldn't sound out of place in an Ennio Morricone soundtrack. A few minutes in, faint pulses enter earshot and a minute later the clapenhanced beats and synth bass burst into the forefront to form a strutting midtempo
rhythm with a subliminal drone swirling beneath it. Masters of dynamics, Moufang and Czamanski incrementally intensify and ingeniously arrange the elements, especially that underlying keyboard drone, until you're in a state of panic and ecstasy.
Over the course of the set, the two producers flaunt their expertise for pacing. They avoid the obvious and subvert expectations throughout the performance, sporadically letting the beats drop out in order to luxuriate on a particularly alien organ oscillation (see especially the one near the beginning of the vinyl version of Live In Seattle 's Aside), a sinister bass rumble, an ominously pulsating synth, an unsettling thumb piano motif, or a mindwarping
303 acid ripple, to name just a handful of examples.
Of course, Moufang and Czamanski also keep things danceable for stretches of time and about 78 minutes in, they even shift out of their foundation of oddity and into heavenly techno mode with a gloriously ascendant melody (which you can hear on the Bside of the vinyl version). For their
welldeserved encore, Moufang and Czamanski reprise the intro's mournful melodica reverie and then infiltrate it with a series of percolating and disorienting bleeps and a celestial drone worthy of New Age legend Laraaji. This stellar ambient coda reflects Moufang and Czamanski's exceptional, eccentric
musicality.
Techno is not known for its live albums, but regardless, Live In Seattle sets the standard for the format. With its abundant and sublime tunefulness, textural richness, and enchantingly enigmatic tangents, Live In Seattle takes you on a trip that's as long, strange, and stimulating as anything Miles Davis' electric bands of the '70s engineered.

Short info:
Vital Sales Points:
- David Moufang has been creating electronic music for over 20 years. He DJs and produces under the
name Move D, and performs and records as part of Reagenz (with Jonah Sharp), Magic Mountain High
(with Juju & Jordash) and Studio Pankow (with Jamie Hodge & Kai Kroker) amongst others. He ran
Source Records from 1992 to 2007 and was a cornerstone of the Fax +49-69/450464 label. He has also
recorded for Warp Records, Workshop, Running Back, Modern Love, Philpot, Underground Quality and
many many others.
- Jordan Czamanski records as Jordan GCZ, as part of Juju & Jordash (with Gal Aner), Magic Mountain
High (with Gal & Move D), Zsa Gang (with Max D) and Crotocosm (with Willie Burns). He runs Off Minor
Recordings and has appeared on Dekmental, Golf Channel, Rush Hour, Workshop, Philpot & Future
Times.


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David Moufang has been creating electronic music for over 20 years. He DJs and produces under the name Move D
Jordan Czamanski records as Jordan GCZ, as part of Juju & Jordash (with Gal Aner)

Tracklist 2CD
CD1 Live in Seattle - CD1 (49:14)
CD2 Live in Seattle - CD2 (49:57)

In May 2013 at a nondescript Seattle space called 1927 Events, twothirds of Magic Mountain High—Germany's David Moufang (aka Move D) and the Netherlands' Jordan Czamanski of Juju & Jordash—teamed up for a live performance that made everyone in the room feel privileged to have witnessed it. It was the kind of set during which you say to yourself, “I hope to hell somebody's recording this.” Thankfully, somebody was doing just that, and the 99minute
Live In Seattle is the sterling result.
People throw around the word “deep” to describe electronic music with cavalier frequency, but in the case of Moufang and Czamanski (who also records as Jordan GCZ), that adjective barely encapsulates the kind of fathomless sound they create. Their work as Magic Mountain High—which includes Juju &Jordash's Gal Aner—combines the two artists' springloaded, psychedelic techno and libidostokinghouse, exponentially multiplying their propulsive and disorienting qualities. Live In Seattle captures them working at the zenith of their improvisational powers for a rabid crowd—despite their European gear not
functioning and having to use unfamiliar equipment, which is a testament to the pair's ability to create and adjust on the fly.The show begins with anticipatory cymbal taps and a beautifully morose melodica motif that wouldn't sound out of place in an Ennio Morricone soundtrack. A few minutes in, faint pulses enter earshot and a minute later the clapenhanced beats and synth bass burst into the forefront to form a strutting midtempo
rhythm with a subliminal drone swirling beneath it. Masters of dynamics, Moufang and Czamanski incrementally intensify and ingeniously arrange the elements, especially that underlying keyboard drone, until you're in a state of panic and ecstasy.
Over the course of the set, the two producers flaunt their expertise for pacing. They avoid the obvious and subvert expectations throughout the performance, sporadically letting the beats drop out in order to luxuriate on a particularly alien organ oscillation (see especially the one near the beginning of the vinyl version of Live In Seattle 's Aside), a sinister bass rumble, an ominously pulsating synth, an unsettling thumb piano motif, or a mindwarping
303 acid ripple, to name just a handful of examples.
Of course, Moufang and Czamanski also keep things danceable for stretches of time and about 78 minutes in, they even shift out of their foundation of oddity and into heavenly techno mode with a gloriously ascendant melody (which you can hear on the Bside of the vinyl version). For their
welldeserved encore, Moufang and Czamanski reprise the intro's mournful melodica reverie and then infiltrate it with a series of percolating and disorienting bleeps and a celestial drone worthy of New Age legend Laraaji. This stellar ambient coda reflects Moufang and Czamanski's exceptional, eccentric
musicality.
Techno is not known for its live albums, but regardless, Live In Seattle sets the standard for the format. With its abundant and sublime tunefulness, textural richness, and enchantingly enigmatic tangents, Live In Seattle takes you on a trip that's as long, strange, and stimulating as anything Miles Davis' electric bands of the '70s engineered.

Short info:
Vital Sales Points:
- David Moufang has been creating electronic music for over 20 years. He DJs and produces under the name Move D, and performs and records as part of Reagenz (with Jonah Sharp), Magic Mountain High (with Juju & Jordash) and Studio Pankow (with Jamie Hodge & Kai Kroker) amongst others. He ran Source Records from 1992 to 2007 and was a cornerstone of the Fax +49-69/450464 label. He has also recorded for Warp Records, Workshop, Running Back, Modern Love, Philpot, Underground Quality and many many others.
- Jordan Czamanski records as Jordan GCZ, as part of Juju & Jordash (with Gal Aner), Magic Mountain High (with Gal & Move D), Zsa Gang (with Max D) and Crotocosm (with Willie Burns). He runs Off Minor Recordings and has appeared on Dekmental, Golf Channel, Rush Hour, Workshop, Philpot & Future
Times.


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CD FUR058 UPC: 827170149328 Release: 02/10/2015
Tracklist CD/LP:
1. Personal Rock (5:03) 2. Cross Panorama (4:10) 3. The Loud Silence (4:09) 4. The Net (4:34) 5. For Arnaud (3:58) 6. Downhill to the Sea (6:08) 7. Concert for Sails (3:44) 8. Exit The Acropolis (6:04)

Short info:
In April of this year, Donato Dozzy took a set of mouth harps back to his parent's house in the Italian countryside and set about exploring the possibilities of that most basic of instruments. The mouth harp had been calling to Dozzy ever since childhood, when he had discovered the "marranzano" on a holiday in Sicily with this parents at the tail end of the 1970s. Almost four decades later, Dozzy had begun to see in this peculiar, ancient sound, the roots of the music he'd been making and playing in clubs all these years. It was time to find out how far he could trace it all back.
The Loud Silence is the result of those explorations, an accompanied deep-dive into childhood memory, social history and the roots of psychedelia. Recorded indoors and outdoors, half-way up mountains and on the edge of the Mediterranean sea, the record is meditative but also powerful. Dozzy has distilled his ideas into an incredibly intimate sound, one that invites an inverted sort of exploration, pushing you further and further into your own head. Each track maintains an inviolable central pulse, while delicate, fluttering sounds hint at vast spaces that might open up at any minute - they're just waiting for you to connect with them. Field recordings hover below




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Lp with Deluxe Printed Innrsleeve + HQ Offset printed Inlet Poster +Mp3 Download

Tracklist LP:
1. Personal Rock (5:03) 2. Cross Panorama (4:10) 3. The Loud Silence (4:09) 4. The Net (4:34) 5. For Arnaud (3:58) 6. Downhill to the Sea (6:08) 7. Concert for Sails (3:44) 8. Exit The Acropolis (6:04)

Short info:
In April of this year, Donato Dozzy took a set of mouth harps back to his parent's house in the Italian countryside and set about exploring the possibilities of that most basic of instruments. The mouth harp had been calling to Dozzy ever since childhood, when he had discovered the "marranzano" on a holiday in Sicily with this parents at the tail end of the 1970s. Almost four decades later, Dozzy had begun to see in this peculiar, ancient sound, the roots of the music he'd been making and playing in clubs all these years. It was time to find out how far he could trace it all back.
The Loud Silence is the result of those explorations, an accompanied deep-dive into childhood memory, social history and the roots of psychedelia. Recorded indoors and outdoors, half-way up mountains and on the edge of the Mediterranean sea, the record is meditative but also powerful. Dozzy has distilled his ideas into an incredibly intimate sound, one that invites an inverted sort of exploration, pushing you further and further into your own head. Each track maintains an inviolable central pulse, while delicate, fluttering sounds hint at vast spaces that might open up at any minute - they're just waiting for you to connect with them. Field recordings hover below




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1 LP+MP3 - FUR097LP UPC: 827170601765 Release: 18.09.2015

Tracklist LP:
A1 Old Kaizen (2:41) , A2 Brigade of Midnight Minions (3:57) , A3 Shattered Remains of Orr (6:48) , A4 Androma (4:03) , B1 Go Sceptre Go (3:45) , B2 Ecstatic Invokations (1:31) , B3 Noctornum (6:35) , B4 Omat Principle Decay (5:07)
Short info:
Helping listeners to escape reality—which has been known to grate, on occasion—has long been a noble aim of many musicians. One of the most effective ways to do that is to create imaginary soundtracks for impossible science-fiction films, the darker and more un-Hollywood-like, the better. Another method is to take inspiration from great works of architecture—which, as Goethe cogently noted, “is frozen music.” The latter route is used by Brooklyn producer Jonas Reinhardt (aka Jesse Reiner) on his sixth album, Palace Savant.
Reiner undergoes a profound solo odyssey on this album. Palace Savant may be the most spectacular realization of Jonas Reinhardt's outward-bound sonic aspirations. These eight tracks draw on 14th-century architect Peter Parler's breath-taking St. Vitus Cathedral in Prague. “St. Vitus is a statement to the future by the rulers at the time,” Reiner says. “It's surreal, grandiose, psychedelic—and the sheer scale of human ambition involved is almost beyond comprehension.” Parler reportedly deviated from the cathedral's initial blueprint and elevated the Gothic style to heretofore unimagined, bizarre levels. With Palace Savant, Reiner projected Parler's handiwork to Thomas Edison's era of electricity. “I envisioned [Parler] retrofitting his cathedral with excesses of incandescent light, preparing for a coming age of electronics. Palace Savant is what a contemporary electronic performance in that space might sound like.”
Recorded on tour and in New York over the course of a year and mixed at Transmitter Park Studio in Greenpoint, Palace Savant begins with the instant attention-grabber/pulse-accelerator “Old Kaizen.” At once claustrophobic and spacious, it possesses an urgent, chase-scene synth throb that would make John Carpenter or Bernard Fevre jealous. The turbulent “Remains Of Orr” sounds like Edgar Froese's kosmische-ambient masterpiece Aqua tossed into shark-infested waters. On “Androma,” Reiner's expertly modulated arpeggios contrast low and high frequencies, revealing his ability to create suspense with a chiaroscuro of whirs and pulsations.
Palace Savant achieves two towering peaks. The first is “Go Sceptre Go,” a swiftly moving, heavenly droner that veers off on a tangent into a much darker, more chaotic direction. The second is “Noctornum,” a burbling and soaring piece that's at once aquatic and astral, before an emphatic rhythm forms, pushing things into menacing Szajner-esque territory. The album closes with the midtempo arpeggios and muted, wailing siren tones of “Omat Principle Decay,” a moving finale to a record that's taken you so far and tingled your senses so intensely. A high point in Jonas Reinhardt's large canon, the dramatic and majestic Palace Savant does exquisite justice to St. Vitus Cathedral's grandeur.














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With FUR052 and FUR056 Further releases the first maxi 12" releases with wordandsound! Black Standard sleeve with 2 holes, art is labelart.
Tracklist 12": A Spiral 7 (10:45) , B1 Spiral 4 (6:01) , B2 Spiral 3 (8:22)
Short info:
The A-side, Spiral 7, is a pensive, evolving slow motion deep techno voyage across rolling waves of exhausted dancers while on the flip side Spiral 4 dives beneath the surface with broken submarine bleeps and acoustic depth charges before Spiral 3 finally drops anchor into a bottomless ocean of downbeat pulses.
Debut release from the Melbourne, Australia musician.






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LP FUR096LP UPC: 827170568662 Release : 25.05.2015

- Kranky, Idle Hands, 100% Silk, Endless Flight, and Entr'acte recording artist + Mutek 2015 performer

Tracklist LP:
A1 Awesome Piano (6:22) A2 Cassette Loop (6:08) A3 Ominous Lovely Piano (4:21)
B1 Lovely Loop (6:43) B2 Hobgoblin (3:21) B3 Rhen's Loop (8:51)

Short info:
With a quiet intensity over the last 12 years, Strategy has proven himself to be an incredibly resourceful and rewarding musician in both group settings and as a solo artist. In the latter guise, this Portland producer/multi-instrumentalist (aka Paul Dickow) has released a prolific amount of excellent work for quality indie labels such as Kranky, Idle Hands, 100% Silk, Endless Flight, and Entr'acte, putting a cerebral yet sensual spin on dub, ambient, post rock, and house music.
For his Further Records debut, Noise Tape Self, Strategy delves ever deeper into his more ambient inclinations and experiments with tape loops. Most of the six tracks bear titles more suited for a library record, but Noise Tape Self lacks library music's faceless functionality; rather, it's an immersive soundtrack to stimulating one's imagination or losing one's bearings. Dickow says he became obsessed with making tape music in 2008, after tiring of using the computer as his main instrument. Fellow Portland producer/ingenious gear-tinkerer David Chandler (Solenoid) taught Dickow "how to make a tape loop that could be put inside a cassette tape. I got really into this, and got a 4 track, knowing this would allow me to have four synchronized loops per tape. I would then run each channel through a series of effects and 'perform' live mixes using the loops. I alternated between using source material of my own devising and using whatever source material happened to be on the cassettes I was hacking."
Noise Tape Self kicks off with "Awesome Piano," in which a fragment of a beautiful piano motif gets overwhelmed by a glorious vortex of static and distortion. We're immediately submerged in Strategy's alluring and disorienting world, where rupture and rapture converge. "Cassette Loop" is a gorgeous ambient piece with a lulling, aquatic quality that recalls such masters of uneasy listening as Rapoon, O Yuki Conjugate, and Aube. The self-descriptive "Ominous Lovely Piano" is a ghostly, microcosmic form of dub, an ultimate kind of headphone music of deep psychedelic interiority that's reminiscent of Paul Schütze's 1996 masterpiece, Apart. The hypnotic/amniotic ambience of "Lovely Loop" whispers of a peaceful eternity; this track could be an important step toward a new, improved strain of New Age. The album closes with "Rhen's Loop"; here's where the album really soars into the stratosphere and grows surreal wings. A five-dimensional headfuck of what sounds like analog-synth growls and whirs and desolate drones, "Rhen's Loop" is Doppler effected and disorienting, like a more somber take on Conrad Schnitzler's Ballet Statique. With Noise Tape Self, Strategy has found a way to build works of compelling, intimate grandeur with some of the humblest of sonic atoms. It's an alchemical wonder.















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