Last year, Eartheater released her latest album, Phoenix: Flames Are Dew Upon My Skin, via PAN. After sharing a fully reworked version of the album, Phoenix: La Petite Mort Edition, digitally out February 26, 2021, PAN is now releasing a special, color vinyl LP edition of it. Originally conceived as a "sleep" mix for CRACK Magazine, Eartheater re-sculpted her entire album Phoenix into a seamless ambient edit. "This is Phoenix crushing, undressing, and compressing like carbon particles under the weight of boulders folded into silky soil, and decomposing. She is folding over and over and over and over like the rolls of young gummy stone. This is one REM cycle. I suggest listening to Phoenix: La Petite Mort Edition while asleep after climax. You are wet ash smudged across a pillow case." - Eartheater
Tracklist
1.1AIRBORNE ASHES (LA PETITE MORT EDIT)
1.2METALLIC TASTE OF PATIENCE (LA PETITE MORT EDIT)
1.3BURNING FEATHER (LA PETITE MORT EDIT)
1.4HOW TO FIGHT (LA PETITE MORT EDIT)
1.5KISS OF THE PHOENIX (LA PETITE MORT EDIT)
1.6VOLCANO (LA PETITE MORT EDIT)
1.7FANTASY COLLISION (LA PETITE MORT EDIT)
1.8MERCURIAL NERVE (LA PETITE MORT EDIT)
1.9GOODBYE DIAMOND (LA PETITE MORT EDIT)
1.10BRINGING ME BACK (LA PETITE MORT EDIT)
1.11DIAMOND IN THE BEDROCK (LA PETITE MORT EDIT)
1.12FAITH CONSUMING HOPE (LA PETITE MORT EDIT) More

A collective effort from a vital scene in Kampala, KIKOMMANDO takes its name from Ugandan street food of flat bread and beans. As a 'food of soldiers' offering maximum energy for minimum funds, the eponymous mixtape, video series and book project is an equally nourishing and ambitious proposition. It all began in the East African summer of 2018, during a two-month residency at the Nyege Nyege label and collective's villa, in collaboration with their sublabel Hakuna Kulala. Producer and PAN artist Simone Trabucchi (aka STILL) opened the door to his temporary studio in the city and a crucial cross-cultural collaboration was born.

"The intention was to record as much as possible," Trabucchi says about KIKOMMANDO's musical showcase of eight Kampala-based artists, coming from the spectrum of musical influences, crossing trap, drill, cut ups, kuduro, electro, smooth jams-the list goes on. In creating a sonic space to support the expression of its featured singers, poets and emcees, the mixtape ties countless styles and flows into a single snapshot of a particular part of the Kampala music scene, at a particular point in time. The invective of rapper and street legend Blaq Bandana's "Nkwaata" is laid over a spare and brooding ambient. Kampala Unit trumpet player and first-time singer, Florence, rolls a thick melodic texture through the organic clicks, knocks and atmospherics of "Bae Tasanze". Jahcity's unique lyricism combines a personal take on traditional music and soulful-reggae with a jerky, wobbly collection of drops and donks.
Meanwhile, Ecko Bazz applies his grimey vocals and rhythmic, introspective words to lead single 'Ntabala (Rolex Riddim) at a particularly pertinent moment of self-reflection. "I was trying to listen to the voice inside myself and wanted to achieve a higher level of understanding of things, life," he says about the themes that he felt inspired to explore with Trabucchi at the recording desk. The accompanying video, shot on a rooftop in the Kampala neighborhood of Ggaba, is one of a series of slick and high-definition films complementing each one of the KIKOMMANDO tracks. These also include contributions from Ugandan emcee and key Hakuna Kulala member Biga Yut, don dada of the GabaGaza gang Swordman Kitala (with Omutaba on percussion) and South Sudanese poet and singer Winnie Lado.

Also accompanying a 'visual mixtape' of moving images for each song on KIKOMMANDO is a recording diary of sorts, where Trabucchi compiles a vibrant collection of pictures, colours and textures reflecting the its heterogeneous sonic palette into a book. Together this multifaceted, interdisciplinary project showcases, what Lamin Fofana's liner notes describe as, "amazing originality, complexity", while "embracing dissonance".
Trabucchi's personal take on a kind of 'digital dancehall' defined the sound of his ground-breaking rumination on Italy's colonial history on debut STILL album, I, in 2017. KIKOMMANDO is a different proposition entirely, where he finds new ways to complement the personality and skills of its contributors sprung from a constant stream of visitors arriving at the Nyege Nyege Villa's makeshift studio. "It was a dialogue," stresses Trabucchi, who has always preferred collaboration as a means to escape branded and stereotypical identities, while creating something new. "I created the musical platform to make the singers confident, and challenged them at the same time. Working together accelerates ideas and reveals that nothing is your invention alone. That's why KIKOMMANDO is a mixtape to me, and not an album."

The mixtape is mastered by Rashad Becker, featuring artwork by NMR. Tracks 1, 2, 3, 4, 7, 9, 11 & 12 mixed by Ville Haimala. Tracks 5, 6 & 8 mixed by Lorenzo Dal Ri.
Digital mixtape
& Paperback:

160 pages

17 x 24.

Includes a mixtape download code.

Design by NMR
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Alongside fellow members of Berlin's Janus collective, recently behind nights at Berghain and Corsica Studios, M.E.S.H. is known for his futurist approach to club dynamics and production. On Piteous Gate, tightly gridded and sculpted sound juts up against loose-wristed improvisation, automated processes, and collage. Standard club syncopation is twisted by sliding tempos, cut and paste time signatures, and indeterminate pacing. Its sound design and compositions are ornate, even courtly, with neo- feudal moods offset by the recurrence of hydraulic hiss and flanger. A synthetic fuel injector revs opener 'Piteous Gate' to life. Drawing from action- scifi film trailers and the sound design of festival trance, its hardcore synthlines shatter into 'Optimate'-stately, spatial, and whiplash-luxurious, with meandering cybernetic drumming. 'Thorium' sends a slow-motion camera through a melting test reactor: all burnt VSTs and synthetic theorbo and loose drums. 'The Black Pill' smears high-end renaissance sample libraries through arcs of static. In 'Epithet,' temple sewer atmospheres are ruptured by 'Scythians'-style cut-up drums. 'Jester's Visage' indulges a minute-long baroque guitar improv, and territorial youths air their beef in 'Kritikal & X.' Closing out the album, 'Methy Imbiß' is a machinic rhythm track, and 'Azov Seepage' mingles birdlike granular noises with rusted steel clanging. The LP was recorded in Berlin in winter 2015, mastered and cut by Rashad Becker at D&M, and pressed on 140g LP and CD.
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Peerless rhythmist and sonic explorer Afrikan Sciences makes his PAN debut with 'Circuitous,' the third full-length, freeform offering from the New York-based artist. At the nexus of Afrofuturism, science fiction, transcendental free jazz, and future hip hop, this new work from Eric Porter Douglas casts itself and its creator in a liminal zone most recognizably charted by astral traveler Sun Ra. 'Circuitous' follows from nearly a decade of releases for Deepblak -the Oakland-rooted imprint of frequent collaborator Aybee- and shares common blood with both the elevated conscious- ness of late '80s club culture and contemporary West Coast beat scene Built around Douglas' signature polyrhythms and complex melodies, the unorthodox agility demon- strated throughout the album's fourteen tracks reflect his long history of live, improvised sets combining multiple turntables, upright bass, and a command center of digital tablets and controllers. Each track maps the artist's own movements, tracing paths of flight, highway trajectories through tunnels and over bridges, and rides through rough and gated neighborhoods. If familiar on the surface, deeper or repeated listenings to 'Circuitous' reveal the dynamic multiplicity embodied within. 'Circuitous' is a free and unbound body of work-one that defies easy classification yet translates fluidly across multiple environments-compiled over double LP in order to fully realize the scope of Afrikan Science's sonic palette. The album is mastered and cut by Rashad Becker at D&M, pressed on a double 140g vinyl & CD, featur- ing artwork by Louis Reith & Bill Kouligas. 1. Two in the Chamber 04:45 2. Reddin Off 04:32 3. Transient Authority 03:05 4. Evolved In Twists 06:28 5. Circuitous 05:34 6. Kae 06:03 7. Feel 07:38
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Serious new 12" combining the talents of Karl O'Connor aka Regis and veteran sonic alchemist Russell Haswell. Three track EP of dark, experimental Techno and fizzing electronics.
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The prolific Helena Hauff and F#X team up as Black Sites for this tough but intricate EP of warped jackers.
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