ALVA NOTO – Univrs 2LP/CD raster-noton
ANGEL – 26000 LP/CD Editions Mego
BILL ORCUTT – How The Thing Sings LP/CD Editions Mego
CHRIS WATSON – El Tren Fantasma CD Touch
CONTAINER – LP LP Spectrum Spools
DRIPHOUSE – Spectrum 008 LP Spectrum Spools
FENNESZ – Seven Stars CDEP Touch
FUJAKO – Landform 2LP Angstrom
GARY NUMAN – Dead Son Rising LP/CD Mortal
HIVE MIND – Elemental Disgrace LP Spectrum Spools
JIM HAYNES – The Decline Effect LP Helen Scarsdale
JIM O’ROURKE – Old News #6 2LP Editions Mego
KUEDO – Severant LP/CD Planet Mu
LAWRENCE ENGLISH – The Peregrine LP Experimedia
MARK MCGUIRE – Get Lost LP/CD Editions Mego
MELT FAMAS – Serial Weather 10″ Musikzimmer
MONTY ADKINS – Fragile.Flicker.Fragment CD Audiobulb
PURITY SUPREME – Always Already EP Ash International
TOM JOHNSON – Orgelpark For Chart: For Four Organs CD Mazagran
TROPICS – Parodia Flare LP/CD Planet Mu
V.A. – Archipel Electronique CD D’Autres Cordes
VELVELJIN – Nostalghia CD Noble

2LP/CD raster-noton R-N 133
Release date: October 17

alva noto’s new album univrs will be released on raster-noton on october 17, 2011.
“univrs” follows on from and develops the concept of the album unitxt (raster-noton,
2008). whereas the focus of unitxt was on the processing of rhythmic patterns (‘unit’ =
unit of measurement, element) and information (‘txt’ = data, language), with univrs the
focus is on the conceptual differentiation of a universal language (‘universum/universal’
= unity, entirety).

the 14 tracks of univrs have evolved from a live context, hence the approach is
more continuous and dense. for the track uni acronym alva noto works again with the
french voice artist anne-james chaton. the track is based on a number of 208 three-letter
acronyms (set in alphabetical order) creating a random narrative. a video for this track is
to be released soon.

the audio-visual performance of univrs is based on the real-time manipulation of
software-generated test images by audio signals. a customised hardware box unitxt box
triggers the video signal according to the value of the audio signal. the resulting colour
patterns change constantly without repititon.

the visualisation of univrs (uniscope version) – a expanded screen projection setup
– on a digital level combines a variety of modules demonstrating different methods of
audio analysing. the resultant signal processing is shown as a relay structure and is
performed in real-time. each module can be zoomed in on the expanded screen enabling
greater visual detail. the univrs (uniscope version) was developed with the touchdesigner
software in close cooperation with derivative in toronto, canada (
a cd + dvd special edition of univrs along with a standard album release features
a video of the live perfomance of univrs (uniscope version) perfomance in berlin 2011
and the uni acronym video. it also includes two booklets on the visual concept of the
performance and the 208 uni acronym video stills. the special edition is an exclusive
raster-noton web shop release.

alva noto would like to thank anne-james chaton for his on-going inspiration, martin
l. gore for providing a sample for the track uni rec, and daniel miller for advice and
support. the album was mastered by rashad becker at clunk, berlin.

LP/CD Editions Mego eMEGO 127
Release date: September 27

Angel is ILPO VÄISÄNEN (Pan sonic) and DIRK DRESSELHAUS (Schneider TM) who play time-transcending freeform sound, weightlessness and gravity of electromagnetic signals together since 1999. The 5 tracks describe the last period of a 26000 years long cycle that leads to a new situation on this planet.

26000 was recorded between 2008 and 2010 at Construction Site Studios in Berlin & Ilpo’s cottage in Karttula, Finland and features guest appearences by HILDUR GUDNADOTTIR, BJ NILSEN and OREN AMBARCHI. The repertoire of the instruments is very wide: glassbowls, metal objects, pieces of wood, grass, birds, dragonflies, lake echo, smoking box and the regular electronic equipment as well as acoustic instruments.

Hildur plays cello & the hallodrone (a kind of cello that feeds itself back).
Oren plays percussion & guitar.
Benny did field recordings and processing.

All mixed by Angel at Dirk’s newly built studio called Zone and mastered by Rashad Becker in Berlin. It’s all good in the tummy, bwoys, because the Black Sabbath parts were totally AC/DC.

“nothing is wider than empty things” (francis bacon)
“time is the accident of accidents” (epi kuros)

How The Thing Sings
LP/CD Editions Mego eMEGO 128
Release date: September 20

Recorded Spring 2011 in the Living Room, San Francisco.

Yet another essential cracking new set of songs from Bill Orcutt, showcasing a further development of his unique visceral acoustic style. The language that Orcutt uses looks familiar at Þrst glance, but cut deeper and its myriad of twisted audio that’s both full on and drenched in melancholy, usually in the same gasping breath. While a lot of it is the classic face melting style, some quieter segments counter balance on the title track as well the epic closer “A Line From Ol’Man River” and “Heaven Is Closed To Me Now”.

El Tren Fantasma
CD Touch TO:42

Chris Watson

Artwork: Jon Wozencroft
Mastered by Denis Blackham
“Take the ghost train from Los Mochis to Veracruz and travel cross country, coast to coast, Pacific to Atlantic. Ride the rhythm of the rails on board the Ferrocarriles Nacionales de México (FNM) and the music of a journey that has now passed into history.”

El Tren Fantasma, (The Ghost Train), is Chris Watson’s 4th solo album for Touch, and his first since Weather Report in 2003, which was named as one of the albums you should hear before you die in The Guardian. A Radio programme was broadcast on BBC Radio 4 on Saturday 30 Oct, 2010, produced by Sarah Blunt, and described as “a thrilling acoustic journey across the heart of Mexico from Pacific to Atlantic coast using archive recordings to recreate a rail passenger service which no longer exists. It’s now more than a decade since FNM operated its last continuous passenger service across country. Chris Watson spent a month on board the train with some of the last passengers to travel this route. As sound recordist he was part of the film crew working on a programme in the BBC TV series Great Railways Journeys. Now, in this album, the journey of the ‘ghost train’ is recreated, evoking memories of a recent past, capturing the atmosphere, rhythms and sounds of human life, wildlife and the journey itself along the tracks of one of Mexico’s greatest engineering projects.

The radio broadcast received national press coverage in the UK:
The Observer:
It is over a decade since FNM operated its last continuous passenger service across the country but here sound recordist Chris Watson recreates its atmospheric journey with the help of the train recordings he made while working on the BBC television series Great Railway Journeys… through desert and city, but it is the rocking rhythms of the train itself that prove most memorable. [Stephanie Billen]
The Financial Times:
El Tren Fantasma (8pm) is Archive on 4’s recollection of a trans-Mexico rail journey by sound recordist Chris Watson. From desert to rainforest, hummingbirds’ wings to the boom of heat rising from the Copper Canyon, it recalls a beloved passenger train system abandoned by privatisation. **** [Martin Hoyle]
The Daily Telegraph:
Sometimes, radio can awaken the mind and sharpen the senses like no other medium. This “sound portrait” of a now-abandoned railway line that used to run between the Pacific and Atlantic coasts of Mexico is a good case in point. Captured by sound recordist Chris Watson more than a decade ago, it jostles with human, animal and mechanical life, filling the room with an atmosphere that is more richly evocative of Central America than any TV travel show I’ve seen. Diesel engines thrum, cicadas chirrup and passengers chatter, sing and argue. [Pete Naughton]

About the author…
Chris Watson is one of the world’s leading recorders of wildlife and natural phenomena, and for Touch he edits his field recordings into a filmic narrative. For example. the unearthly groaning of ice in an Icelandic glacier is a classic example of, in Watson’s words, putting a microphone where you can’t put your ears. He was born in Sheffield where he attended Rowlinson School and Stannington College (now part of Sheffield College). In 1971 he was a founding member of the influential Sheffield-based experimental music group Cabaret Voltaire. His sound recording career began in 1981 when he joined Tyne Tees Television. Since then he has developed a particular and passionate interest in recording the wildlife sounds of animals, habitats and atmospheres from around the world. As a freelance recordist for film, tv & radio, Chris Watson specialises in natural history and documentary location sound together with track assembly and sound design in post production.

LP Spectrum Spools SP007
Release date: September 13

Recorded early May and Late June 2011 at Bad Deal Studios, Nashville, TN.
Mastered and cut at Dubplates & Mastering, Berlin, July 2011
Design and layout assistance by Mike Pollard.
Container is a recent moniker of Nashville, Tennessee resident REN SCHOFELD who’s been
actively shifting about the U.S. playing shows and releasing cassettes on his mysterious I Just
Live Here imprint for a long while now. Known primarily for his God WIlling project, a disjointed, confusing, maze of crude oscillator, tape, and guitar, Ren has established himself as a staple in the east coast underground.

Here we have a new experiment in electronic beat oriented music. This is no standard fare,
however. It glows with a vision all it’s own, completely isolated and separate making it difÞcult to place in the awkward world of the “genre”. The sounds are a thick stew congealing new ideas and naive experiments into something in the ballpark of the new super weird Wolfgang Voigt 12″s, abstract and minimal in nature with time stopping tendencies. Take those 12″s and send them thru the garbage can, tape loop, reel to reel experiments of Ake Hodells “220 Volt Buddha” or that weird track with lawnmower by Charles Amirkhanian on the Þrst Slowscan volume and we might be getting closer.

This music, by being so unruly and deÞant of any kind of trend, has created a fresh fusion we
have not heard until now. “Application” introduces you to Container in the most suitable way. A confusing anti-rhythm accompanied by errie unidentiÞable tones before a collapse of metallic drum sounds washes you out into to the minimal motorik “Protrusion”. The þip takes off with intense feedback squeal and more light speed rhythm leading into “Overþow” the albums wildest, most textural piece. “Rattler” leaves the listener absolutely bafþed and þipping the record over again to try to Þgure it all out as this record makes no sense to anybody but it’s creator.

The experimental nature of this album alone warrants it’s vinyl release, however, the Þne detail and unique structures will have you waiting for the next Container 12″.

Spectrum Spools released in association with Editions Mego

Spectrum 008
LP Spectrum Spools SP008
Release date: October 11

All tracks by DAREN HO
Originally released on cassette in an edition of 100 by Root Strata as Root 91
Mastered and cut at D+M, Berlin, August 2011.

POPULAR TAGS: Ambient, Analog, Baroque, Beautiful, Bizarre, Boring, Cold, “Daren Ho”, Digital, Driphouse, Drone, Electronic, Electronica, Experimental, Floating, Harpsichord, “Library Electronics”, Modular, Mysterious, Piano, Psychedelic, Puzzling, Satie, “Spectrum 008”, “Spectrum Spools”, Sterilized, Synthesizers, Ugly, Wendy Carlos, Wobbly, WTF, Zig-Zag

Spectrum Spools released in association with Editions Mego

2LP Angstrom ALP09

All instruments, recordings, drums & manipulations by Ripit & HHY.
With vocals by Sensational (1), Seraphim (2),Ý Native (3 & 6), Cheravif (5), Scalper (7).
Additional turntablism by DJ Urine (3).

For those who value such “luminous coincidences” (in the words of Louis Pauwels, of “Morning Of The Magicians” fame), I can recall that on that day in early August, as Jonathan Uliel Saldanha and Nyko Esterle, or HHY and Ripit if you prefer, packed their gear into a decaying automobile and left the city of Porto heading towards central Portugal’s mountainside, it was raining ashes.

As forest fires ravaged the landscape all through the country, the sky was a fiery orange on an almost daily basis, and a glimpse of the Plagues of Egypt was offered to our modern day sinfulness. Fire is, of course, a central driving force in the process of alchemy, and alchemy is a central preoccupation permeating these two musicians work; the endless, minute recombinations and fusions of The Great Work are not at all distant from hip-hop’s sampling and reconfiguring tactics, or from the miraculous transmutations of sonic matter created by dub strategies.

So, on LANDFORM, hip-hop and dub are explored as techniques of fusion; all manner of sound substances (instruments from various ages and places, all played by the duo in a short-circuit process of “self-sampling”, the MCs voices, the ghostly effects) are welded in a metaphorical forge, coalescing into a form of cosmic mountain-top music.

Filipe Silva (a.k.a. The Banshee) is a portuguese musician. With Jonathan Uliel Saldanha, he runs Soopa, a polymorphic entity producing, presenting and releasing any form of music that acknowledges sound’s potential for transfiguration.

“I believe in the irony of mountains” (JG Ballard)

FUJAKO is the joint venture blast from prolific producers, multi-instrumentalists and sonic wizards Jonathan Uliel HHY and Ripit – two key characters in the most adventurous underground/uncompromised music scenes in Portugal and Belgium respectively.

The monstrous, mineral instrumental sound & beat scapes of LANDFORM were recorded in a remote mountain refuge in central Portugal in the “Serra de S. Macário”, a region famous for its cursed mines, abandoned villages full of wandering goats taking charge and rumours of devil worship. A zone quite like a crossover between Lovecraft’s back country near Innsmouth and Arkham and the Shinig.

FUJAKO came out of the clash of Jonathan Uliel Saldanha and Nyko Esterle, two producers obsessed with echo and bass. The first one, raised in Portugal and part of the collectives Soopa and Mécanosphère, deals with sonic alchemy, and is also known as HHY. The second one, raised in France, part of the Radon collective and a rider of the sound waves, is also known as Ripit. Both met to summon music of unlooped hip-hop, filled with spectres of haunting dub and ecstatic scapes. LANDFORM, their first record (out on Wordsound Digital) was born in a small stone house studio in the burnt forests and mountains of Portugal, between paradise and the gate of hell, made from soundscapes and beats recorded on mostly acoustic instruments, created in an hostile -yet natural- environment. After the initial production phase in the woods, LANDFORM was then haunted by the voices of several guests such as Sensational, Seraphim, Native, Cheravif and Scalper, as well as by the additional trash turntablism of DJ Urine.

Uliel HHY and Ripit used the whole context as a source instrument. And what was initially and theoretically to be a fast breakcore-violent noise project evolved into a record haunted by organic, deep and slow, drum-heavy environmental reports from remote mental regions inhabited by wild desolation, silence, fracture, and the echoes of the enigmatic and immemorial mysteries of the land and of our brother animals.

They taped drumskins, stones, wind, live crickets, flowing water, wood and skulls to make most of the drumbeats and drones and the whole rhythmic and sonic texture so specific to LANDFORM. This whole reshaping and reinterpretation of urban hip-hop/dub eventually goes back where it belongs when a crew of some of the finest MCs jumps into the mix.

Fujako breaks down the language and usual methods of this rough, urban music to reinforce it back through the cosmic wilderness of haunted grounds and landscapes. Their amalgam of stone-beats, old instruments & silent animals colliding with overloaded electric manipulations, massive bass blasts and corrosive flow makes LANDFORM a unique record and a serious tour-de-force. Bringing back the parallel world into parallel music and the phantom & space back into the dub. – Benjamin Brejon / Mécanosphère
HHY is the main alias for multi-spectre instrumentalist and producer Jonathan Uliel Saldanha. His music is informed by Alchemy and Hermetic cosmologies, RA, Heavy Bass Pressure, Indian music, Calliope, Echo Chamber, Sonic Mayhem & Voodoo Downbeats.

Under his own name or with other formations, HHY shares projects and collaborations with musicians such: Mark Stewart, Damo Suzuki, Steve Mackay, DJ Scotch Egg, Raz Mesinai, Vincent Paternostro, Scott Nydegger, Benjamin Brejon, Ewen Chardronnet and countless other artists from a wide lexicon of sonic contexts (Unlooped Hip-Hop, Spectral Dub, Brass Band, Shamanic Improv, Chaos Rock…).

One of the individual entities lurking in the engine room of the Porto-based SOOPA and Faca Monstro collectives, and the transnational Mécanosphère organism; he is part of numerous projects such as HHY & The Macumbas, Herzbeat Hotel, F.R.I.C.S., Besta Bode, Mental Liberation Ensemble, and Çuta Kebab and Party. More at:,

Ripit or Nyko Esterle forged his sonic weapons in the alternative electronic scene of Paris. Now based in Bruxelles, he runs several musical projects (Solar Skeletons, Extern Ykon) and also music-related activities such as the recording/mixing studio Silent-Block and the booking agency Vautour Operator.

During the last decade, Nyko has toured Europe and North-America several times, delivering a wide range of musical genres, from breakcore to bluesy doom, from ambient to hip-hop, from harsh noise to Grindcore, always keeping a “Ripit’s touch” that would be called Industrial by some. Among a huge list of collaborators are Mike Watt, Steve Mackay (the Stooges), Hecate, Jason Forrest, Xanopticon, Koonda Holaa, just to name a few. More at:

Cheravif is an MC from the Paris underworld. After his 2 EPs in 1999, on which the riddims are insured by cult drum’n’bass french artist Pushy, he will release new material in 2009 on Kiosk Eklektik.
Native, born in Nigeria, raised in Brooklyn, studied Arab calligraphy in Cairo, now lives in Paris. He will join Fujako on stage as an MC.
Scalper comes from the UK but is now based in New Zealand. Ex-frontman for the British band Fun-da-mental and also live vocalist for Nova Mute artist 2nd Gen. Scalper has had 3 EPs released and has provided vocals for artists across the world including Fujako, Larvae, Fun-da-mental, Sonic Area, Zodiac project, Trace- elements, T99 and Lucid State.
Sensational, the original freak styler, began his rapping as Torture within the Jungle Brothers. He’s now the heavy weighter of Wordsound crew with his incomparable flow and rhymes.
Seraphim is a founding member of seminal NYC underground crew No Surrender. He has recorded with Radioclit (M.I.A., Santogold, Vampire Weekend) and TV on the Radio’s Tunde Adebimpe. He has also worked extensively with Badawi (ROIR, Tzadik) and Mike Ladd (ROIR). Currently, he is preparing the release of the next No Surrender album, and the long awaited follow-up to Mike Ladd’s Majesticons album due later this year on Big Dada/Ninja Tune.
DJ Urine, with his particular approach of the vinyl media, has contributed to a noisy vision of turntablism, using toy turntables, prepared records and bended toys. He collaborated with Otto Von Schirach, Dj Q-Bert and Sensational, to name a very few.

Plus Remix by:
Tzii, for more than ten years has spread his magickal corrosive frequencies all over the world, from eastern and western Europe to Australia, USA, Japan and Africa, releasing cinematic dark ambient and raw power electronic anger through his own label Night On Earth and V-Atak collective. He’s also a long time collaborator of Nyko Esterle on touring, event promotion and more recently as the second member of the band Solar Skeletons.
Additional remixes will come out this year featuring Spectre and many other ill alchemists!

Dead Son Rising
LP/CD Mortal Records MORTALCD10
Release date: October 24

Gary Numan returns this autumn with a new album Dead Son Rising and a UK Tour. The new album grew out of a set of demos the singer had left from previous projects, but as he explains: “The original ideas that sparked off these songs are now barely visible. It’s grown into another animal, something more experimental.”

Produced and co-written by Ade Fenton (Numan’s collaborator on 2006’s Jagged), the material ranges from the heavily anthemic “The Fall” (written about “an old friendship gone bad”) to the Arabic and ghostly “We Are The Lost” and one of the standout moments, the brooding “Dead Sun Rising” (* please note the different spelling to the album title). The latter both contain elements from a sci-fi fantasy story Numan has been writing over the last few years. Meanwhile, troubled relationships are explored on “For The Rest Of My Life” and “Not The Love We Dream Of”, and there’s also room for two instrumentals (“Resurrection” and “Into Battle”), showcasing some of the “soundtrack-type” material that Numan and Fenton have been working on recently. It all adds up to one of Numan’s most atmospheric albums – one for those who loved his B-side experiments in the past but also containing some very direct, streamlined electronic rock in the likes of “Big Noise Transmission”, “The Fall” and “When The Sky Bleeds, He Will Come”.

Numan also continues to work on the “bulldozer, riff-fest” of his next album Splinter which remains his priority release next year. He’s also collaborated with Battles on their new single, “My Machines”, which is released by Warp Records on 15th August and plays the Nightmare Before Christmas ATP Festival which Battles are hosting on 10 December.

As the NME argues, “Numan’s influence on electronic music is unparalleled.” He’s been namechecked as an influence by everyone from Kanye West to Foo Fighters and Queens Of The Stone Age, and an ever-growing list of artists have covered and sampled his music. These range from Basement Jaxx to Damon Albarn; Afrika Bambaataa to RZA and GZA from the Wu-Tang Clan.

Dead Son Rising Tour September 2011:
15 Nottingham Rock City
16 Bournemouth Academy
17 London Shepherds Bush Empire
18 Wolverhampton Civic Hall
19 Leeds Academy
20 Glasgow ABC
21 Liverpool Academy

Elemental Disgrace
LP Spectrum Spools SP009
Release date: October 25

“Elemental Disgrace” is an album many years in the works. An album recorded and edited over a number of years and tediously mixed into a stunning double side-long record of some of the U.S. best underground synthesizer music. Whatever rise to the synthesizer came later on in the 00’s is hardly of any concern to Greh Holger and his Hive Mind project. Having released private press cassettes of solo synth works as far back as 2002, Hive Mind exists as enigmatic in world of new-jack synthheads and the title wave of “neo kosmische” þying far under the radar.

The silence is now broken and here we are treated to some of the most unique sounds Spectrum Spools has yet presented. No blisscapes to be found here. No soaring latched arpeggios, no cosmic vistas. Not a single melody.  This is two sides of ancestral ruin in its clearest presentation. The brutality of the Earth and the harsh reality of all that it holds.
Unknowable sounds – that of the dawn of Earth, or perhaps its demise. A swamp of chemicals
and creatures left behind long after man has wiped himself away for good. Field recordings from the end.

While others are racing for the stars, Hive Mind’s tetonic plate shifting and brutal rumble will give you a brand new way to look at modern synthesizer composition.

It’s worth noting that Spectrum Spools as a label would not exist without Hive Mind. An inspiration and a pioneer in the U.S. synthesizer circuit, it’s with pleasure and honor to release “Elemental Disgrace” into the world.

Spectrum Spools released in association with Editions Mego

The Decline Effect
2LP/DL The Helen Scarsdale Agency HMS021

Parapsychology introduced the notion of the decline effect as a statistical phenomenon of diminishing results whilst investigating extra-sensory perception and psychokinesis. Where initial findings might substantiate proof of such abilities, further studies would almost always demonstrate the contrary. As such, this ontological disappearing act stands in allegorical parallel to the entropic art of Jim Haynes and frames his 2011 opus of the corroded drone and a compacted disintegration of sound.

This San Francisco Bay Area artist has long defined his work through the pithy phrase: “I rust things.” The Decline Effect continues his investigations with electroacoustic decay through four bodies of evidence left behind from ephemeral aktions, shipwrecked electronics, re-engineered field recordings, and transmissions from the ether. Haynes composes through all of these sources through a patient suturing of sympathetic elements, whether they be textural, tonal, visceral, heavenly, sodden, or monolithic. Here, embers foretelling a nuclear winter gently waft upon industrial chorales amassed from an army of fidgeting motors; the sulfur-laden hiss from volcanic vents erupts from an organic thrum into boiling crescendos of environmental noise; geiger counter palpitations stream along a leaden sea of modulated radio noise; a warm explosion of sun-bleached distortion caresses the evanescent halos from an undulating mesmerism inexplicably not sourced from a guitar and / or digital patch authored by Christian Fennesz. On The Decline Effect, Haynes’ broken minimalism orbits somewhere near the work Joe Colley, The Hafler Trio, Nurse With Wound, and BJ Nilsen.

The 2LP of The Decline Effect is strictly limited to 350 copies, comes in a handsome gatefold sleeve, and sports the necessary download coupon. Zener cards not included.

Old News #6
2LP Editions Mego #6

Recorded at Steamroom, Tokyo, 2009-2011

Hot on the hells of OLD NEW #5 comes #6.
A new 70+ minute electronic piece split over four sides. Two years in making, ‘all that’s cold is new again’ was partly commissioned by Christian Zanesi for GRM’s Présences Électronique Festival in Paris.

An intense and rewarding listen rich in detail and of full of some classic O’Rourke hooks and turns, which he has masterfully developed over the last two decades.

This one is for Peter F.

Available only in this format.

Side One: all that’s cold is new again part 1
Side Two: all that’s cold is new again part 2
Side Three: all that’s cold is new again part 3
Side Four: all that’s cold is new again part 4

LP/CD/DL Staubgold  digital 16 / analog 9
Release date: October 28

It’s cold. It’s winter. You are out in a deserted snowed out countryside. What would make you feel warm and dry? It’s the hut on the horizon – a soft warm plume of smoke coming from its chimney. They invite you into the house to sit on the fireplace. They serve you soup. You are safe and sound.

What is a ‘Teufelskamin’? A ‘Devil’s Chimney’ is a natural geological phenomenon, a natural rock formation built by tidal powers. Take for example the natural shaft on the Crozon peninsula in Brittany, France. Waves push into this pit and spit out a giant jet of seawater. Watch out! It’s a cold satanic soup coming from hell’s kitchen. When chef Satan starts cooking, wet showers are coming out of his hut, not dry smoke. At least the devil cooks with water.

What is cooking when the old Kammerflimmer Kollektief invites you to sit on their Teufelskamin? There is a familiar electric guitar that takes you on a ride into Black Mountains. There is the ground making breath of an Indian harmonium. There is a gentle dark push from an upright bass. And there is a female voice amplifying wordless moods over wordless songs.

For years now the Kammerflimmer Kollektief have skillfully sailed waves of various musical genres. On Teufelskamin a spooky guitar sound, a Surf Noir is a new ingredient. And bravely, they call out for Albert Ayler’s helping ghost. Kammerflimmer Kollektief is creating a great authentic dish over a nice long running fire and like the devil they cook with water. Cool, cool water. HEIKE AUMÜLLER, JOHANNES FRISCH and THOMAS WEBER are stirring some music of salty beauty from which no one can escape.

Want more?

How do you get visitors out of your house? Well, jam the chimney over the fireplace. Smoke them out like these devils do in Western movies.

The Kammerflimmer Kollektief plays music, which should not be written down, for it would scorch the paper. The project, whose music meanders between precision and freedom, has been founded in 1996 by Thomas Weber. Up to now, the Kollektief has released eight albums in all sorts of line-ups. Live performances all over the world are realized as a trio (with Heike Aumüller and Johannes Frisch).

LP/CD Planet Mu ZIQ309
Release date: October 17
Vertrieb: Cargo

On his debut long-player Severant, JAMIE TEASDALE a.k.a. Kuedo has made an album of dreamlike music, loaded with his own preoccupations with futurism and escapism, that’s very different from his musical past as one half of Vex’d.

With his intentions re-evaluated for the making of this album, his process to capture them has evolved to a more automatic way of creating tracks, cutting back on the endless technical options available to the modern producer and rendering them at a quicker pace to reveal a lighter, more truthful music, as he puts it: “On the side of modernism”.

In terms of feeling, Severant explores the space between the detached world of the imagination and the real-time world; that feeling of coming out of a daydream, on the edge of the drift from the day-to-day grind. Jamie says of this moment “As reality shapes imagination and escapism affects your choices in the real world, there is a strange relational loop between the two and the space in between the two. There’s a bitter sweetness in that gap, it has a certain emotive quality, kind of in between being and non-being”.

Again, musically Severant is inspired by related themes. It sounds as if it’s in a sweet spot between the emotive, innately futurist synth soundtracks of Tangerine Dream and Vangelis, borne from a time when the very idea of futurism was more prevalent, in combination with musical ideas and inspiration from the emotionally ambivalent, materialist fantasies of ‘coke rap’ such as The Clipse. Rhythmically the record is influenced by what Jamie calls “the two ultra modern musics of modern times”, footwork from Chicago, which Planet Mu has explored in depth on its recent releases, and again the drum machine grids of coke rap. Jamie says “I wanted to capture a really futurist sentiment, kind of melancholy and grand luminescent, so I used the instrument that most evokes that for me – that sweeping Vangelis brass sound.”
And on coke rap he talks about the emotional ‘half being’ of the music, the energetically charged, detached ambivalence of the MCs, and the admission that the MCs could be “fantasising without admitting to doing so.”

The title Severant refers to stark changes of circumstances in Jamie’s life when the album was made and the music works strangely like scenes from a film: tracks are concise and direct and one of the albums great and unusual strengths is that on repeated listens different songs rise to the surface and the album repeatedly changes and develops in the listeners ears and mind.

The Peregrine
LP Experimedia explp020
Release date: September 20

This release is strictly vinyl only and all promotional audio was ripped directly from a vinyl copy of the album.
Cover Image by Eugene Carchesio
Cut and Mastered by Andreas [Lupo] Lubich At Dubplates & Mastering, Berlin
Recorded and Produced by Lawrence English at 158, 2011 1

It is truly an honor and privilege to present the latest work by long time comrade, inspiration, and one of the modern masters of the craft Lawrence English. Over the past decade English’s work has been published widely on respected imprints including Touch, 12k, Winds Measure, his own Room40 label and has collaborated with fellow contemporaries such as Tujiko Noriko, Stephen Vitiello, Ben Frost, Francisco Lopez, Minamo, DJ Olive and Tenniscoats.

Lawrence’s latest work the Peregrine was realized in sound during the first half of 2011. Based upon J.A. Baker’s book of the same name, the album finds it’s structures through the descriptions of land, environment, and movement contained within the books’ chapters and further develops Lawrence’s experimentation with harmonic distortion and saturation.

“Swiftly now he is resigning his savagery to the night that rises round us like dark water. The great eyes look into mine. When I move my arm before his face, they still look on, as though they are seeing something beyond me from which they cannot look away. The last light flakes
and crumbles down. Distance moves through the dim lines of the inland elms, and comes closer, and gathers behind the darkness of the hawk. I know he will not fly now. I climb over the wall and stand before him. And he sleeps.” – passage from J.A. Baker’s book The Peregrine

“I first discovered The Peregrine some years ago whilst visiting with David Toop in London. The book had popped up on David’s radar and whilst chatting in his loft, I happened to pick it up. The page I opened to described the sound of a Barn Owl on the hunt. Before I finished that paragraph I knew I needed to own this book and find out more about the somewhat mysterious English author J.A. Baker.
I feel The Peregrine epitomizes a kind of obsessive rendering of landscape and environment. Throughout the book, Baker places central focus on the micro and macro worlds which surrounding him. He expends as much attention on the shape of clouds or the murmur of a river as on the bird, which inspires him to write. At no point does the idea of humanness come to dominate – in fact human kind merely appears as haunting images that, as Baker summarizes, ‘stink of death’. Elegantly misanthropic. Even the author remains oddly mute – we never discover anything about him, not what he does, how he lives or even where he sleep or eats. He is merely a conduit through which land is rendered.
This record is a homage to The Peregrine. Having not spent any great amount of time in East Anglia where the book is set, I have used Baker’s descriptions and suggested mappings as a guide to the character and composition of the LP. The Peregrine has profoundly affected my work and it’s for this reason I felt compelled to create this piece.
I hope it conjures up for listener just a few of the lasting impressions the book has left on me and in the process I dearly hope others can discover J.A Baker’s evocative writings – thankfully now back in print!” – Lawrence English June 2011

Get Lost
LP/CD Editions Mego eMEGO 123
Release date: September 27

This album is dedicated to my family, friends, and the spirit of the summer night sky

Electric and acoustic guitar, vocals, and guitar-synthesizer recorded digitally between June 2010 and July 2011 in Westlake, Ohio and Portland, Oregon
Mixed at Hardbodies, July 2011 by Mark McGuire
Mastered and cut by Helmut Erler @ Dubplates & Mastering, Berlin
Photography and Art by Mark McGuire 2011
Layout by Julian Gulyas

And yet another killer album from the ever productive Mark McGuire. It just keeps getring better, as he delivers another Þne set of tunes in his perfected style. A few more electronic elements than usual and even some voices., but still the unique blend feell good  riffs, electric and acoustic loops and melodies that just stick in the head. Its game of 2 sides of course, with side one chocabloc a short hits with side two stretcning to one side long jam of blissed out McGuire ambience.


Serial Weather
10″ Musikzimmer MZ001
Release date: September 30

The label Musikzimmer is based in Aarau (Switzerland) and Berlin. It was born with the idea of giving birth to music not only in a ethereal way. We want to materialise what we like. We want to produce, to touch and to spread it.

It all started 21 years ago with one of the first “independent” exhibition spaces in Switzerland, the Kunstraum Aarau. Since approximately 7 years we focus on soundart and sound related site specific interventions. And because not every manifestation finds its form in a frame work of an exhibition, we started to organise concerts and offer now a stage without stairs to concertant situations. To can those situations as long as possible we decided to cut them into vinyl.

Serial Weather is the first conserved situation. It will be followed by a 10″ of chained melodies by RM74. The concept is simple. 10″, one cover version and the cover sleeve is designed by an artist who does not play on but maybe with the record.

When the movement of a terrestrial object around a static point is repetitive, we talk about oscillation… When two people oscillate around several electric devices according to a nearly repetitive movement, we talk about rock’n’roll. At Melt Famas, during the supper, we talk about oscillations, aquatic rock’n’roll. Dessert comes when the table has already been cleared.
In the living room, guitar screams exhort to indiscipline, and voices invite to the reconstruction of a new order. At Melt Famas’, codes are made for others. According to the stars position, the degree of gravity and the level of caffein of the last tea, sounds meet under the fingers until dizzyness spreads, and invite us to an immobile trance. Fred Billet and Nicolas Magot, or l’invitation au voyage with a one way ticket.

FRED BIGOT (aka Electronicat)
The root of Fred Bigot’s music is in guitar. The way he makes music is all related to the way he plays guitar, including imperfections, lo-fi sound, noise, melody and the practice of improvisation. The distorted but melodic guitar, the unquantised rhythms, the delay-heavy vocals and the buzzing rumbling 808 bass drum all became characteristic features of the Electronicat sound. His songs encompassed an array of influences in all respects – particularly glam rock, psychedelia, 60s garage rockabilly and experimental electronic music – and took it further making electronic music sound more rock n roll and vice versa. To date he has released numerous albums and singles on international labels (Holy Mountain, Onitor, Disko b, Optical Sound, Ldrr). He has produced tracks for pour Beans, Miss le Bomb, Marina Ribatski (ex- Bondo de Role), remixes for Depeche Mode, Numbers, Bretzel Göring. Fred played all around the world alongside with artists such as Felix Kubin, Stereolab, Adult. He has collaborated with numerous artists and musicians, building up an impressive resume that includes projects with musicians J.G Thirwell, Gerhard Potuznik, Khan and contemporary artists Nicolas Moulin, Anu Pennanen and Pauline Curnier-Jardin.

After having visited experimental and post-punk music, Nicolas Mallet turned into Nicolas Metall. Melodies in minor chords, Bach is never far. Keyboards, guitars and rhythms. He plays with Fred Bigot (Electronicat) in Melt Famas, with Marie Germinal in a rock-post punk style, he has organised events and works with artists and dancers (Nicolas Moulin, Marie Reinert, Olivier Dohin, Grégoire & Elise Charbey, Clémentine Roy). His most recent Release Growing Ideas Of Falling Generations is a Double Vinyl on Nicolas Moulin Label Grautag Records. Growing Ideas Of Falling Generations, as the first double LP of Nicolas Metall, has to be heard as the psychoanalysis of the Space Odyssey computer HAL 9000. Electronic-wave music to dance on a Russian’s suburb discotheque dancefloor or to listen to by staring at the sunset, The 2nd release of the berlin-based label Grautag records” (Grautag Records)

CD/DL Audiobulb Records AB035

An electroacoustic masterpiece of abstract melody, texture and timings.

The Artist
Monty Adkins is a composer and performer whose music is characterised by slow shifting
organic instrumental and concrete soundscapes. Having worked across a number of genres
since 1994 his work has, since 2006, become increasingly minimal and introspective. This
recent work focuses on encouraging a deeper immersive listening experience. Working
with a reduced sonic palette Adkins draws together elements from ambient, minimal
electronica, acousmatic and experimental electronic music. His last album Five Panels
released in April 2009 on Signature/Radio France was nominated in the ‘album of the year’
category at the 2010 Qwartz Awards, Paris and has now been licensed to Renault.

The Album
fragile.flicker.fragment is a deeply moving album. The fruit of an expert musician who
has both a technical and intuitive grasp on sound design and composition. Every frequency
is beautifully catered for in these tracks of shimmering acousmatic beauty and deeply
resonating foundations. Each layer occupying its own place whilst building the overall
acoustic experience. Adkins’ quest to reconcile abstract electronic sound material and
melody is explored in this album. This is further strengthened by the inherent visual
quality to the tracks, reflecting the relationship between his work and paintings by Pip
Dickens (with whom he had begun to collaborate with).

In his own words: “Although I am interested in experimental sound I never start off from this
point consciously. To me my music is a reflection of my humanity, the people around me and the friends who play on and record samples for albums. The tracks that eventually emerge are a result of my thoughts, emotions and relationships at that time.”

Always Already
Vinyl EP Ash International (reserva) # Ash 10.1
Release date: October 24

Artwork & Design: Philip Marsall
Cut by Jason @ Transition Studios, London

Four new tracks from Purity Supreme. Purity Supreme is a collaboration between French musician, composer and producer CHRISTOPHE VAN HUFFEL and American writer, musician and composer LESLIE WINER. Always Already was recorded in France at Studio7Love in May 2011.

Leslie Winer’s 90s album Witch, released under the artist name ©, is a genuine lost classic, pioneering many of the sounds that have followed. Since this prescient release she has chosen to work in the shadows. Leslie’s voice has graced recordings by Bomb The Bass, Jon Hassell and Holger Hiller, and her words used on “This Is”, the lead track on Grace Jones’s latest effort. She has also worked with jah Wobble amongst others. Alongside Purity Supreme, she is currently writing short stories to be published by The Bookworm.

Christophe Van Huffel, ex-guitarist of Tanger, has recently worked producing legendary French singer, Christophe. He is based in France.

Side A
1. Milk St.
2. Half Past 3 Cowboy
Side AA
1. Famous Inhabitants of Louth
2. Dunderhead

Orgelpark for Chart: For Four Organs
CD Mazagran MZ003

“I have two good minimalist composer friends who have been writing drone music for many years, Phill Niblock and Eliane Radigue. When I told them I had finally left my metric melodies and harmonies and was writing a one-note piece, they were quite surprised and pleased. So am I. This came about because of that amazing four-organ situation at Orgelpark, and it probably won’t happen again.” – Tom Johnson

Five hundred hand numbered copies edition.

Parodia Flare
LP/CD Planet Mu ZIQ305
Release date: September 19
Vertrieb: Cargo

Tropics is CHRIS WARD, a British producer and multi-instrumentalist in his early 20s who came to our attention last year. During the time we signed and released his first single ‘Soft Vision’, his early unreleased tracks and remixes were being given attention from the likes of Pitchfork and others, so we knew we were onto something special.

Since that time things have moved on. He’s released two singles and the synth-pop of his early tracks has evolved into a more substantial and personal sound on this, his debut album. ‘Parodia Flare’ features Chris as a multi-instrumental auteur, playing drums, guitar, and a range of synths and electronic boxes, as well as singing on these songs.

Coming from a family where music was always played, it made sense as a musician for Chris to act almost as a conduit by wiring the sounds he enjoyed growing up with into his own creations. The music he makes weaves vintage sounds, the Rhodes keyboard (an instrument associated with Jazz fusion sits central to the songs on this album), alongside banks of old synths, software and guitars, live drums and electric bass. Tropics is a suitable name for Chris’s music as each song is like a warm analogue jungle of sounds, drawn into focus by Chris’ naive singing voice and his knack for a lush melody. Given that the album was recorded in a walk-in wardrobe at his house, the steamy heat that the album gives off is a testament to his imagination.

The opening short ‘Navajo’ sets the scene with atmospheric clouds of reverbed chords and electric guitar, quickly followed by recent single ‘Mouves’ with its gently sung verses disappearing into clouds of echoey Rhodes chords and floating synths with low-slung New Order-esque bass and soft drums keeping the track in shape. Next up ‘Parodia Flare’ majestically stretches shimmering keyboard tones and a light guitar over a tight bass and drums, gently teasing out the serene atmosphere. ‘Going Back’ features a keyboard refrain borrowed from a 70’s jazz fusion track, with a low bass and Chris snowy voice cutting through the middle of phased guitars. ‘Wear Out’ is the morning after, sounding like an exhausted take on late period Beatles, with a lolloping drum beat and horns that sound like they’re drunk, interrupted by shimmering marimbas while cold keys screech in the background. ‘Celebrate’, revised for the album, is a vortex of aerial dub, with echoes and reverbs layering and looping over a very minimal drum and sub-bass, the whole track moving in glorious slow motion. ‘Figures’, meanwhile, delicately projects Chris’s whispered vocals onto a chord borrowed from late 80s Detroit techno, inside a chilly electronic atmosphere that gradually breaks into an 80’s electro funk bassline. ‘Telassar’ is a soft focus 80s synth epic, while ‘Playgrounds’ is more upbeat, with lyrics remembering the past. ‘After Visiting’ is made out of a strange airy atmosphere, full of tiny dropped-in details and smudged synths stretched over minimal drum pads borrowed from dubstep, while ‘Sapphire’ is based around a repeating piano refrain, guitar, sax and vocals. Final track ‘On The Move’ sounds like prime Chicago post rock but with the Mizell brothers on production, it’s musical mixture that tidily bookends the album.

Archipel Electronique Vol.1
CD D’Autres Cordes DAC2010
Distribution: Metamkine, iTunes, Amazon


Archipel Electronique is a fine overview of what D’Autres Cordes have to offer in terms of electro-acoustic, acousmatic and electronic noise from the French ‘younger’ generation.

Archipel électronique Vol 1 features a fabulous cross-cut of material, moving from the radical white noise of Kasper Toeplitz to the chaos of sample collagist ErikM, or from the field recording of Sebastien Roux to the analogue sounds of Franck Vigroux.

9 tracks by: Sébastien Roux, Jerome Montagne, Annabelle Playe, Samuel Sighicelli, ErikM, Kasper Toeplitz, Bérangére Maximin, Christophe Ruetsch and Franck Vigroux.

CD Noble NBL-202
Release date: October 14

Noble labels is excited to introduce velveljin, our new friends following Serph.
velveljin is an irregular band formed in Kyoto in 2009, comprised by the core members of YOHEI YAMAKADO and MANA HARAGUCHI. After self-producing and releasing their first album in 2010, yohei yamakado crossed to France to study film and the band currently plays mainly in Europe with Paris as its base.

The band’s second album was inspired by Nostalghia, a film by Russian director Andrei Arsenyevich Tarkovsky, also known for the string ensemble of the same name, composed in his memory, by composer Toru Takemitsu. Though decadent, the somewhat abstract, warm, and overwhelmingly beautiful world of this album is an ambitious challenge with the musical elements of ambient, deep house, minimal techno, dance step and electronica, residing together in a stoic and refined musical creation of freedom.

Based on a controlled monotone and minimal 4/4 beat, a doleful ambient synthesizer weaves a melody of deep lyricism. The sounds of superior elegance and experiential spirit, makes this album suitable for listening in the bedroom but just as good on the dance floor. It is cinematic and modern electronic music at its best. Please enjoy the music wherever you like with whatever images you’d like in your mind.

14.9. US Atlanta – WREK 91.1 FM radio performance
15.9. US Atlanta – 529
17.9. US Washington DC – Sonic Circuit Festival
19.9. US Baltimore – The Bank
20.9. US Philadelphia – Vox Populi Gallery
23.9. US Boston – Starlab
24.9. US New York – Public Assembly
25.9. US New York – WKCR 89.9 FM radio performance (afternoon)
25.9. US New York – Silent Barn (evening)

13/10 play Lou Reed’s Metal Machine Music, full version, Festival RomaEuropa, ROME, Italy
14/10 play Lou Reed’s Metal Machine Music, full version, REGGIO EMILIA, Italy
26/11 play Reinhold Friedl’s Xenakis[a]live! @ Deutsche Ensemble Akademie, DARMSTADT, Germany

Thanks for reading & best wishes

Dense Promotion
Ed Benndorf
Weserstr. 165
12045 Berlin

+49 30 288 60 500

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