New Danny Wolfers AKA Legowelt album under the Smackos alias on his Nightwind Records. Most of this album was recorded around 2017 at the North Sea Institute for the Overmind. As usual heavy tripped out raw melodic Smackos synth compositions for all your deep listening hobbies. Instruments used: Novation Supernova, Akai S900, Waldorf Blofeld, Waldorf Pulse 2, Roland JP08 & JV2080 and probably lots more.
‘Space 1.8’ is Nala Sinephro’s debut album; each contributing piece is part of a connected, collaborative and deeply personal body of music. Performed and recorded at Pink Bird Recordings in Wanstead and in the comfort of Sinephro’s bedroom, tracks one through eight allow experimentation to breathe and borrow from jazz, electronic and folk influences. On the LP, Sinephro invites a host of talented musicians to enjoy its confines, providing a quiet place to dissolve the edges of London from the senses.
First vinyl edition of these homemade electronic tracks, recorded in a primitive bedroom studio between 1993 and 1994 by Mark Crumby, a British born fan of synths and drum machines. A surprising crossover, as it alternates between the soft balearic sound heat and the urban indu-electro rigour. Now living in Vienna, Mark is currently a member of experimental/industrial project Konstruktivists, minimal synth pop acts mitra mitra and Oppenheimer MkII. He releases experimental techno under the names Codex Empire and antechamber.
After first appearing on MRG010, Czech artist Exhausted Modern is back on Marguerite Records with a solo EP called “Deform | Reform”. A side opens up with the dreamy electro-ish “Giving form to chaos”, followed by the high tension ambient-techno cut “The self unselving”; A3 is a trippy oddball slow-tempo jams called “Old disguises”. B side unwraps with “De creatura” and “Riddles of creation”, respectively on B1 and B2: the Endless Illusion boss crafted two ambient cuts characterized by haunting soundscapes, weird voices cut ups and deep basslines. The title track ”Deform _ Reform” closes the EP in a Sabres of Paradise-esque manner with a communion of dub and industrial rhythmics and patterns.
Somewhere in Berlin during a cold and foggy winter: Hyboid is recording his album “Sequencing the Apocalypse” directly to a 2-track recorder, using analog synthesizers and a couple of old effects units. Raw and no-frills. Influenced by the great French and German pioneers of the 70s, this is a soundtrack for dystopian minds in dystopian times.
Karl O’Connor (Regis) and Simon Shreeve (Kryptic Minds/Osirus Music/Downwards) team up again for a menacing four song EP of broken beat electronics. The perfect amalgamation of O’Connor’s and Shreeve’s solo works merged.. absolutely heavy dubbed out dark Birmingham electronics. Distinct, singular and subtly soul crushing music from masters of an uncategorizable genre.
The first release of the year brings back into the murky worlds of Vertical67. Thomas Pahl returns with a 5 track digital EP titled Abandoned Places. Only available through brokntoys bandcamp page.
Planet E Communications releases ‘Electric Worlds’ LP by Francisco Mora-Catlett, marking Francisco’s first electronic album in celebration of 30 Years of Planet E. Francisco Mora-Catlett’s career spans decades, genres and astral realms, perpetually defined by the quest for survival and being free. The Mexican-American percussionist, composer, and producer makes his solo debut on Carl Craig’s renowned Planet E Communications with his first electronic music album, ‘Electric Worlds’. Whether pushing the limits of free jazz with the Sun Ra Arkestra in the 70’s, studying at Berklee College of Music and touring with Max Roach in the 80’s, or playing in Carl Craig’s “The Innerzone Orchestra” in the 90’s, Francisco’s passion has always been for the capacity that the music created by black and brown people has to free the human spirit.
Lunar Disko presents a new release from cult soundtrack producer, Heinrich Dressel. Five tracks of synthesizer beauty from a master of the modern Giallo electronic sound. Perfection…for your late-night promenade excursion.
The latest issue of “Internets most controversial underground e-zine” the Shadow Wolf Cyberzine issue#10 is out now on Nightwind Records. A 19 track ‘cover tape’ compilation with various artists. The term ‘cover tape’ stems from when magazines came with a cassette tape full of music or software on the cover back in the 1980s/1990s.
Sun Ra’s disciple and multiface artist Jamal Moss is back to Modern Obscure Music after his debut on the label with the “The Anticipatory Organization” under The Sun God alias back in 2018. J. Moss more known as Hieroglyphic Being is back to the Barcelona based record label with a new aka, Our Souls Are In The Hands Of The Translator. The new EP is composed by two 18 minutes long freejazz-psychedelic improvisations. A trip to the dark holes of the space eternity.
Confused Machines presents the second instalment in the ongoing EnDM (electronic non-dance music) compilation series. On this collection of immersive recordings, created across multiple time zones and countries, by label members, friends and up-comers, we keep exploring the other side of Confused Machines. The side that is dedicated to different sonically aesthetics – from ambient passages to deep drone, manipulated radio transmissions, hypnotic soundscapes to obscured soundtracks, post-punk dub and kosmische. Tracks by Mise en Scene (chronica), Testkard 225 (Confused Machines), Rapha (Chateau Royal, Schrödinger’s Box), Max Schreiber (Confused Machines), Ian Martin (Bunker, Pinkman), Sacrestia Del Santissimo Sangue (charlios), Swiss arrow, OPTN (Confused Machines), Asaf Yahel, Nimrod Gershoni, Fabrikent (Confused Machines)
Spanish label Drivecom presents the third and last episode of the Generative Operation series by Boris Divider. Completing the same style and vision, cinematic, technical and minimal concept trying to push forward a contemporary electro in our days. Evolving synth lines with a generative structure from new massive modular patches. Progressive minimalistic rhythms and sequenced tracks with different results as always elements can change every time they are played back again as a unique listening. A rare topic this time is that two 303 basslines have been addedd in the track GenOp10, they are interlaced with different step lenghts patterns as a tribute to put this classic synth from roland into a spacey environment and not always in the raver side of the music. The limited edition vinyl has been pressed in 180gr. keeping up theanalog character sound in this format, meanwhile the digital version will be a clearer and clinical one.
Always hot on the hard-as-steel plates and murky subterranean atmospheres, Public System turns in a haunted double package from the crypt. Spanning hi-octane indus bullets, half-baked mutant salvos and shadow-clad juicers from a host of reputed names and rabid underdogs, this new comp collates ruff’n’tuff joints from gritty techno don Container, genre-unbound explorer E-Saggila, Berlin’s electro arsonist Privacy, acid-spitting hydra DJ Loser x Penelopes Fiance, basement guerilla Yabboq Penuel alias Le Syndicat Electronique, neo-punk beat thrasher Crave, Yves Tumor collaborator and sine-wave crusher Anthem, expert circuit dissector Beau Wanzer, Liquid G as remixed by Mick Wills, Night Gaunt’s Lower Tar, occult machine funk preacher Maenad Veyl, DJ Chupacabras under new guise 110, soundwaves cross-pollinator DJ Richard, vibrant mood-scapist Gavilán Rayna Russom, as well as label boss Myn going ubiquitous with studio fellows Kluentah as Myntha, and NYC’s R Gamble under their Fade Accompli moniker. A much desirable feast of raw, unhinged, all-round spine-tingling jams for both inside and outside the club.
Four Flies presents the first Italian 7-inch release of “Non si deve profanare il sonno dei morti” (also known as “The Living Dead at the Manchester Morgue” and “Let Sleeping Corpses Lie”), the soundtrack that gave Giuliano Sorgini eternal and worldwide fame as an occult composer \ occult-oriented composer, one who, being perfectly at ease with a certain type of Italian horror cult films, has gradually come to represent the essence, the quintessence of Italian scary music, horror soundtracks.
Shkema’s debut EP ‘Kronikos’ is a double release with four originals and four remixes. The author describes it as ‘world news show, where each song represents a different story’. Some of them he has experienced himself, some are hearsay from TV news programs, and some are actually imaginary. Stories are not really related – just like in the news. ‘Ispanija’ was created during a friend’s band rehearsal. Psychedelic vocals sounded interesting in Shkema’s headphones while he was watching soundless singers and the muted musicians. The true reason why this track is called ‘Ispanija’ is still unknown to this day. According to Shkema, ‘Ola’ is an allegory of Plato’s cave. It’s a story about prisoners, chained in the cave and the only moving thing they could see was a passing shadow – quite deep, uh? Justin Strauss and Max Pask recently have joined up to form new project Each Other. True dance floor legends delivered bass-busy remix of ‘Ispanija’. It could probably be best described as ‘juicy distorted badboy from New York you don’t want to mess with’. Moscow’s finest – Simple Symmetry – joined the pack and went back to the roots. Their remix for ‘Ola’ is future clubbing classic, four to the floor banger with a drop perfect for pogo.
Greek electronic music legend Lena Platonos returns to Dark Entries with Balancers, an LP of previously unreleased material recorded between 1982-1985. Athens-based Platonos has worked with the label previously to reissue her three solo LPs – Gallop, Sun Masks, and Lepidoptera – as well as to release three accompanying 12” EPs featuring modern remixes of her work. She is renowned for her forays into cutting-edge electronic experimentation as well as her striking, impressionistic poetry and lyrics, always recited in Greek. The twelve tracks on Balancers reveal a murkier side of Lena, one draped in tenebrous washes and oneiric utterances. Ragged analog rhythms feature on several tracks, even breaking into a brooding electro groove on “A Cat in the Corner”, but the predominant tone is sparse and somber. Mournful instrumental “Phaethon” swells to mythological proportions, while “In September” feels small enough to fit in your pocket. Lena’s poetry sits amidst lush pads and Radiophonic Workshop-esque squiggles, her voice setting an intimate tone in the shifting electronic sea. Inspiration is drawn from Greek mythology and architecture, and lyrics evoke a soft sorrow, an ambivalence towards love, life, and the passage of time. Although the material here spans 3 years and features a range of recording fidelities and synthesis techniques, the collection possesses the heft of a singular artist’s vision.
The Hipodrome Of Music 