This album by Italian experimental / noise artist Torba (Mauro Diciocia) is the follow-up to "Musica Conventionale" (2019) and marks the second installment in "Le Musiche" trilogy. "Musique Inconcrète" is a macro cut-up of sound-screens reorganised as quasi-organic narration: Fragments of unfinished compositions, roughly assembled according to a mere aesthetic criteria. Beyond the sporadic use of oscillators and 1/4" tape manipulations, the LP is made out of field recordings collected in the region of Salento in southern Italy. All environmental sounds were captured with a walkman or mobile phones in order to give back the domestic feeling of an abandoned opera. The concept behind the album revolves around the idea of the inconcrète. MD was strongly influenced by the work "Incompiuto - The Birth of a Style" by Italian contemporary art collective Alterazioni Video. They claim that "Incompiuto" (the unfinished) is the only Italian art style of significance in the past 50 years: publicly funded architecture or infrastructure which, for a variety of reasons have had their construction interrupted, leaving behind a series of "ruins in reverse". --- Lacquer cut by Andreas Kauffelt. Ltd x 300 copies with photography by Gabriele Albergo. --- Fragment Factory, 2019

Stellan Veloce’s first record for Hyperdelia is not only their debut album but simultaneously the inception of a band: Stellan Veloce’s Complesso Spettro. At Veloce’s disposal, the players have turned into a Frankensteinian super group: with Andreas Dzialocha on electric bass, Bridget Ferrill doing electronics & processing, Julia Reidy on guitars, Marta Tiesenga on baritone sax, Earl Harvin and Jesse Quebbeman-Turley on drums, Elena Kakaliagou playing horn, Carlo Spiga aka Makika at the launeddas, Pierpaolo Lorenzo playing harmonium and Stellan Veloce on cello.The A-side (‘Brackish’), initially recorded live at Robbie Moore’s Impression Studio, is the result of hours of improvisations loosely based on Veloce’s graphic scores. In the hands of the composer, the recording material soon turned into an abstracted collage. Despite the asynchronous addition of further drums and saxophone, the piece remains the outcome of a noisy live band due to the heavy leakage on the different takes and spatial distancing effects inherent in the recordings. The B-Side (‘Briny’) responds to the staggering layers of space and time. ‘Briny’ is a drone piece that emerges from the interplay of cello, bass and horn and acts as a Romanticist counterpart to ‘Brackish’ while the addition of launeddas – a Sardinian woodwind instrument –, harmonium and electronics returns it to rougher timbral territories.Stellan Veloce’s Complesso Spettro is an exceptional music that combines the power of band playing with Veloce’s sense for deconstruction and rearranging. The record takes its cues equally from Talk Talk’s meticulous recording and editing processes, the grand narratives of Nate Wooley’s Seven Storey Mountain, Animal Collective’s textured noise or the free-wheeling play of Zeena Parkins. The album is the work of a shoegaze ensemble that is indebted to Italian prog rock and Free Jazz as much as to pastoral post rock and spectral composition.Stellan Veloce is a Sardinian composer, performer and cellist living and working in Berlin. They compose pieces for acoustic instrumental ensembles and develop installations and performance pieces focusing on timbre, repetition and sound densities. Veloce also works as a touring band member and studio musician, recently with Peaches, Kat Frankie, Dear Reader, Kenichi & The Sun. They have collaborated with composers Marta Forsberg and Neo Hülcker, choreographer Sheena McGrandles and others. They are co-founder of the collective and online platform Y-E-S.org and are part of the group Fem*_Music*_.  ---   Composition, editing, production by Stellan VeloceStellan Veloce - cello, additional bass (A, B)Andreas Dzialocha - electric bass (A, B)Bridget Ferrill - electronics, processing (A, B)Julia Reidy - guitars (A)Marta Tiesenga - baritone sax (A)Earl Harvin - drums (A)Jesse Quebbeman-Turley - drums (A)Elena Kakaliagou - horn (B)Carlo Spiga aka Makika - launeddas (B)Pierpaolo “the coach” Lorenzo - harmonium (B)Recorded by Robbie Moore, Stellan Veloce, Andreas Dzialocha and Ole Jana in Berlin; and by Marta Tiesenga and Jesse Quebbeman-Turley in Los Angeles. Mixed by Robbie Moore at Impression Studio, Berlin. Mastered by Stephan Mathieu at Schwebung Mastering, Bonn. Artwork by Ale Rodriguez, Design by Xerox Martins.Grazie a Silvia e alla Monterico Fam.

Roland P. Young is back for his fifth release on EM Records, back in the United States, back in San Francisco after sojourns in New York and Israel, back where he resided several decades ago. But despite all this talk of return, he continues to resolutely forge forward, combining his tradition-rooted horn mastery with an ever-expanding electronic palette, fusing wind with electricity, fusing American roots with an outward global vision. Recorded in his home studio, Young’s expansive multi-instrumental mastery and studio skills have created a dense yet uplifting set of tunes, very melodic and groovy with a joyful sense of return and renewal. Roland is here.

Zea is Arnold de Boer: minimal, full-on, electric, acoustic, eclectic, strange-edge. Deploying guitar and sampler for intense and high energy songs.

Career Spanning Survey by Punk / Art Rock Legends, The Work It was that time of the century: punk had seen prog off the premises and the New Wave had clambered over their exhausted bodies to claim the citadel for itself. The genius of the New Wave was that it didn’t represent any particular musical idea; it was just a name, so anything could fly under its banner – as long as it observed the accepted musical, attitudinal and sartorial conventions. Poorly disguised hangovers from prog, jazz or metal would be rooted out but, in the newly polymorphous cultural climate, rebranding – if honest – would not be punished; indeed, everyone was at it. And the prize was a novel and reinvigorated aesthetic. extract from the text of Chris Cutler 2017 Mick Hobbs : bass, guitar Rick Wilson : drums, percussion, voice, ‘cello Tim Hodgkinson : flat guitar, keyboard, alto sax, main voice Bill Gilonis : guitar

Spittle Records present a reissue of The Work's Slow Crimes, originally released in 1982. From the heart of the late '70s/early '80s British underground scene, an extraordinary album at the very edge between art-rock and punk. The Work were a full electric band featuring Tim Hodgkinson, his very first project after the seminal experience of Henry Cow, and three younger maverick figures from the London underground scene. Guitarist Bill Gilonis (The Lowest Note, News from Babel, The Hat Shoes), bassist Mick Hobbs (Officer!, Half Japanese), and drummer Rick Wilson (Family Fodder). The Work embodies the crucial step between two unrepeatable decades in music. An unprecedented mixture of rock complexity and punk attitude. Unapologetically raw and direct, Slow Crimes, The Work's first album originally released in 1982, stands as one of the most essential and uncompromising pieces of vinyl in the field of experimental rock. This edition comes in printed inner sleeve with unpublished pictures and various memorabilia; Includes CD containing the album along with four extra tracks, three of which are from The Work's first and only 7", including the anthemic "I Hate America".

A bootlegged record of a space and its echoes. Recorded on Grain Tower Battery, a Victorian fort on the Isle of Hoo only accessible at low tide which has led a life of repurposing and eventually decay. By the time it was completed in 1855, the original purpose and technology was outdated, and it has never really been in proper use since. A mysterious fate. The base material for the music was made from reverberations of spaces in the tower in a feedback loop, which was then re amplified back into the building, in a sense amplifying what was already there.

Walser, the new album by Robert Piotrowicz is a reiteration of the artist’s soundtrack for the eponymous film by Zbigniew Libera, in which the fictitious Concheli tribe enacts its ritual gestures through music and performance. Rather than following a traditional soundtrack format, where music is written after the film and cut to illustrate the cinematic form, Piotrowicz approaches the film as a point of departure to create an altogether autonomous sound work. While its aesthetic narrative echoes the one that we are submerged into throughout the film, the record’s underlying structure and dramaturgy have been reconfigured and reworked into a new spatial and affective arrangement. Unlike Piotrowicz’s previous works, Walser is predominantly an acoustic album, with a nod to his previous projects that imagined fictional music ensembles (such as Rurokura and Eastern European Folk Music Research Volume 2). The instruments’ idiosyncratic sound is a result of a multifaceted composition process, which took custom-made instrument design (wind, percussion and strings) as its starting point, prototyping the music’s structure and meaning, and the composer-led choreography of actors’ gestures that took place during the film shoot and in its originating performance workshop. In the film, Piotrowicz’s original music score is thus enacted by a body of sound, rather than the by actors on the film set, as it fills up the metastructure devised by the composer. Of course music always influences the way one views a film, but in Walser it becomes a cinematic language of its own kind, an extension of the camera, an omnipresent observer and narrator that sculpts our experience of watching and listening. In the album, sound returns to its first and foremost dimension, time, and while the storyline is no longer in the foreground, its immaterial traces persist in the LP’s structure and narrative, incorporating a myriad of mood changes and dramatic turns. The album is an analogue recuperation of the primal, original sound where music finds a new form of embodiment and occupies a new territory, beyond the screen and beyond the image. It is a sensuous body of sound that carries meaning beyond traditional ways of verbal and pictorial communication.

Literally taking off where the acclaimed Precious Waste in our Wake LP finished off, London based outfit Triple Negative return with another exemplary amplified jigsaw puzzle. The playback of this reality is garnished with humour, bedlam, beauty and a robust fear of the predictable. As payback for your acknowledgment our international line-up deliver a disparate mix of genres and histographies rendered into a devious dish of rhythm, song, balladry and nerve. This is Not This Heat. A.Kostis/Kostas Bezos’ ‘Stin Ypoga’ (1930) is the template for Bad emotional investments whilst the haunting Fine Cargo Lacquer takes flight from the morbidly on point novel The Death Ship by B. Traven. God Bless the Death Drive could be construed as a compass to navigate the wayward wonder we inhabit or it can just be enjoyed. This second full length steers into scathed realms of everyday junk and poignant punk, all pressed down on the lowest quality ethylene and chlorine. Triple Negative return with another stamped digest of hope as joke, noise and song, rollicking rhythm and seasick soul. Edition of 500 copies in high gloss sleeve with printed comic book inner sleeve.

12" Vinyl LP of Z'EV's The Invisible Man / The Old Sweat released by Coercion.  --- Element/L 1-6 Recorded May 1987, Processing June 1981 O.D Studios NL "Q" 3 Recorded July 1981 at O.D Studios NL Additional Percussion by Gerrd Beuken and Rekk Iersen Phase Relations July 1981 by Z'EV  --- The Old Sweat Selections from KPFK Radio in Feb 1987 recorded by Carl Stone Selections from Rijksmuseum Kröller Müller Otterloo, NL in Feb 1984. Recorded by Dorohea Franck

Yximalloo’s (Naofumi Ishimaru) long and varied career in music covers a period as manager of Yellow Magic Orchestra back in the day, when he also started producing his own music on cassette. Later branching out into CDrs, his discography is voluminous. Sometimes collaborating with Momus, Jad Fair (Half Japanese), Sympathy Nervous (Vanity Records) and others, he has quietly put out over 70 releases, all with his undefinable catalogue of styles. Part one of an incredible, three part series exploring Yximalloo’s output, featuring Jad Fair, Gilles Rieder, and Jason Willett

Yximalloo’s (Naofumi Ishimaru) long and varied career in music covers a period as manager of Yellow Magic Orchestra back in the day, when he also started producing his own music on cassette. Later branching out into CDrs, his discography is voluminous. Sometimes collaborating with Momus, Jad Fair (Half Japanese), Sympathy Nervous (Vanity Records) and others, he has quietly put out over 70 releases, all with his undefinable catalogue of styles. Final part of a three part compilation series that attempts to make sense of the vast catalogue of music Naofumi Ishimaru has released as Yximalloo. Dating back to, I believe, the late seventies, the history of Yximalloo is spread across a near-endless spillage of micro-release cassettes which detail an alternative vision of Japanese post-punk electronic music and proto-indiepop, one that runs parallel to YMO, Vanity, Kankyo Ongaku... One such release is a recording made of a performance in the toilet of Honda's factory in Japan... This, you've a sense of what's on offer here: playful & provocative electronic experimentations that in their nascent state cover similar ground to TG, Severed Heads, Portion Control et al but developed to embody a distinctly twee spirit that presages the Hamster and Cordelia aesthetic. Indeed, it's remarkable that Yximalloo didn't appear on the Japanese edition of the latter's Obscure Independent Classics compilation from 1987. Art-damaged DIY fuckery with a perfectly wanton singularness. These three records together do a remarkable job in distilling what previously appeared too obscure and distended to understand. Brilliant oddities, one and all. "First off, the record should be set straight: previous reports of Yximalloo having managed YMO have proven to be false. That said, with one of his earlier tape releases being entitled "Live At The Lavatory In Honda's Factory", we should consult our lawyers before alleging anything further.The world as we knew it may have unraveled before our eyes, but one thing remains constant, Yximalloo's singular, twisted musical visions keep coming. Here we all are, counting off The End Of Days with the one consolation, that his third volume is here. No, not The Book Of Revelations, but Yximalloo's self compiled bumper-car / helter skelter ride through his voluminous tape and CDr archive, realised over the last 40 years.Yximalloo, pronounced Ishimaru, has produced over 70 CDrs & tapes since the early 80s, occasionally working with Sympathy Nervous (Vanity) and Jad Fair (Half Japanese), but mostly within his own universe.An unknown track of his was released in 2013 by Kompakt, as "Wanted". An unknown artist - they had lost the details of the CD he'd sent them but were compelled to release it anyway. It was the only vinyl release of Yximalloo until "Best Of".

Underground Mod Obscurity from South Africa • South African take on the London Beat scene, mixing British beat, R&B, reggae and funk Zorro Five were a South African studio band comprising Johnny Boshoff (bass), Archie van der Ploeg (guitar), Tony Moore (drums), Johnny Fourie (guitar) and Zane Cronje (keyboard and organ). They won the “Best Beat Group” at the 1971 South African Recording Industry Award for the album Jump Uptight. The single Reggae Shhh! b/w Reggae Meadowlands was an underground hit in the UK and Italy.

White Boy Scream is the experimental classical project from opera singer and composer Micaela Tobin. On her latest release, 'BAKUNAWA', she dissects her voice through the use of electronics as a means of exploring identity and ancestral trauma. “BAKUNAWA” is an homage to the pre-colonial mythology of her motherland, the Philippines. Part sonic ritual, part diasporic storytelling. Micaela Tobin is currently on Faculty as a Voice Instructor at the California Institute for the Arts. She most recently performed a principal role in the critically acclaimed experimental opera, Sweet Land (comp. Raven Chacon & Du Yun), which made it’s U.S. premiere in March 2020. Her previous album, 'Remains' was listed as one of the top 10 Noise/Industrial Albums of 2018 by The Wire Magazine.

The Roman on the cover soldiers on in silence. This album is the product of excavations in materials recorded at home, EMS in Stockholm, Worm in Rotterdoom, and Willem Twee Studios in ’s-Hertogenbosch, much of which has been collaged, recollaged, broken apart, bleeped backwards and put back together with the kind of casual elegance that takes years of practice to perfect. Hiele is a very busy man: aside from his music (solo, commissions, and in collaboration with far too many people to mention here) he co-runs Table Dance — a bar-restaurant-venue in Antwerp’s red light district — and Universal Exports, a shady organisation that occasionally releases records. --- All music by Hiele Mixed at Studio De Ziltige Olijf in Antwerp Mastered by Yves De Mey Released on vinyl by Ultra Eczema. Master cut by Frederic Alstadt --- Ultra Eczema, 2021

First LP by Nina Garcia, aka Mariachi.Guitar, pedal, that's it.  "Mariachi is Parisian guitarist Nina Garcia’ solo project, started in March 2015. Mariachi experiments between improvised and noise music. The setup is ultra minimal: 1 guitar, 1 pedal, 1 amp. Everything is focused on the gesture and the sound research of the instrument: its resonances, limits, expansions, impurities, all the audible parts of the guitar: to go with or against it, to contain it or to let it go, to support it or to hurt it. You’ll probably find: feedback, crackling, short circuits, impacts, harmonics, grindings noises, overflowings, notes and an almost perfect chord. Her first LP was released in October 2018 on No Lagos Musique and Doubtful Sounds. Nina Garcia was born in 1990, she lives and works in Paris." (Shape) "I find that there's never any point in sharing your impressions and feelings about a piece of music, but precisely when I say to myself that this music feels like a mountain weather report passed directly into my brain, it's not about feeling. Or maybe it is, and I can't help it. A short fifteen minutes of the concert, and a long, sharp, mountainous song that sinks into the skull like the echo of bad weather reverberating in the mountains. I don't know what it's about, maybe the simplicity of the sound arrangement, the brutal and purposeful simplicity of the onstage manipulations, but there's something very physical about this sound, something all muscle and tension." (No Lagos Zine)

"impressive soundscape, I like it as if I would have composed IT, bravo". Hans-Joachim Roedelius Phase one is to me a deep dark-blue indigo soundscape, almost instantly trance-inducing. A mountain pass quite far, seen opening heavy wooden shutters, no stars and a fixed moon towering a compressed sky between green-thick slopes are conjured by the restrained chant of Pat Moonchy, richly nuanced and awesomely halo-crafted in the deep projection of the horizon. The cohesion given to the mix by discreet drones is like the transparent fog my eyes are sacrally trapped in once I decided to open the window. There Liguori's punctuations, scrapes and washes of gongs let feel the pulses of life among the trees, fungi slow accretion, nocturnal mammals roaming in the undergrowth, and his round drops of opaline cithara essential plucks are the reflex of this life perception, their presence as transcoded in the consciousness of the human viewer. In the very proximity are centipedes intricately crawling on the wall at my right, summoned by the reeds of Paul Jolly; they transmute at times, at the softest timbre and more even phrase someone is tapping at my shoulder: judging from the brownish collage hang behind it should be Kurt S. offering a cup of tea from a copper samovar. In the middle of that, temporally speaking if here time dimension is allowed to exist, a orange lamp appears climbing to the pass from the invisible valley beyond: couldn't be a shepherd (it's night you know) maybe is Bruno G. walking his long path to the castle, maybe I'm just hallucinating. In the second phase, after a descent I'm guided to explore slowmo the cellar of the house, gray-charcoal rock blocks inebriating of saltpetre, tall candles diffuse reddish and yellow light in square rooms I can just partially see through two-palms-large slits. Voice and instruments hold each other in a subtly different way, in this more enclosed reverberated soundspace it's the ritual dance surely acted in the areas hidden to my view. Throbs at times pace the mesmerized curiosity, I sense that fingers should have touched these walls well before. Likely by pastel colors veiled maidens, maybe imprisoned by a Jean R., how much time ago? A lingering breath of melancholic air could rise from a corridor, when you stop you can feel the pitch-black on both directions, but the fantasy goes to a proper faded end, or better a impression-lasting suspension... Fabio Limido Pat Moonchy - voice and synth Paul Jolly - sax and bass clarinet Lucky Liguori - prepared cithara and gongs

This album is a 4 hours free electronic sonic exploration by Unglee Izi, one of the wildest french electronic freak – a long journey into the wilderness from extreme digital noises to sophisticated landscapes and suspended silences.The vinyl contains 2 extracts, 20 minutes for each side and is accompanied by a CD (74 minutes) and a download card of the original 4 hours track -- Erratum Musicals, 2019