Electro/Ambient

Sarah Lipstate is Noveller and “No Dreams”, her 6th full-length release, welcomes in an era of expanded instrumentation for the Brooklyn-based guitarist and composer. Acclaimed for her previous guitar-only albums, Lipstate tightens her grasp on her title of “An Orchestra of One” while boldly exploring the sonic possibilities of supplementing her signature lush, loop-based guitar soundscapes with textural washes of synth, haunting piano, and pulsing throbs of electronic beats. Aided by her experiences collaborating with renowned film-composer Nathan Larson on original music for several feature film scores, Lipstate expertly blends these new elements with her guitar finally realizing the richness and density that her previous guitar-based albums reached for while still undeniably sounding like Noveller. Record Label: Fire Records Style: Experimental

Artist: Apparat Label: Shitkatapult

Artist: Bersarin Quartett Label: DENOVALI RECORDS

Artist: Subheim Label: DENOVALI RECORDS

Record Label: Beggars Banquet/Beggars Group Style: New Wave

Double LP packaging features printed inner sleeves and high-quality download card. For those who maintain the more mutable dance music is, the deeper its impact on human evolution, RVNG Intl. presents We Are Not The First, an Epic conducted and deconstructed by Chicago artist Hieroglyphic Being and the J.I.T.U. Ahn-Sahm-Bul. We Are Not The First combines the musical forces of Marshall Allen, Daniel Carter, Greg Fox, Shelley Hirsch, Shahzad Ismaily, Elliott Levin, Jamal Moss, Rafael Sanchez, and Ben Vida in deep dialogue with each other and humans' hidden sonic history. Tracked as different personale patterns over a week of studio sessions in Brooklyn, said syntax translates into mesmerizing sound forms as the ensemble excavates sonic folklore and ancient music, employing spiritualjazz's welfare and health as an agency for balance. An album with an active brain, We Are Not The First aspires to reprogram the mind, to transcend our expectations through bugged-out percussion, modular mayhem, flurries of free improvisation, and voices carrying through the air. Hieroglyphic Being & J.I.T.U.. Ahn-Sahm-Bul develop consciousness from primordial ooze. As in listening, the ooze intones an echo of our deep past, rendering the present ever focused. We Are Not The First is an 11-part Epic and each track is a movement therein that testifies: an ensemble's vitality lives in its collectivity. When we ask the ooze, the ooze articulates: We Are Not The First. Record Label: Rvng Intl./Sc Style: Electronic / Dance

Flower of Love is the third album by artist, composer and musician Ian Drennan. The album will complete a trio of atypical, meditative records that Drennan has composed using partially automated software processes. Flower of Love follows The Wonderful World, which Drennan debuted for Underwater Peoples in 2012, and Prelude to Bleu Bird Cabaret, which was released on Underwater People's sister label PIKdisc in 2013. Uncrowded textures and sequences show Drennan's equal sensitivity to the physical and temporal elements of sound, placing his music in a lineage that includes other transitional noise, avant and musique concrète outfits who have hybridized influences towards more individualized ends. Calling to mind the sublime sample techniques of composer Carl Stone, or the unnerving synthscapes of Coil, Drennan's music on Flower of Love is unusually expansive, bringing in the quietistic and discomfiting in equal measure. Record Label: Underwater Peoples/Sc Style: Ambient

Over the past year or so, Dilly Dally have been releasing a series of increasingly explosive singles, all in the long lead-up to their debut album, where it sounds like they’ll harness all that rage into something really magical, at least if lead single “Desire” is any indication. It begins with lead vocalist Katie Monks counting off in her distinguished rasp before launching into a knotty tangle of guitars and feedback, all while the word “desire” is chanted over and over in alternating sweet-and-sour takes. “It’s about a huge sexual release, but it’s also about fantasies, youth, and purity,” Monks explained to Fader. The song will show up on the Toronto four-piece’s debut album, Sore. Record Label: Pias UK/Partisan Style: Alternative Rock

Tyske Ludder are back with their 6th studio album! Already the first single from „EVOLUTION“ made it to no.3 in the German alternative charts! In the beginning of the 90s Tyske Ludder set the course for their work as pioneers in the european E:B:M and Darc-Electro scene. Coming up from the Wave- and New-Romantic scene they developed very early their meditations on the predominance of technology in our society. Nightmarelike visions of the then-raging war in Yugoslavia as well as the recurring military enforcement of the United States‘ claim for world domination represent the other thematic constant in the work of the German Whore. Through the years their musical model developed from heavy Electro-Sounds to some kind of ominous dance music somwhere between Industrial and the aroma of a nuclear blast. In a unique melting procedure the band around vocalist Albert-X was again and again able to produce avant-industrial dimensions of sound which very often divided the followers into two enemy camps. The scarce live gigs of the four electro-activists constitute the third column of the concept of Tyske Ludder Record Label: Golden Core Records Style: Dark Wave

There is a purpose behind ambient music: it is utility music. Brian Eno made that clear once and for all with "Music for Airports" – the utilitarian nature of this music can already be found in the title. But way before that, in 1920, Erik Satie composed "Musique d"ameublement" – furniture music. Satie created true background music as a reaction against the misuse of classical music as a carpet of sound. The purpose of his furniture music was also to bridge the awkward gaps in conversation in social situations. In turn, Eno's airport music is meant to serve as background music while sounding interesting enough for listeners to become absorbed. If we go by Eno's definition, the music on T.RAUMSCHMIERE's new album is not ambient. Although – or in fact, because – each individual track on this album immediately and effortlessly generates atmospheres, it is impossible not to be drawn in. T.RAUMSCHMIERE sucks the listener into the perceptible endlessness of his pulsating sounds, even though the music does not actually expect anything from the listener. It is not demanding, it does not sound lofty or ethereal. It is in constant movement and evolution while sounding grounded at the same time. The tracks are not weightless; they have body. A darkly beating pulse works like a machine through the surging pads of "Dampfer". Synths drone languidly on "Anker". T.RAUMSCHMIERE deftly manages to avoid succumbing to the kitsch that often arises from these kinds of sounds. "Grotznogg" has an inner stillness within the rustling and scattered clattering and clanging. "Zwischenstopp" provides the perfect soundtrack for a submarine ride, complete with depth sounder and an undercurrent of anxiety. The track "007" is a post-industrial masterpiece – warm, heavy, and latently threatening. And the list goes on. Clearly a new meaning of the term ambient is needed to describe the music on this album more accurately. It is music that never sounds deliberate yet at the same time is so compelling, which might have something to do with the fact that SHITKATAPULT label founder Marco Haas aka T.RAUMSCHMIERE is the one behind it. As T.RAUMSCHMIERE, Haas produces a sound with influences ranging from bass music and punk rock to industrial; the names of his records speak best for themselves: Monstertruckdriver, Sick Like Me, I Tank U… everyone knows what the deal is here. It is only logical that his new album is just called "T.RAUMSCHMIERE". This record is certainly an excellent lubricant for dreams. Haas is known for his take-no-prisoners approach to his live sets, which feature distorted beats, grueling basses, and steep descents. Now for the flipside, the negative image of the sound that made T.RAUMSCHMIERE famous, the sound that has allowed us to get closer to the understanding of this magic ambient music. The shadow of T.RAUMSCHMIERE does not come in with massive beats and basses, yet it is so imposing and so dark that it seems within our grasp. Record Label: Albumlabel Style: Electro/Ambient

For those who maintain the more mutable dance music is, the deeper its impact on human evolution, RVNG Intl. presents We Are Not The First, an Epic conducted and deconstructed by Chicago artist Hieroglyphic Being and the J.I.T.U. Ahn-Sahm-Bul. We Are Not The First combines the musical forces of Marshall Allen, Daniel Carter, Greg Fox, Shelley Hirsch, Shahzad Ismaily, Elliott Levin, Jamal Moss, Rafael Sanchez, and Ben Vida in deep dialogue with each other and humans' hidden sonic history. Tracked as different personale patterns over a week of studio sessions in Brooklyn, said syntax translates into mesmerizing sound forms as the ensemble excavates sonic folklore and ancient music, employing spiritualjazz's welfare and health as an agency for balance. An album with an active brain, We Are Not The First aspires to reprogram the mind, to transcend our expectations through bugged-out percussion, modular mayhem, flurries of free improvisation, and voices carrying through the air. Hieroglyphic Being & J.I.T.U.. Ahn-Sahm-Bul develop consciousness from primordial ooze. As in listening, the ooze intones an echo of our deep past, rendering the present ever focused. We Are Not The First is an 11-part Epic and each track is a movement therein that testifies: an ensemble's vitality lives in its collectivity. When we ask the ooze, the ooze articulates: We Are Not The First. Record Label: Rvng Intl./Sc Style: Electronic / Dance

DJ KRUSH is back! After 11 years of silence, the legendary DJ KRUSH sends out the realness to the world with his highly anticipated new album "Butterfly Effect". For DJ KRUSH it is very inspiring to work with artists across the world. Even the cultures and environments are all different. He is trying to make something global with guest artists, that goes way beyond borders. There are 11 tracks on the album with features of Yasmine Hamdan, Crosby "Cross" Bolani, Divine Styler, tha BOSS, Takashi Niigaki and Free the Robots. DJ KRUSH has performed in front of over 5 million audiences in 313 cities of 50 countries. And he still continues to renew this record, transcending all barriers, and leaving some distinctive footsteps of his own, achieving everincreasing acclamation as an international artist. He is also considered as one of the pioneers of turntablism and after more than 25 years in the business you may confidently say: DJ KRUSH is a legend! Now breaking the silence, the much anticipated new album from DJ KRUSH is about to be released! He is back with his new album called "Butterfly Effect". DJ KRUSH sends out the realness to the world with his first album in almost 11 years. Deep sound resonates through dry and empty space! There are so many things happening on our planet, both acts of God and all the disasters that human beings make. Very little difference in the initial condition affects everything and it becomes a big difference with time and it appears in front of us. Needless to say, it's not all about bad things. The future that DJ KRUSH and his guest artists visualize, as little things influence each other intricately... their Butterfly Effect is expressed in the new album. Record Label: Vindig Style: Electronic

Record Label: Sakara Records / Omn Label Services Style: Metal

Tracklist: Subconscious Mind (Opening) Om Purnam - Perfection (Shanti Mantra) Om Vakra Tundaya - Pure in Heart (Ganesha Mantra) Shrimad Narayana - Shining Light (Vishnu Mantra) Finding Yourself (Instrumental Yoga Music) Om Bhur - We Are on Our Way (Gayatri Mantra) Om Asato Ma Sad - Into the Light (Shanti Mantra) Sarve Bhavantu Sukhinah - Be Happy (Shanti Mantra) Record Label: Coolmusic Style: Wellness

Saintseneca’s powerful new album Such Things is the band’s most cohesive, catchy and accessible output, and a work that solidifies the group’s singer and songwriter Zac Little’s status as one of modern indie music’s most thoughtful and talented artists. The record arrives October 9th via Anti-. The first single, “Sleeper Hold” is a pulsating and infectious rock song that utilizes elements of punk, folk and straight up rock and roll, all centered around a soaring and beautifully anthemic chorus. Such Things is the anticipated follow up to Saintseneca’s acclaimed album Dark Arc, which Stereogum celebrated writing, “Dark Arc shines in all the ways Saintseneca always has — gorgeous harmonies, rampant strumming, glimpses of both humanity’s fragility and power — but it also finds the band branching out into fuller arrangements and wilder instrumentation. (Wilder, even, than the plastic trash can they used to beat on.) It’s what an underground folk band stepping into the spotlight should sound like.” Moving away from the cinematic, linear quality of Dark Arc, Little sought even higher ground for the new songs, and to incorporate the synapses and charges of his fellow members. “I was pushing myself with Such Things to try to explore the pop motif further, to try to use and bend that formula of having a groove, a beat, locking in and using that as scaffolding to build a song,” he says. “And even though it oftentimes might seem like this singular vision, at the core my creative strategy for the band is one that inherently involves other people. I think the best work I’ll make involves working that way.” Those disparate pieces and parts have come together, like so many molecules, to form a solid rock object called Such Things. You can hold it in your hands and hear it in your head, this culmination of tiny, beautiful moments and fluctuations of energy and information, compressed and etched into an LP sleeve and eternity and all tied up in a rock and roll record. “It’s definitely a new way of songs manifesting, and it feels like a step forward,” Little says. “I’m gonna push myself and try this thing I’ve wanted to try. I think it’s the best thing we’ve done so far, but then again I won’t write a song that I don’t think isn’t the best thing I’ve done. When I finish it I have to feel like it’s the best thing I’ve made. And if I don’t feel that way, it’s like, why bother? Record Label: Anti Style: Alternative Rock

Download Code.Howl' is the new album by Rival Consoles, London-based electronic producer Ryan Lee West, set for release through Erased Tapes on 16th October 2015. Foremost a guitarist, growing up listening to rock rather than club music, West continues to strive towards finding a more personal balance between music for home listening and larger spaces. The title track was inspired by the howl-like tones he developed by running synths through guitar pedals. "By slowly drifting the pitch through distortion and delays, the result sounded like vocal cries – something which was perfect for the song and this inspired me to take on a darker set of tones across the whole album. It was made over the past few years, inspired by capturing small performances on synths, touring with some of my musical heroes, playing with feedback when I should have been catching a train, sampling my voice in unexpected conditions and recording textures in different countries.” The album explores a wide range of emotions; from the dissonance eruptions and primal rhythms in 'Howl', to the mournful improvisations of '3 Laments', which features a sample of his own voice. Alongside his performances on Moog, Prophet, tape delay and guitar, West enlisted the help of drummer Fabian Prynn for ‘Low’ and cellist Peter Gregson for ‘Walls’, both long-time collaborators of Erased Tapes peers Douglas Dare and Michael Price. "This album features a lot of my own recordings, rather than simply using samples that I have sitting on my computer. This gives the album a more personal feeling, which is very important to me because I think we live in a time where there is just so much recorded material out there, and accessible at a click of a button, that the joy of recording your own drum sounds, your own percussion, your own claps, seems redundant – but it’s not! That should be a priority because its often more interesting and makes you choose a different creative path." It’s rarely reported that Rival Consoles was Erased Tapes' very first signing, with a CDR of early demos under the name Aparatec that inspired founder Robert Raths to start the label. Indeed West has more in common with his contemporaries Nils Frahm and Peter Broderick than some might think. His consistent desire to create a more organic, humanised sound sees West often draft early ideas on traditional, acoustic instruments like the guitar or the piano; forming pieces that capture a sense of songwriting behind the electronics. "I try to create atmosphere and mood throughout with a less-is-more approach to composition. I'm always trying to find an exciting reaction from a few ingredients, because that is magic to me. To make something interesting with tons of layers of effects just doesn't excite me. But to make something interesting with just three layers requires a special alignment of sounds, ideas and timing. This is my most personal work to date, following on from 'Odyssey' and 'Sonne' which gave me the confidence to continue exploring my own ideas and approach to sound. The essence of this album was made with a few synths, some guitar pedals and lots of cups of tea. I hope you’ll enjoy it." Having repeatedly performed at such prestigious venues as the Tate, and having created a bespoke audio-visual performance for Boiler Room at the V&A Museum, the blueprint for West’s current live A/V show was formed. Featuring self-programmed visuals in Max/MSP has earned him appearances at music festivals around the world including Mutek, Decibel, Big Ears and Berghain’s Pop-Kultur Festival, as well as tours in support of Clark, Nosaj Thing, Luke Abbott and Kiasmos. October 2015 will see West perform Rival Consoles debut headline shows in the UK, followed by North America and Europe mainland dates throughout the winter months Record Label: Erased Tapes Style: Electronic

First edition in coloured vinyl! - thick cardboard cover - printed innersleeve - 180g Vinyl. Samuel van Dijk is an electronic music producer, sound designer and media artist from the Netherlands, having released electronic music under a variety of projects, namely, Mohlao and VC-118A. With his current project Multicast Dynamics he creates ever-evolving sound textures culminating in intriguing soundscapes while preserving a tranquil cinematic atmosphere. Drawing inspiration from nature, technology, film and fiction, his music productions, live sets and audiovisual work presents a carefully arranged, recorded and processed body of work, using a vast amount of layered sound textures, field recordings and live improvisation. In May 2015, Denovali Records released the first two albums of a four part series by Multicast Dynamics, conceptually linked by our undeniable connection with nature and its wide range of landscapes, colors and movement. Now the third album called SCANDINAVIA follows in October 2015. The album series moves from an evolutionary to a cosmological scale: Starting from dry land filled with light and streams, to the constantly changing surfaces of the oceans, into a frozen and murky underwater world, finally up to the arrival in an interstellar space and the cosmos. With this concept Multicast Dynamics explores organic and aqueous worlds in a dreamlike and spiritual appearance. SCANDINAVIA is the third installment in the four part series. Assembled during the coldest season, it's an album full of contemplative electronic recordings, created by the use of granular synthesis, obscure delay units and rudimentary looping techniques on magnetic tape. Recorded with a longsighted outlook, SCANDINAVIA features washes of subdued tones and textures as well as melancholic and warm sounding pulses of noise - all characterized by distinctive aquatic features. Steadily flowing, but slowly awakening the album draws frozen remote landscapes ranging from dark, cold and desolated to melting, warm and hope. SCANDINAVIA opens with a bleak arctic environment in deep hibernation, where echoes of glacial bursts cut the silence. An undulating mass of viscous ambience sends out blurred out signals through the storm. In this inhospitable surrounding of frost and ice slow changes appear. The form of the landscapes alters and the cold air no longer hinders the breathing. Slowly meltwater seeps out underneath thick layers of ice, slowly building up in momentum and space. Layers of hypnotic atmospheres with barely perceptible undercurrents, brooding pulses of bass and tonal patterns lead to the core of the sonic landscape. Gently radiant layers of light and soil emerge and aquatic echoes expose new paths. The water is harnessed. Preparations for a long journey have begun. Record Label: Denovali Style: Experimental

First edition in coloured vinyl! - thick cardboard cover - printed innersleeve - 180g Vinyl. Based in Californian Humboldt County, Brian Pyle wanders the world on his countless travels. Far from being restless, he has his very own Pylesque way of travelling. Much like a Lynchian version of Hemingway, he has an eye for the thin layer between restlessness and relaxation, gloom and serenity. Wherever he goes, he ardently absorbes these nuances, rarefies them and moulds them into a seamless array of glimmering styles, from drone and ambient to shoegaze and post-wave, giving birth to yet another creation of his prolific Ensemble Economique project. On his by now eleventh album and fourth Denovali release "Blossoms In Red", Pyle combines and perfects elements of his previous output into a cohesive narrative. The opener "From The Train Window, Red Flowers On The Mountain" is a surprisingly scarce ambient piece, which feels like an almost infinitely stretched precious moment of time. Despite being austere, it is warm, sublime and incredibly captivating and after listening to its full 8 minutes, one cannot help but to rewind and replay. Having barely escaped this seductively infinite loop, one encounters the title track "Blossoms In Red" featuring Portland electronic duo Soft Metals. Starting off with a characteristic sluggish programmed beat, one is immediately overpowered by the onset of the towering combination of a warm bassline and a shimmering synth ambience. As the track flows, these elements writhe around each other in a delicately beautiful fashion, absorbing the materialising wailing guitar which almost sounds like an ethereal voice, as well as the occasional melodic and rhythmic accents. The next track sees this guitar return in a rather pure form. "On The Sand", featuring jack-of-all-trades Peter Broderick, is essentially just reduced analogue drums, electric guitar, a simple vibrating bassline and hoarse almost spoken vocals. Slowly and methodically, these constituents form a captivating erotic ritual, much like a beguiling and hypnotic mandala procession of imperturbable blissful individuals on the beach. As proven on numerous occasions, Pyle can easily lead all his trumps in the presence of female lead vocals, and "Blossoms In Red" makes no exception. Indeed, "You, By Candlelight" is easily the best Ensemble Economique track with female vox to date. Pyle manages to embed the vocals just in the right minimal amount of instrumental layers, making the track radiate an elusive tranquility. The fifth and closing track "Nothing Is Perfect" is a classically tinged piano piece with only very little processing and sparse field recording samples. With all pieces of the album, Pyle manages to create tracks which feel like being composed only of two or three layers of sound, that are nevertheless allowed to develop a life cycle which seems incredibly long - track lengths vary from 6:30 to 8:10 - but still feels just right. Thus "Blossoms In Red" is probably Ensemble Economique's most minimalistic album, but at the same time - or maybe just for this reason - his most skilled work. Record Label: Denovali Style: Experimental

Record Label: Luaka Bop Style: World Music

Howl' is the new album by Rival Consoles, London-based electronic producer Ryan Lee West, set for release through Erased Tapes on 16th October 2015. Foremost a guitarist, growing up listening to rock rather than club music, West continues to strive towards finding a more personal balance between music for home listening and larger spaces. The title track was inspired by the howl-like tones he developed by running synths through guitar pedals. "By slowly drifting the pitch through distortion and delays, the result sounded like vocal cries – something which was perfect for the song and this inspired me to take on a darker set of tones across the whole album. It was made over the past few years, inspired by capturing small performances on synths, touring with some of my musical heroes, playing with feedback when I should have been catching a train, sampling my voice in unexpected conditions and recording textures in different countries.” The album explores a wide range of emotions; from the dissonance eruptions and primal rhythms in 'Howl', to the mournful improvisations of '3 Laments', which features a sample of his own voice. Alongside his performances on Moog, Prophet, tape delay and guitar, West enlisted the help of drummer Fabian Prynn for ‘Low’ and cellist Peter Gregson for ‘Walls’, both long-time collaborators of Erased Tapes peers Douglas Dare and Michael Price. "This album features a lot of my own recordings, rather than simply using samples that I have sitting on my computer. This gives the album a more personal feeling, which is very important to me because I think we live in a time where there is just so much recorded material out there, and accessible at a click of a button, that the joy of recording your own drum sounds, your own percussion, your own claps, seems redundant – but it’s not! That should be a priority because its often more interesting and makes you choose a different creative path." It’s rarely reported that Rival Consoles was Erased Tapes' very first signing, with a CDR of early demos under the name Aparatec that inspired founder Robert Raths to start the label. Indeed West has more in common with his contemporaries Nils Frahm and Peter Broderick than some might think. His consistent desire to create a more organic, humanised sound sees West often draft early ideas on traditional, acoustic instruments like the guitar or the piano; forming pieces that capture a sense of songwriting behind the electronics. "I try to create atmosphere and mood throughout with a less-is-more approach to composition. I'm always trying to find an exciting reaction from a few ingredients, because that is magic to me. To make something interesting with tons of layers of effects just doesn't excite me. But to make something interesting with just three layers requires a special alignment of sounds, ideas and timing. This is my most personal work to date, following on from 'Odyssey' and 'Sonne' which gave me the confidence to continue exploring my own ideas and approach to sound. The essence of this album was made with a few synths, some guitar pedals and lots of cups of tea. I hope you’ll enjoy it." Having repeatedly performed at such prestigious venues as the Tate, and having created a bespoke audio-visual performance for Boiler Room at the V&A Museum, the blueprint for West’s current live A/V show was formed. Featuring self-programmed visuals in Max/MSP has earned him appearances at music festivals around the world including Mutek, Decibel, Big Ears and Berghain’s Pop-Kultur Festival, as well as tours in support of Clark, Nosaj Thing, Luke Abbott and Kiasmos. October 2015 will see West perform Rival Consoles debut headline shows in the UK, followed by North America and Europe mainland dates throughout the winter months Record Label: Erased Tapes Style: Electronic