Electro/Ambient

Record Label: Thrill Jockey Style: Independent

Composer, musician and producer Nils Frahm steers the new edition of Late Night Tales, set for release on 11th September. A hypnotic voyage through modern and classical composition, experimental electronics, jazz, dub techno, soundtracks and soul; Frahm's Late Night Tales haunts and beguiles. It's not mixing, so much as gently layering, like a particularly fluffy goose-down duvet folding in on itself, the folds part of the attraction, the layers part of the overall picture being painted. Many of the tracks have been edited, effected and re-made. The subtly overdubbed parts on Rhythm & Sound's 'Mango Drive' adding to the haunting hypnosis, while choral interruptions aid Miles Davis' 'Générique' on its journey towards the light. Meanwhile, on Boards Of Canada's 'In A Beautiful Place Out In The Country', the tempo is somewhat sluggish, the organs slurred, as Frahm slows it down to a funereal 33rpm that nevertheless fits perfectly. The purring of his girlfriend's cat Cleo transitions playfully between Nina Simone's definitive version of 'Who Knows Where the Time Goes' and unearthing the gentle electronics of Dub Tractor. Eddy Arnold's 'You're The Only Star', a country tune that sounds like its transmitting from a mid-west diner wireless circa 1947, is straight from the soundtrack to an imaginary David Lynch movie, comforting and dismaying all at once. This crackly reality abounds, as on Finnish band Gentleman Losers' 'Honey Bunch', that adds an unsettling texture, with a sound that is modern but as nostalgic. Frahm's own tracks bookend the mix, opening with an inspired "rework" of the infamous silent John Cage piece '4:33' ("I sat at the piano in silence and worked from there. I listened and took in the atmosphere and this is what came out of it") and ending with a solo piano version of 'Them', taken from his recently released score of the film 'Victoria'. The traditional Late Night Tales spoken word epilogue is voiced by actor Cillian Murphy (Inception, Batman, 28 Days Later), reading a short story by Edna Walsh (Hunger, Disco Pigs). Record Label: Late Night Tales Style: Electronic

OUR DARKEST HOUR by CIRCLE OF PAIN is a high class opus of Dark Metal! 13 melodious tracks convince by their expressive and straight compositions! Aggressive guitars and boombastic keyboards! But not only the instrumental parts do convince. Furthermore the lyrics reflecting a critical view on war and violence won’t let anybody untouched! Hard stuff which is also presented on the bonus DVD entitled TRILOGY OF WAR, HATE AND FORGIVENESS. Further content of this box: ROUGH CUT VIDEOS, an interview with SANDRO Lo Giudice, a photo gallery and many specials! A must for every metal fan! Record Label: Zyx Style: Dark Metal

Artist: Ballake & Segal,Vincent Sissoko Label: No Format (Indigo)

Artist: Various Artists Label: Zyx Music (ZYX)

Artist: Co La Label: Software Recording Co.

Artist: Klaus Schulze Label: Made In Germany Musi

Record Label: Selekt Style: Electronica

Late in 2011 Hans Joachim Roedelius and I agreed to embark upon an album project together. I felt that I needed a new instrument, a new process for the project. Far too much of my time, I felt, was spent working with computers - my correspondence, my calendar, my finances and so much of my music was made with computers. I wanted less time in front of a screen. That October I assembled my first Eurorack modular synth with modules bought from my friend Noah’s brother and a West Coast online store - a basic single voice system with rudimentary sequencing. I had no experience whatsoever working in this way. I studied. I spent a great deal of time at Muffwiggler.com. I had long been interested in Generative Music. I think that my subliminal knew it would recognise the music I was reaching for, but my knowledge of electronic engineering was insufficient to proceed with any confidence. So I read Allen Strange. Every couple of days I studied and experimented with a new technique or concept. I recorded everything. The system grew. I found ways to create what I would call music using these new methods - to create points of departure for Roedelius. Three years later, it is clear that my submissions were still very much the work of a student. My dissertation, maybe. But is this a bad thing? Are the student’s works necessarily inferior to the master’s? Learning is often exciting, inspiring. Is knowing ever that much fun? Selective Studies Vol. 1 was released early in 2013. I am very happy with it. The critical response to it was extremely heartening and to be honest, far beyond my expectations. A few months later, our record company Bureau B asked me what I planned to do with the unused submissions (both Joachim and I had submitted maybe 400% more than was ultimately used). Might I release some of them as a solo project? But they are not finished, I said. To which they countered - maybe they are better for not being finished… I have been recording songs for long enough, now, to be able to admit freely that some of my demo recordings are indeed superior to the final versions. But this was a different concept being proposed. I had deliberately left space for counterpart, harmony, whatever… could such space, such absence actually benefit the piece? Maybe even more so that the expected adjunct? Enough time had passed since I submitted the pieces (Spring 2012) and Bureau B’s suggestion (Fall 2013). I could see that they had a point, and two or three pieces immediately identified themselves as having profited from their rejection. We agreed to work towards an album of what I have come to call ‘slight pieces’. The result is the called 1D. Some pieces were originally created with overdubs by another in mind. Some were simply experiments. One or two may have had loftier ambitions…. None of the pieces involves the use of a piano keyboard or a computer, except to record it. Some modulations were executed by hand. Most were generated by programmed sequencers and logic. Each piece is a self contained electronic circuit. When it came to selecting the pieces it became clear that certain pieces would would need to be shortened if this was to become an LP or CD. I made rudimentary edits, the difficult stuff was done by Jonas Foerster in Berlin. Record Label: Bureau B Style: Electronic / Ambient

Helena Hauff will release her debut solo album via Werkdiscs/Ninja Tune. Titled Discreet Desires, it’s the most in depth summation of the Golden Pudel resident DJ’s improvised one-take machine-funk to date. Making her recording debut just two years ago in 2013, Helena’s first release was a 3-track EP – Actio Reactio - on Actress’ Werkdiscs imprint. She has since partnered with PAN (as Black Sites alongside F#x), Lux Rec, Bunker sublabel Panzerkreuz and Texan cassette imprint Handmade Birds to share her overtly analogue excursions into techno’s shadowy fringes, improvised and recorded in her bedroom studio in Hamburg. Fully embracing her love of hardware, Helena joined James Dean Brown’s legendary electronic improv outfit Hypnobeat (founded back in 1983) in 2013, blazing a trail across Europe with their intense polyrhythmic jam sessions on the TB-303, TR-707 and TR-808. “I have the feeling it’s more one-to-one – you do something and then the machine reacts. The machine has its own mind too, so it gives something back.” Ten tracks deep, Discreet Desires is the embodiment of Helena’s deep-seated beliefs about music as a radical force and unifying movement. Something that is evident from her growing stature as a selector and her enthusiasm for musical subcultures from punk to nu wave, industrial, krautrock and avant garde electro – all of which were rooted in raw experimentation and existed in polar opposition to the perfect, polished mainstream. “Perfection is pretty boring. It doesn’t really exist anyway… only in death. Death is perfect.” Record Label: Werkdiscs Style: Electro Wave

New solo album form the legendary german 80ies pioneer of pulsating electronic dance music: Gabi Delgado-Lopez of the DAF! Record Label: Oblivion Style: Electro-Pop

Vinyl includes mp3 coupon.. Gone by the Dawn, the newest Shannon and the Clams album, is their best work to date. The music is complex, the lyrical content is emotionally raw and honest, and the production is the strangest it's ever been. The album was written as one member was recovering from a serious breakup and another was deep in one. The lyrics reflect it, and the entire album is dripping with sadness, pain, and introspection. For Gone by the Dawn, the Oakland trio hooked up with studio wizard and renaissance-man Sonny Smith to record the album at Tiny Telephone Recording in San Francisco. Best known as the driving force behind San Francisco's beloved Sonny and the Sunsets, Smith uses his refreshing production techniques to create an engaging sonic landscape without compromising the Clams' signature Lou Christie-meets-The Circle Jerks sound. The Clams have evolved: their skills are sharper, their chops are tighter and weirder and they've added new instruments to the mix. A whole new dimension of the Clams has emerged. Nowadays, it's exceedingly rare for a two-and-half minute rock song to have raw emotional power, but with Gone by the Dawn Shannon and the Clams have gifted us an entire album of them. Record Label: Hardly Art Style: Garage Rock

Double LP packaging features unique reverse flap exterior, full color Eurosleeve, 16 page booklet and download card. Artificial Dance chronicles K. Leimer's complete collaborative venture as Savant and explores the unpredictable alchemy of music made in chance environments. For fans of Brian Eno & David Byrne's My Life in the Bush of Ghosts, Artificial Dance is a revelatory document of tape spliced funk, fourth-world foraging, and nonconformist musical ethos colliding. Record Label: Rvng Intl. Style: Ambient

And God said Let there be more Aphex Twin songs, and it was so — kind of. Richard D. James is indeed releasing a new album, Orphaned Deejay Selek 2006-08, but it’s under his AFX moniker, last seen on his Analord series from 2003-2005. Record Label: Warp Style: Electronic

Artificial Dance chronicles K. Leimer's complete collaborative venture as Savant and explores the unpredictable alchemy of music made in chance environments. For fans of Brian Eno & David Byrne's My Life in the Bush of Ghosts, Artificial Dance is a revelatory document of tape spliced funk, fourth-world foraging, and nonconformist musical ethos colliding. CD packaging features unique reverse flap exterior, full color inner sleeve, and 20 page booklet Record Label: Rvng Intl. Style: Ambient

Record Label: Kallias Style: Electronica

Record Label: Domino Records Style: Electronic

Official reissue of rare Trinidad and Tabago 1986 LP * Original cover artwork with printed inner featuring artwork and words by Brother Resistance Originally released in 1986, Brother Resistance's Rapso Take Over blends calypso, reggae, disco, funk and poetry to create the artist's signature Rapso sound. A progressive form of poetry from Trinidad and Tobago, Rapso emerged as a means by which to articulate the daily suffering symptomatic of the social unrest afflicting the nation throughout the 1970s and 80s. Brother Resistance played a significant role in the Rapso movement, deploying his music to spread messages of hope and liberation. The authorities took Brother Resistance's rising status seriously, destroying what they could of his studios and in the process leaving only a small amount of his music in circulation. Now for the first time we can hear Brother Resistance's finest work remastered and repressed by Left Ear Records. The music and the message live on through Rapso Take Over's stripped back rhythms infused with steel and strings, all carried by the voice of resistance. Record Label: Left Ear Records/Lita Style: World Music

Record Label: Domino Records Style: Electronic

Living is the latest project of Federico Bertelli, one of the best and popular Italian harmonicist, which comes out in July 2015 for Jando Music / Via Veneto Jazz. We find sounds reminiscent of the colors and the warm atmosphere of Central and South Ameri Record Label: Via Veneto Jazz/Abrax Style: Jazz