Electro/Ambient

Artist: Shanti Label: Real Gone Music

Artist: Fantasma Label: Soundway Records

Artist: Various Artists Label: Soundway Records

Artist: Jon Spencer Label: Bronze Rat

Artist: James Taylor Label: Music On Vinyl

Record Label: Thrill Jockey Style: Independent

First pressing on coloured vinyl! - 180g vinyl - printed innersleeve - heavy cover jacket - downloadcode Fogh Depot is not just a collaboration between three musicians weaving a cozy melancholic cocoon in the midst of a looming, cold, unwelcoming metropolis of Moscow. It's a creativity lab where complex cryptoanarchic ideas rigidify in the viscously flowing Phrygian mode, while the simple and naive piano melodies sweep the listener right back to childhood. Fogh Depot's debut album contains eight stories told by different people in different places. "Anticyclone" feels like a massive hedge-maze amidst towering sand dunes of apathetic lust. "Mining" - is a slow descent into a narrow, murky mine, now and then suddenly illuminated by the guide's flaring torch. Does he even know where he's leading his patrons? Sorrowful and strange, "Nevalyashka" is a nostalgic waltz, bringing to mind an old wooden attic where forgotten toys are gathering dust, while the clear and springy bass in "Sagittarius" can only be the belligerent footsteps of a mythical centaur. The simplest way to define Fogh Depot's music would be to call it seductive brooding jazz with an electronic twist. Fogh Depot conjoin the unconjoinable, combining distorted low resolution samples with pure, atmospheric piano chords, multilayered drones with bebop changes, four-to-the-floor beat with polyrhythm, simple, easy-to-remember tunes with sophisticated effects for woodwinds, springy bass grooves with timeless ambient soundscapes. Live performance targeted at acoustic perception binds this technological hodgepodge together, giving every listener a chance to find the right texture for a rainy evening and a glass of good scotch. Recommended if you like Xploding Plastix, Bohren & der Club of Gore, Kilimanjaro Darkjazz Ensemble, Dale Cooper Quartet Record Label: Denovali Style: Experimental

Features eight brand new reinterpretations and re-workings of classic Chris & Cosey songs from the 1980s and 1990s. The idea for the album originated from their recent much requested, live performances of 'CARTER TUTTI PLAYS CHRIS & COSEY' which led to an unprecedented series of shows in the U.K., Europe, Scandinavia and North America from 2011 to 2014. These dates in turn instigated so many requests for recordings of the live set that they were inspired late last year to re-record this collection of reworked classic versions in their own Norfolk studio. Each format will feature an exclusive remixed track - Compact Disc copies feature 'Vengeance' (Exclusive Remix) and the Vinyl edition includes all five tracks from their 2014 U.S. limited tour merchandise CD. There is also a video to promote the album based on a new Carter Tutti edit of the C&C track 'Sin (2015)', directed by Gavin Toomey from footage he has been shooting and archiving for a forthcoming Chris & Cosey biographical documentary. Record Label: C.T.I Style: Electronic

Record Label: Miasmah Style: Electro/Ambient

Fogh Depot is not just a collaboration between three musicians weaving a cozy melancholic cocoon in the midst of a looming, cold, unwelcoming metropolis of Moscow. It's a creativity lab where complex cryptoanarchic ideas rigidify in the viscously flowing Phrygian mode, while the simple and naive piano melodies sweep the listener right back to childhood. Fogh Depot's debut album contains eight stories told by different people in different places. "Anticyclone" feels like a massive hedge-maze amidst towering sand dunes of apathetic lust. "Mining" - is a slow descent into a narrow, murky mine, now and then suddenly illuminated by the guide's flaring torch. Does he even know where he's leading his patrons? Sorrowful and strange, "Nevalyashka" is a nostalgic waltz, bringing to mind an old wooden attic where forgotten toys are gathering dust, while the clear and springy bass in "Sagittarius" can only be the belligerent footsteps of a mythical centaur. The simplest way to define Fogh Depot's music would be to call it seductive brooding jazz with an electronic twist. Fogh Depot conjoin the unconjoinable, combining distorted low resolution samples with pure, atmospheric piano chords, multilayered drones with bebop changes, four-to-the-floor beat with polyrhythm, simple, easy-to-remember tunes with sophisticated effects for woodwinds, springy bass grooves with timeless ambient soundscapes. Live performance targeted at acoustic perception binds this technological hodgepodge together, giving every listener a chance to find the right texture for a rainy evening and a glass of good scotch. Recommended if you like Xploding Plastix, Bohren & der Club of Gore, Kilimanjaro Darkjazz Ensemble, Dale Cooper Quartet Record Label: Denovali Style: Experimental

Features eight brand new reinterpretations and re-workings of classic Chris & Cosey songs from the 1980s and 1990s. The idea for the album originated from their recent much requested, live performances of 'CARTER TUTTI PLAYS CHRIS & COSEY' which led to an unprecedented series of shows in the U.K., Europe, Scandinavia and North America from 2011 to 2014. These dates in turn instigated so many requests for recordings of the live set that they were inspired late last year to re-record this collection of reworked classic versions in their own Norfolk studio. Each format will feature an exclusive remixed track - Compact Disc copies feature 'Vengeance' (Exclusive Remix) and the Vinyl edition includes all five tracks from their 2014 U.S. limited tour merchandise CD. There is also a video to promote the album based on a new Carter Tutti edit of the C&C track 'Sin (2015)', directed by Gavin Toomey from footage he has been shooting and archiving for a forthcoming Chris & Cosey biographical documentary. Record Label: C.T.I Style: Electronic

Recorded over four nights at The Music Hall of Williamsburg, this triple LP is a veritable best-of from a band at the height of their performative powers. Featuring scorching renditions of the best-loved songs of the Phosphorescent catalog, from "Los Angeles" to "Song for Zula", Phosphorescent delivers a live album for all-time. The shows featured the full line up of Matthew Houck (Voice, Guitar, Piano), Rustine Bragaw (Bass, Voice), Christopher Marine (Drums), David Torch (Percussion), Jo Schornikow (Organ, Voice), Scott Stapleton (Piano, Voice), Ricky Ray Jackson (Pedal Steel, Guitar, Voice). This is far from a quick cash-in live album - in fact, it should should perhaps be seen as the ultimate Phosphorescent record, taking the recordings that make the studio album to a whole new level. Once Houck had pieced together the tracks, he and album mixer John Agnello worked through the tracks, mixing them to truly represent that amazing Phosphorescent sound - one part cowboy bravado, one part wounded master. This album should be considered an addition to the pantheon of classic live records - The Who's "Live at Leeds", Frampton "Comes Alive", Neil Young's "Rust Never Sleeps", The Band's "The Last Waltz", Bob Marley's "Live", Cheap Trick's "Live at the Budokan" - like those, it is a defining moment in the catalogue of Phosphorescent. The 3xLP version comes in a triple-gatefold LP. Comes with album download Record Label: Dead Oceans Style: Independent

For their latest spiritual odyssey, Moloney and Moore-in his triumphant return to the Northern Spy imprint after 2013's Record Store Day exclusive The Only Way To Go Is Straight Through with fellow guitar luminary, Loren Connors-deliver the volcanic and violent maelstrom, Full Bleed. But unlike the helter-skelter out-jazz of Caught on Tape ("Full bore savage highway stuff, the mind exploding with wall melting emotion," says Moore/Moloney about that platter), a set captured during a European junket and split into two untitled marathons, Full Bleed collects nine Herculean sludgefeasts dripping of gnarly metal-damaged heaviosity and punk-jazz skronk-splattered fury, transmitted in an alien language only this duo can convey. "They became songs as they were played," Moore/Moloney explain about their writing process. "Composed on the fiery tongue, like how all real cool improv needs to be experienced." And as far as assigning actual names to the songs? "We titled them to identify them as distinct 'songs' because that is what they need to be to survive in this fucked landscape of politician dung patrol. They became snakes." First proper studio album/widely distributed release from the pairing of Thurston Moore and John Moloney (sometimes known as Caught On Tape). The music is heavy and noisy, yet bears the unmistakably poignant touch of the Sonic Youth mastermind and Sunburned Hand Of The Man legend. Thurston Moore is one of the founders of noise rock, and one of the most idiosyncratic guitarists of all time. John Moloney rose to prominence as the drummer of the psychedelic, ever-prolific Sunburned Hand Of The Man. They have been combining their talents in an experimental duo project since 2012, cutting several limited release LPs and performing internationally Record Label: Northern Spy Style: Avantgarde

Geins't Naït is a project initiated in 1986 with a first album released by Thierry Merigout (drummer with Kas Product on their 1981 tour) and Vincent Hachet, who quickly stepped back from this project to work on his film-maker career. The L'or'n Cät album's release in 1987 marked the arrival of Laurent Petitgand, a singer-songwriter recognized for his composing work for (the late French singer) Bashung and original soundtracks for film directors such as Wim Wenders (including Tokyo-Ga, 1985, Wings of Desire, 1986, and the future The Salt of the Earth, scheduled in 2014), Paul Auster (The Inner Life of Martin Frost), as well as ballet music for Angelin Preljocaj (Liqueurs de Chair, Amer America). Bases are thus set down. While Geins't Naït offers rough pieces of music as an extension of its punk attitude which deeply moved the Berlin scene years ago, Laurent Petitgand is busy refining them and creating some musicality within the post-industrial collages, adding guitars, piano or any classical instrument. In 1993, following the release of C/O Lisa on the Permis de Construire label, noise gave way to a silence that lasted 20 years. Coming from nowhere, Si j'avais su, j'aurais rien dit, a particularly tormented album which, against all odds, revived the project in 2011. An album which showed an increasing alchemy between the two musicians whose different routes, this common project aside, seem to fit perfectly well now. Now, and more than ever, the duo's approach is based on an in-depth field. To sharpen the sounds, give them some kind of balance, a density and a mark. More than anything else, to make sure that music is a langage, an experience in the deeper meaning of the term. In its form, the collaboration between Geins't Naït and Laurent Petitgand echoes the adventurous musics from the eighties and is the French counterpoint to experimental british scenes (Coil, Current 93, Test Dept) and german scenes (Einstürzende Neubauten, Sprung Aus Den Wolken), so much so that this new work is difficult to label in its totality, entering ambient or industrial fields, as well as minimalist or repetitive music. Je vous dis is obvious in its ability for listeners to give life to the smallest element which is part of it, would it be a sample, a piano melody, or even the amazing work on voices, which, as well as instrumentation, assume a central part in the tracks balance. Melancholic, with a retained violence, sometimes even with a fearsome violence, Je vous dis surprises and captivates in its way to subtly catch the listener, thanks to a disturbing nocturnal mood, but also to an unsettling humanity. But this record is far from being an hermetical work : it's quite the opposite. Difficulty is not to get in this world, however particular or deviant it is, but to get out. More than just music, Je vous dis is a visceral obsession about detail, a sound sculpture with changing forms and various aspects, an unsleeping creature with inscrutable soul. As soon as one believes to have understood it, the next listening brings the listener back into doubt and questions. As in a situationist movie for which that album would be a perfect soundtrack, each complete immersion offers its lot of news interpretations and details, with were unkown until now but are definitively obvious in the end. A real masterpiece for the mind : complex, poetic and sophisticated, even in its darkest moments. Record Label: Ici D'Ailleurs Style: Experimental

S. Carey is the project of Sean Carey of Bon Iver. Recorded primarily during the perigee-syzygy (also known as the super moon) of August 2014, the Supermoon EP from S. Carey is a study in scale, space, and proximity. These songs are a new and closer look into existing works from both S. Carey's renowned full-lengths, 2010's All We Grow and 2014's Range of Light. With Supermoon, Carey has broken these songs down to their essential, acoustic parts with his forever humming vocals laid over top, lilting yet percussive piano, and a subtle swath of harmonic strings. You can hear Carey's breath between words and the pat of his fingers on the keys; you can hear the living room in which his family's baby grand piano sits. These songs are beautiful, intimate and so potently personal. This collection is a stark presentation of S. Carey laid bare, an open invitation for the listener to climb into his world. One particularly poignant piece is the re-imagined Range of Light closer, "Neverending Fountain," perhaps an apt metaphor for the life of the songs themselves. Says Carey, "The longer you spend with a song, the more you can see it in its pure form." Supermoon also features a heartrending cover of "Bullet Proof.. I Wish I Was" from Radiohead's classic album The Bends, and a new song, the EP's namesake, "Supermoon," which takes its inspiration, like much of Carey's work, from the natural world around him. Another source of inspiration quoted by Carey is the excitement of working out arrangements for pre-existing songs on the spot, for various sessions on tour. He brought that spirit to the recording of Supermoon, which took place over the course of a single weekend. Already known as an artist of impeccable craft, S. Carey worked with long-time friends and collaborators (Mike Noyce played viola, Zach Hanson engineered, mixed, and mastered) to add a chapter to the still unfolding story of Sean Carey as an artist. We can hear the songwriting, singing and performance for what it truly is; understated, true and pure beauty Record Label: Jagjaguwar Style: Independent

Last year, electronic producer Richard D. James made one of 2014’s boldest comebacks with Syro, his first new Aphex Twin album in 13 years. And he’s carried that momentum over to a new 14-track EP, Computer Controlled Acoustic Instruments Pt2, which will be released January 23rd via Warp Records. Record Label: Warp Style: Electronic

For their latest spiritual odyssey, Moloney and Moore-in his triumphant return to the Northern Spy imprint after 2013's Record Store Day exclusive The Only Way To Go Is Straight Through with fellow guitar luminary, Loren Connors-deliver the volcanic and violent maelstrom, Full Bleed. But unlike the helter-skelter out-jazz of Caught on Tape ("Full bore savage highway stuff, the mind exploding with wall melting emotion," says Moore/Moloney about that platter), a set captured during a European junket and split into two untitled marathons, Full Bleed collects nine Herculean sludgefeasts dripping of gnarly metal-damaged heaviosity and punk-jazz skronk-splattered fury, transmitted in an alien language only this duo can convey. "They became songs as they were played," Moore/Moloney explain about their writing process. "Composed on the fiery tongue, like how all real cool improv needs to be experienced." And as far as assigning actual names to the songs? "We titled them to identify them as distinct 'songs' because that is what they need to be to survive in this fucked landscape of politician dung patrol. They became snakes." First proper studio album/widely distributed release from the pairing of Thurston Moore and John Moloney (sometimes known as Caught On Tape). The music is heavy and noisy, yet bears the unmistakably poignant touch of the Sonic Youth mastermind and Sunburned Hand Of The Man legend. Thurston Moore is one of the founders of noise rock, and one of the most idiosyncratic guitarists of all time. John Moloney rose to prominence as the drummer of the psychedelic, ever-prolific Sunburned Hand Of The Man. They have been combining their talents in an experimental duo project since 2012, cutting several limited release LPs and performing internationally Record Label: Northern Spy Style: Avantgarde

Last year, electronic producer Richard D. James made one of 2014’s boldest comebacks with Syro, his first new Aphex Twin album in 13 years. And he’s carried that momentum over to a new 14-track EP, Computer Controlled Acoustic Instruments Pt2, which will be released January 23rd via Warp Records. Record Label: Warp Style: Electronic

Record Label: Geometrik Style: EBM/Electro

thick heavy sleeve with printing - printed innersleeve - 180g vinyl - Downloadcode. Ricardo Donoso is a composer, percussionist and electronic musician from Rio de Janeiro, Brazil who currently resides in Boston. After having studied composition at Berklee College of Music and New England Conservatory he has participated in a slew of projects over the years, most notably playing drums for avant-death metal unit Ehnahre and being one half of the ever morphing electronic duo Perispirit. Ricardo's musical vocabulary draws as much from contemporary composition, drone, to techno and noise. A year before exploding onto the electronic music scene in 2011with the critically acclaimed Progress Chance, Ricardo Donoso's debut release "Deterrence" was issued as an extremely limited cassette edition - a through-composed ambient piece, "Deterrence" is stripped of all the rhythmic flux which he has become known for. Considered by many in underground circles to be a true masterwork of the Dark Ambient genre, "Deterrence" is often times compared to works by artists such as Lustmord, Biosphere & Deathprod. Denovali is pleased to finally present this much needed reissue, five years from its inception. It's a fitting time for "Deterrence" to see the light of day, as it lets us explore Donoso's roots as a composer, both musically & thematically. With the simultaneous release of his new opus "Sarava Exu" one can't help but connect the dots from some of the foundations laid out on "Deterrence"; the glacial drones underpinning melodic flourishes on the surface , the patience and pacing of each movement and the use of space, sound design and texture in equal balance with the harmonic and melodic content. Although vastly different from the much loved, geometric inspired Digitalis trilogy, "Deterrence" still serves its function of sucking you into its world, guiding the listener through barren landscapes, dreamlike imagery and moments of hopeful yearning then spitting you out on the other side. Like past Donoso releases, it begs to be excavated and explored, revealing more & more of itself upon closer inspection. The motivic cycling chords tumble in-between tape his & location recordings, sometimes appearing inverted, upside down, in reversed order, but always there, present and serving it's function. Melodic content is hinted at on opener "Simulated Charity", becoming fully exposed at the halfway point on a broken down piano on "Prisoner's Dilemma" as feedback swells and guitar drones carry the movement along until the massive crescendo in "Mutual Assured Destruction" gives us some respite, albeit only briefly as the tonal clouds are then drowned by claustrophobic textures, leaving us not with answers, but more questions. While always pushing forward, Donoso' manages to maintain with each release his cinematic grandeur, an elegant narrative arc and a truly singular and dramatic tone. "Deterrence" is a small, yet important window into the one of contemporary electronic music's most unique voices. Recommended if you like Biosphere, Lustmord or Deathprod Record Label: Denovali Style: Experimental