The three EPs will be available as one full length release titled All Encores featuring 80 minutes of music to follow his masterful 2018 album All Melody.

Whilst Encores 1 focused on an acoustic pallet of sounds with solo piano and harmonium at the core, and Encores 2 explored more ambient landscapes, now Encores 3 sees Nils expand on the percussive and electronic elements in his work.

“The idea behind All Encores is one we had from before All Melody; to separate releases each with their own distinct musical style and theme, perhaps even as a triple album. But All Melody became larger than itself and took over any initial concepts. I think the idea of All Encores is like musical islands that compliment All Melody.”

Moulded during All Melody but refined by his live performances, All Encores is testament to Nils’ exceptional ability to craft his art on stage. Artificially Intelligent which showcases his ‘mad professor’ organ, and All Armed which has been a live favourite for some time, appearing on set lists since 2015, are now available to hear on record for the very first time. The final track of Encores 3, as well as the whole series, Amirador, perhaps aptly nods to the Spanish word for ‘lookout’ and hints at what’s to come.

FORMAT INFORMATION

3xLtd LP Info: In celebration of the fifth Piano Day, Nils Frahm releases his acclaimed 'All Encores' album on 3LP vinyl.

Within A Western Circular lies an exciting and varied crew of guest artists including MF DOOM, Samuel T. Herring (Future Islands), Sudan Archives, and Laura Groves, all contributing vocals to his rich, dexterous compositions. These collaborations are the by-product of several years of writing and producing. Recently, he’s appeared extensively on the debut albums by Sudan Archives (writing the lead single, 'Confessions', no less) and Nilüfer Yanya (contributing seven songs), alongside work with Celeste, and another writer and production credit on Jessie Ware’s Devotion.

An album that’s been in the works for the past half-decade, A Western Circular is a bold, reflective piece that directly relates to Archer’s personal experiences of life and death, centered on one particular week where they breathed with equal intensity. The record’s themes of greed, love and loyalty all relate back to that specific time. Inspired by author John Fante, A Western Circular is a spiritual voyage through life’s pushing and pulling: finding beauty in the rough, sadness in the bright. Ostensibly, it’s a poignant reflection on the duality of the human condition.

On the record, Archer has uncovered new depths and forged an invigorating singular sound - supple and multi-layered, honouring his acoustic heritage and influence, while building a sonic universe that commands contemporary references to everything from Frank Zappa to Yasuaki Shimuzu, Robert Wyatt to Arthur Russell.

FORMAT INFORMATION

Coloured LP Info: Indies exclusive clear vinyl.

Deluxe LP Info: Album on clear vinyl, comes with white label 12” of Last Sniff featuring MF Doom on black vinyl.

Boston's Dana Kelley aka Callisto is a man whose music has long been the subject of much deserved adulation. A student of the deep and soulful, an explorer of the melodic and galactic, and an artist who manages to capture imaginations with his supremely crafted sonics. He is a much missed artist, someone who departed the physical too early, but the body of work he left behind has spoken to generations of listeners, DJ's and fans in equal measure.

This is the third and final instalment of 3 compilations focused on Callisto's golden period of productions for the legendary Chicago label Guidance Recordings. As with the other volumes that preceded it, it's an outright and joyous celebration of his music, his vision and the forward looking nature of his music that is still intact today. It's hard to think of someone with a more unique style and with a truer idea of their own sound-world. Callisto takes us deep inside, into other worlds with his own individualistic take on house, techno, ambient and even jungle and D&B.

These compilations celebrate one of the most idiosyncratic artists from the second wave of US house music producers, a truly essential body of work presented here respectfully, sourced from all audio sources courtesy of Above Board Projects, Guidance Recordings and Dana's family. Mastered by Curved, London and with special artwork by Atelier Superplus featuring a never before seen image of Dana from his family's photo albums.

Continuing a run of highly musical releases, Local Talk is proud to present Cody Ferreira aka CoFlo to the label with 'Lux'.

Joining the dots between house, hi-tech soul and jazz focused synthesizer solos, CoFlo explores a wider range of influences, it's essential.
On the flip Kaidi Tatham delivers another flawless remix where his exquisite production abilities shine and he shows us why he remains one of our favourite producers out there.

CD1 Tropical Gothic
Mike Cooper studies different approaches to his method of uniting guitar and field recordings into a constant stream of sound, where he delivers chaos and melody – not necessarily in that order. A series of shorter pieces open the album. Each of them offering a myriad of images and sensations, between the enigmatic and terror (“The Pit”), joy, happiness and freedom (“Running Naked”) or pure contemplation (“Onibaba”). The album closes with its 18th minute magical piece “Lelong & Gods Of Bali”. A mix of ambient exotica music, silent film soundtrack and distorted rhythms that dance around Mike’s guitar. It keeps reinventing and transforming itself throughout those eighteen minutes, summing up the dexterity and muscle of Mike Cooper’s music of the last two decades.

CD2 Tropical Gothic: Live at Café Oto
‘Tropical Gothic - Live At Cafe Oto’ was performed as a live improvised version of Mike’s release of the same name. Joined on stage by Clive Bell and Sylvia Hallet and performed alongside three of Mike’s videos - Ko Lanta, Walking In Ubin and a mash up containing excerpts from some of Mike’s favorite ‘tropical gothic’ films ( Onibaba, Opera Jawa, Kwaidan, Tabu & White Shadows In The South Seas). Both Clive and Sylvia play an array of Asian and ‘exotic’ instruments; both are improvisers and have been playing together on and off over many years. Sylvia had collaborated with David Toop on his opera Star Shaped Biscuit, a work that might also be considered tropical gothic(?) and Clive Bell, an international traveller, writer and expert player of the Japanese Shakuhachi flute, as well as other Asian blown instruments, is very familiar with Mike Cooper’s musical excursions into Ambient/ Electronic/ Exotica.

Brooklyn-based cellist Clarice Jensen’s gorgeous sophomore album and first for FatCat’s pioneering 130701 imprint, ‘The experience of repetition as death’ was recorded and mixed by Francesco Donadello at Vox-Ton studios in Berlin in late 2018 and mastered by Rafael Anton Irisarri. Following up her hugely impressive 2018 debut, ‘For This From That Will Be Filled’, which included collaborations with Jóhann Jóhannsson and Michael Harrison, all of the material on this new album was written and performed by Clarice alone and all of the sounds on it were created with a cello through a variety of effects and effects pedals.

Clarice has recorded and performed for a host of stellar artists including Jóhann Jóhannsson, Max Richter, Björk, Arcade Fire, Nick Cave, Jónsi, Stars of the Lid, Dustin O’Halloran, Joanna Newsom, Nico Muhly, Dirty Projectors, Frightened Rabbit and Beirut. Receiving glowing critical acclaim, both her previous releases made it into Pitchfork’s End Of Year charts.

For fans of Jóhann Jóhannsson, Hildur Gudnadottir, Stars of the Lid, Max Richter, Pauline Oliveros, Harold Budd, A Winged Victory For The Sullen, Sarah Davachi, Resina, Maria W Horn, Ellen Arkbro, Kali Malone, Christina Vantzou, Abul Mogard, Galya Bisengalieva, Richard Skelton, GAS, Steve Reich.

Holy shit! If it isn’t three unheard 1960s and 1970s reels from the unreal and unreleased Basil Kirchin Tape Archive. Sublime pastoral jazz, autistic children screaming, spooky vocals, experimental tape manipulation and more from the master of such thing.

HISTORY:
The three parts of this new Basil Kirchin album come from three very different tapes from his archive. All parts were unreleased until now.

“Pat’s Pigs” actually sounds to me like a Basil bird recording, slowed and treated, mixed with simple improvisation. But it could well be pigs. Pat’s pigs. This whole tape recording may have been an early experiment towards what was to become Worlds Within Worlds Parts I and II. A lot of Basil’s work was headed in that direction.

“Electronic” – first of all this is not that electronic. There are elements of the classic Kirchin drone sound here, mixed with multiple and treated recordings of the autistic children of Schurmatt, along with Esther, his wife, singing. I remember speaking to Basil many years ago about his Schurmatt recordings. Esther worked as a nurse with the children, Basil got to know many of them, and became fascinated by the extreme musical noises they would make with their voices. This recording is not necessarily for the faint hearted, but makes for extraordinary listening, based on the fact this would have been made and mixed, simply as a classic and progressive Kirchin experiment, back in the late 1960s/ early 1970s. This also has untreated elements that would eventually contribute towards Quantum, his preferred version of the WWW concept.

“The Suspended Fourth” comes across like a soundtrack, so it could well be part of what Basil called his “imaginary film music period”. It has a very distinctive and pastoral Kirchin style leitmotif that repeats along its glorious and slightly disturbed 21 minutes. It’s very well produced, possibly built up and improvised over a few days, could well have been an experiment, a pitch or just something that had to come out in the groovy studio. The tape itself states that this is The Suspended Forth with a subtitle: “The Musical Study Of A Mind, Part 1 Schizophrenia”. It therefore could even be something to do with a soundtrack he was asked to make for a mental heath conference for psychiatrists at Earls Court in the late 1960s (see States Of Mind, JBH005LP – the British jazz musical line seems like it could well be the very same). But who knows for sure? I shall continue looking in the archive for other possible parts.

Before I go, the original title for this album and the artwork come from an empty tape box in the archive, which I think sums up all sorts of things about Basil, his awesome music and the tape archive all at the same time.

More reel discoveries will follow. Thanks for listening as always. 

A delight of hypnotic rhythms made of slow minimal beats, industrial textures, intoxicating drones and repetitive voices that seem to merge from dreams. Everything built by two of the most brilliant industrial music minds: Steven Stapleton and Colin Potter. Rock 'n Roll Station began life with Steven Stapleton asking engineer Colin Potter to remix some of the more rhythmic elements of 'Colder Still' from 1992's Thunder Perfect Mind. As Potter gradually warped these sections into weirder and weirder pieces, a new album began to emerge.

Potter himself explained it to David Keenan in England’s Hidden Reverse: “What I sometimes did in the studio was to ‘over-use’ effects and processors to totally mutate a piece into something completely different” while Stapleton observed how “it was almost as though telepathic messages were sent over to Colin. [We’d] started an album [together at IC Studio] that was never finished. He [then] sent me some vague mixes, which were just what I had in mind. So, from that basis, I started putting the album together.” Potter would quickly become a key player in Nurse With Wound’s productions, a position he continues to fulfil to this day. He was first credited as a member on 1992’s Thunder Perfect Mind, a tour-de-force of cold, at times hostile, machined atmospheres, but considers Rock ‘N Roll Station from the following year to still be his favourite. Building on percussion and drone elements, Stapleton and Potter throw in a huge range of bizarre and atmospheric elements: didgeridoos, chanting voices, and their usual selection of unidentifiable sounds. Its strong focus on rhythm was erroneously surmised by some as an attempt to join the then rising electronic dance music scene. But it was Stapleton’s recent obsession with the music of ‘King of the Mambo’ Pérez Prado that was beating at the heart of Rock N’ Roll Station’s heady rhythms.

The album’s title alluded to two specifically rock-related stations of influence: the song of the same name by Jac Berrocal, of which a surprisingly straight cover opens the album in homage; and the tragic life of the Sixties British R&B organist Graham Bond who influenced bands such as Deep Purple and Cream. Beset by mental health problems (at one point believing he was the son of Aleister Crowley), Bond died under a train at a Tube station in 1989 and it is this tragic scene that Rock ‘n Roll Station’s closing track, ‘Finsbury Park, May 8th, 1:35 PM (I'll See You In Another World)’, sets in sound. "This album arrived somewhere after a dream meeting of several individuals, Graham Bond, Joe Meek, Jacques Berrocal and myself. After a few beers and a heated disscussion of puncture repair we all lay down in a circle and point our penises at Venus, telepathic messages are sent out to Colin saying he can use the two golden microphones. He did, and here we are." Steven Stapleton, 17.1.94. 

FORMAT INFORMATION

2xLP Info: Limited one-off pressing with letter press cover and bonus track.

The Orb (Alex Paterson and Michael Rendall) return with a new album that features Youth (Killing Joke), Steve Hillage (Gong, System 7), Roger Eno (co-creator of the Apollo album with Brian Eno & Daniel Lanois) & Jah Wobble (PiL, Primal Scream Orb, Invaders of the Heart). Really The Orb should need no introduction by now, but in essence they’re a rotating cast of members helmed by Paterson that began in 1988 and still thrives to this day. They were there since UK acid house day one, providing a unique ambient take on the musical milieu and soon rising to chart-topping, huge-venue-headlining prominence. They’ve released 19 albums plus EPs, singles, compilations and live recordings, influencing countless other musicians along the way.

FORMAT INFORMATION

2xColoured LP Info: Indies exclusive transparent blue vinyl.

Ulrich Schnauss, the highly respected German electronic music composer, has taken the opportunity to remaster his entire back catalogue having recently had all his recording rights returned to him. Reissued on his own Scripted Realities label. The fourth of five albums, ‘A Long Way To Fall - Rebound’ was originally released in 2013 and has been rerecorded and reworked as well as being remastered. It now sounds the way Ulrich had intended, hence the new additional ‘Rebound’ title.

For fans of Brian Eno, Jon Hopkins, Tycho

Ulrich Schnauss, the highly respected German electronic music composer, has taken the opportunity to remaster his entire back catalogue having recently had all his recording rights returned to him. Reissued on his own Scripted Realities label. The first of five albums, ‘Far Away Trains Passing By’ was originally released in 2001 and was the album that introduced Ulrich to the world. It is generally regarded as a landmark electronic music statement and now comes with 9 bonus tracks.

For fans of Brian Eno, Jon Hopkins, Tycho.

As the title suggests, UK producer Stumbleine’s seventh album ‘Sink Into The Ether’ offers a deep submergence within a celestial upper region somewhere beyond the clouds. Thriving on the space in between things, ‘Sink Into The Ether’ is chilled, heavenly and thought provoking. It’s another multi-faceted creation of glowing sonic vistas that are set to enrapture in 2020. The album envelops the listener from the outset with the soft, pitched sway of “Sonder”. The track ebbs through calming shadows, showcasing Stumbleine’s warm, electronic glow and gamut of influences, with hushed hypnotic delayed sounds, vocal samples and snappy beats. Stumbleine’s skill at blending an array of electronic timbres washes over the largely instrumental record, exemplified in “Supermodels”, with its lo-fi chorus-drenched haze building to an emotional, percussion-driven climax.

Here, and scattered about the album, RnB vocals are chopped-up, but glistening a dark, dreamy hue. A cover of the Hole song, “Malibu” features Elizabeth Heaton of Midas Fall. Her delicate, dream-like vocals waft over the hazy instrumental waves like tendrils of smoke, as they both grow ever more desperate, and slowly crash. Elsewhere on the album tracks like ‘Lost To The World’ come together more immediately with flourishing synths and soaring backdrops overlaid by a heady bass and intricate beats, while ‘White Noise Therapy’ invokes a cinematic Tokyo-set film score peppered with playful soft pianos. “Lost To the World” swings in addictive pitched-vocal punches, circling itself into a spiral. “Your Angel Was Fake” has a hopeful darkness about it, recalling electronic shoegaze and witch house artists of the early 2010s. It scales and then pulls away, at once breathing and stopping, full of blanket synth pads and subtle snaps of percussion.

Also known for his work in post-dubstep trio Swarms, Stumbleine has steadily built a cult of admirers around himself following collaborations across his varied albums and EPs with the likes of ASA, Shura, Violet Skies, Birds of Passage, Steffaloo and more. His sound, if it can be compared to anything at all, straddles post-rock shoegaze soundscapes with ambient electronica and experimental movements into something that can be both an ASMR hug to the ears yet also similarly arresting, fractured and off-kilter depending on which way things flow. As different sounds shift in and out, narratives become clear slowly and disappear quickly throughout Stumbleine’s kaleidoscopic visions. 

FORMAT INFORMATION

Coloured LP Info: 180g Cream vinyl.

It is a cliché to describe music as a trip or an ocean or whatever, so this album, Tecwaa’s album “Beyond the Altai” released on Höga Nord Rekords, will in part be described as a snowman: the snowman has its characteristic familiar shape. He is cold yet there is something warm and cuddly about him, something that makes you feel happy and safe.

The A side on the album goes from that warm/cold cosy feeling but elements of destruction like melodies in minor keys slowly transforms the album to become only cold and not so cosy - the snow turns grey and the snowman’s smiling mouth becomes a twisted grin. Its contours disappears and the shape dissolves as the snow melts and floats out on the ground beneath its body. As the album develops, the sound gets harder and darker and the York based DJ moves closer to his roots in electro and Roland-machine knob-turning.

In some ways, “Beyond the Altai” is a call from the eighties and nineties dancefloors like in the tracks “Back To The Atomic Ether” and “10 Swords” on the B-side but all melts together in Tecwaa’s music to create his own obstinate and loose sound!

Few projects at the forefront of contemporary art truly push visceral sonic boundaries in the way that Yves Tumor does. With an arc that impartially sits between psych-rock and modern pop, comparisons only serve as limitations intended to define that which cannot be. Yves Tumor melds restraint and chaos; diluting reality by giving meaning to the abstract and allowing for dissonance to be seen and heard as harmony.

Heaven To A Tortured Mind - written and composed by Yves Tumor and produced by Yves Tumor and Justin Raisen (Sky Ferreira, Ariel Pink, Charli XCX) - marks the fourth official full-length release from Yves Tumor and the follow-up to 2018's critically acclaimed and era-defining Warp release, Safe In The Hands Of Love. Breakout singles "Noid", "Licking An Orchid" and "Lifetime" shifted critical perception into media such as the New York Times, Rolling Stone, Pitchfork, the Fader, NPR and more awarding the album as one of the best releases of the year.

Yves Tumor has steered the project into a whole new realm with Heaven To A Tortured Mind, piercing through contradiction, redefining expression through song, and catapulting Yves Tumor into the next phase of illusion and evolution. Heaven To A Tortured Mind finds its place in music history as a collection of anthems for a generation.

FORMAT INFORMATION

Coloured LP Info: Silver vinyl.

Coloured LP includes MP3 Download Code.

LP includes MP3 Download Code.

Following the 2018 release of a 12" preview sampler, BBE Music is excited to present the album 'A Taste of Chicago', a compilation of classic house edits by Jamie 3:26. Hailing from Beverly on the South Side of Chicago, Jamie 3:26 is an artist driven by a deep desire to get people moving in the dance. A Chi-Town vibe is always the focus for the master selector and producer who's capable of lighting up dance-floors around the world and that ethos shines through on this compilation, featuring a collection of tracks giving listeners a true insight into the sound, culture and style of the Windy City. The compilation sees classic tracks by the likes of Chip E, Quest and more get a serious Jamie 3:26 twist, with edits that not only capture the best of celebrated eras gone by, but point to the future too. Get ready for a unique and timeless journey into Chicago's famous house music scene, courtesy of one of the city's key players.

“This compilation represents the true unspoken sound of my city. While the House scene was blossoming into what would be a globally recognized phenomenon, we had this whole hidden movement going on. These personal edits that I played back then represent magical moments in time that are still being created in many of my sets today. A huge thank you to my music brothers Marshall Jefferson, Braxton Holmes, Tone B. Nimble, Chip E, Pap Spencer, Doc Brucio, Carl Bias for trusting my ears with your creations.” - Jamie 3:26