This is a parallel release from The Nomadic Listener - an augmented book project on migration, contemporary urban experience, and sonic alienation. The book is composed of a series of texts stemming from psychogeographic explorations of major contemporary cities, such as Copenhagen, Berlin, Brussels, Leipzig, The Hague, Graz, London, Kolkata, Vienna, Delhi, Hong Kong, Beirut, Venice, Vilnius, Cologne, Mumbai, Amsterdam, New York, Paris, and others, through situated writing and field recording. Each text is an act of contemplative listening, where the artist/author records his surrounding environment and attempts to attune to the sonic fluctuations of movement and the passing of events. Each corresponding sound attempts to trace these nomadic interactions in unedited field recording. What surfaces is a collection of meditations on the minutiae of life movingly interwoven with the author’s own memories, associations, desires and reflections. The release and the book publication are entwined by a QR code for an augmented listening experience that draws up a tender map of contemporary cities, and the often lonely, surprising, and random interactions found in urban navigation.

With 2018’s debut recording, Arde inflicted a mass of ravishing Black Metal into this dying world as the impending doom of our creation is projected into us day by day. As the dark veil of the current pandemic spread its vicious tentacles, the German collective handled its lockdown by focusing on the writing of a new tome.
Countless hours of living and breathing the concept behind “Ancestral Cult”, Arde forged a masterful work of atmospheric dense Black Metal wholly dedicated to ancient cults about goddesses and the female figure which holds a central place in many ancestral cultures. By addressing the struggle of women over time, Arde expresses with visceral intent the anger and frustration of and for the world we live in. The dedication to our destruction fuels “Ancestral Cult” with the fire and passion its concept urges for and such traits blaze in the blistering sound the album purveys.
Sonically enticing and utterly organic, the vigorous production showcases its dynamism through the miasma of cascading riffs bursting with the urgence and virulence of an avalanche, intimately partnering with a throbbing pulse of rhythmic fierceness. Sheerly intense, dexterous melodies overwhelm the ether on fast piercing gashes or heavy slower moments where the heart... bleeds and the voice reach for the heavens with a poignant vocal performance.
Although a small intermission halfway “Ancestral Cult”, “Síle” becomes the central piece on this record. A bucolic, beautifully ethereal performance by Cinder Well mystically invokes Mother Nature and the power and love that speaks from her and within her.
Released on Tape and Vinyl through Wolves of Hades, in conspiracy with Alerta Antifascista, and CD through Darkwoods, experience and nourish the magic, the light and the shadow, the sacred healing nature of our Mother Goddesses on an all-out epic journey of Black Metal ecstasy. more

6th Album

A votive. An object as an offering. An intention. A spell in physical form. Music as a form of invocation. Sound as clay. Moulded, sculpted, manipulated to embody said intention.Magick. Chaos. Turning sound into clay. Clay into earthen-ware. Literally.
“Making use of the term Votive opened a large room for interpretation for me.There is so much that I could argue with, which would be about me (atheism, queerness or feminism) in order to prevent misinterpretation. But I don’t want to limit the interpretation of it by explaining my own personal view.”— Rosa Anschütz
The debut LP from transmedia artist /vocalist/producer Rosa Anschütz is a collection of nine votives presented in sonic and ceramic form (every song has its sculptural equivalent). It’s the result of several years of daily rituals: word collages as incantations, audio sigils created by shaping electric voltages and casting sound into clay. «Votive» is also a highly charged space full of spirit/ emotion, a religious experience distilled from the ecstasies of an agnostic.
“I sang in choirs for a very long time and enjoy hearing multiple voices. I also love the reverb effect you get in a Church, I emulate this using effect pedals and plug-ins. I also use vocal loops like mantras. I can enter into self-hypnosis through singing.” — Rosa Anschütz
«Votive» was produced by Jan Wagner. It took three years for the initial sketches to punctuate in finished songs.The basis for themusicwas created using Rosa’s self-built modular synthesizer, which she describes as an entity full of personality that “reacts on my mood of the day.”The lyrics were distilled from her growing collection of decontextualised phrases, loose poems–oftenwritten on the move– and diary-like entries, obsessively collected over the years. During the production, these word-formations were intuitively combined with the modular soundscapes, and sculpted till they became holistic, well-balanced micro-universes.
“A synthesizer can literally absorb you. It not only has a range of sounds, but also its own personality. I’m constantly changing how I make use of it.” — Rosa Anschütz

Originally released in 1996, Are You Sequenced? was recorded live in concert in Derby, Great Britain on the 27th of April 1996 and was edited and remixed by Klaus Schulze that summer. Are You Sequenced? is an amalgamation of analogue sounds played on contemporary nineties equipment with the Schulze flair, with all eleven tracks played as a continuum. The new and definitive Revisited Records version contains the bonus track, Vat Was Dat?, recorded in Hambühren in 1993 and comes packaged in a deluxe digipak with new liner notes and rare photos.

Klaus Schulze first attracted attention as a member of the German progressive rock band, Tangerine Dream. Following the release of their debut LP, Electronic Meditation, he departed for a solo career. Klaus' recorded work typically features extended pieces sometimes filling an entire album built around computer-generated synthesizers and other specially programmed electronic effects. Klaus Schulze remains a cult figure in the United States, where the bulk of his prolific output has until now been available only through the import bins. He is widely considered an avant-garde mainstay as well as a founding father of both the new-age space music and electronica genres.

Neustrelitz, Germany
Everything comes,
everything goes,
everything is beautiful.
We forget to cry. We forget our shiver. We forget the true faces, behind ours.
Swœr produces and arranges everything on his own.
Little by little, every instrument get’s recorded, the mixing happens at home on the couch with wine.

Techno isn’t a genre that has birthed many consistent albums, and the dub techno subgenre even less so, but one indisputable classic is Porter Ricks’ debut ‘Biokinetics’. Originally issued on the legendary Basic Channel sub-label Chain Reaction in 1996 following a trio of 12”s, ‘Biokinetics’ was the first of the label’s album releases, and still stands as its crowning achievement. Porter Ricks are Thomas Köner and Andy Mellwig, and between them they re-framed the techno sound, imbuing the spacious ambience pioneered by label bosses Mark Ernestus and Moritz Von Oswald with a frosty, isolated experimental bent, and combining it with the sort of haunted minimalism of early Plastikman.
What separated ‘Biokinetics’ from other albums at the time was its unwavering narrative – the exact sound has been interpreted countless times since, but the immersive qualities of this singular record have rarely been touched. Maybe it is down to the silvery underwater concept that ties each track together – the bubbling pads, sub-aquatic basses and muffled kick drums. But as with any great album, it’s hard to exactly put your finger on what makes it a classic. Simply put ‘Biokinetics’ is one of the most important records in the genre and one of techno’s finest albums. It has been re-released ten years ago by Type Records, and now Mille Plateaux is celebrating Porter Ricks’ and Biokinetics’ 25th anniversary with this sumptuous double viny edition.

Throughout his productive career, Carl Oesterhelt has proven to be an artist who finds it easy to move between musical genres and concepts. Much of his work has been within classical and chamber music, but he has also scored museum exhibitions and he is sometimes part of The Notwist crew as an angular figure on the Munich scene.
In Umor Rex we have been lucky enough to publish an array of Oesterhelt’s universes. In Eleven Pieces for Synthesizer (Umor Rex 2019) we heard his kosmische side, where the connections with Harmonia or Klaus Schulze were amalgamated with ecclesiastical organ pieces and intense semi-automatic rhythms. A deeply melodic, fresh album. Pure syntax of the modern synthesizer. Further, in The Aporias of Futurism (Umor Rex 2021), in collaboration with Andreas Gerth (Driftmachine, Tied & Tickled Trio), Oesterhelt showed what is perhaps his darkest side —a work full of nuances within concrete music and midnight atmospheres. As deep and cerebral an album as it is surprising and catatonic.
Yet it seems that Carl Oesterhelt has another ace up his sleeve. Now he surprises us with The Dualistic Principle, a fantastic album full of weird but charming electronic melodies, rhythms that push the body to movement, sometimes syncopated and abstract, others permanent and fluid. In this work, Oesterhelt invited Johan Simons to give voice to the lyrics. The Dualistic Principle is a sort of rendition of a philosophical review or a nostalgic memory of the glamorous years. There is also underlying humor in the Post / Space-pop / Munich-disc assortment. The Dualistic Principle is the score to an imaginary film of contemporary hedonism.

On his latest project, the German electronic musician blends piano, percussion, and dying equipment into his moody ambient-dub.

The prolific German musician Christian Schoppik is dropping his second solo record of 2022 under the moniker Läuten der Seele, following up his critically acclaimed self-titled debut album released at the start of the year.
Once again, 'Die Mariengrotte als Trinkwasseraufbereitungsanlage' (The Mother Mary Grotto as a Drinking Water Treatment Plant) is a work based on a mix of sample collages and recorded instruments that are often used sparsely but as load-bearing elements. However, this time, Schoppik came up with two long tracks where the narrative evolves in multiple and intricate movements to tell mysterious stories that have to be imagined by the listeners as the music unfolds. If the title of the tracks 'Opferkerzen weihen das Betonbecken' (Votive Candles consecrate the Concrete Pool) and 'Der Heilige Geist aus der Leitung' (The Holy Ghost from the Water Tap) give a starting point to these stories, the ethereal, mystic and dreamy sounding minimal atmospheres presented in this recordings let each one of us contemplate our own soothing experience against the continuous chaos surrounding us.

—
Transparent Yellow Vinyl LP: umor-rex.org/ur131
Limited edition of 500 copies
[includes a free download coupon]
—
Gudrun Gut and Mabe Fratti have worked together on a powerful hybrid album, where taut rhythms fuse with haunted vocal melodies and spoken word, and field recordings meld with extended ambient pieces.
As part of Umor Rex’s 15th anniversary, we here present an album that builds a dialogue between two lands and two unique artists. Mexico is the origin and conceptual residence of our label, while Germany is where we produce and manufacture our records (Berlin functions as the center of distribution and logistics, thanks to our friends at Morr Music). The intertwining imaginations belong to German producer Gudrun Gut (Malaria!) —a notable figure of the subculture and the German music scene since the early 80s, and also a founder of Monika Enterprise and recipient of the ‘Listen to Berlin’ Award in 2019— and singer, multi-instrumentalist and composer Mabe Fratti (originally from Guatemala, now based in Mexico... City). We knew about "Let's Talk About The Weather" from the beginning, and since the moment Gudrun and Mabe made us part of their project, our excitement could not be greater.
The process started with Gudrun and Mabe having long distance conversations, asking about their whereabouts and discussing the weather. This might seem rather commonplace, but it works as a key thematic component for the entire album. The weather as the new great unknown, perceived through the optics of everyday life. Sound files were methodically exchanged, with Mabe exploring words and vocals, and Gudrun working with field recordings taken from each city. In the end, this joint musical venture would provide a healing effect for both artists during life in quarantine.
"Aufregend", the opening track of the album, reflects upon a general lack of excitement in modern life. It wonders what the future might hold. Is it cold? Is it warm? Will it be the same? "Air Condition" is an eerie, dazzling collision of climates: the hazy warmth of Mexico City, the deep cold of Uckermark. The last track, which gives the album its name, is a long ambient piece composed of four parts: sound sculptures, field recordings of city life, news and weather forecasts, and private conversations about the climate. It's kind of a collaborative diary, obsessed with a single, all-encompassing subject.
Produced and recorded by Gudrun Gut and Mabe Fratti between Berlin, Uckermark, Veracruz and Mexico City. Mixed by GGut at Stern Studio Mastered by John Tejada in Sherman Oaks, USA. Artwork & photos by Daniel Castrejón in Mexico City.
Special thanks to Goethe Institute, who contributed to the creation of this album with a Virtual Partner Residency support.

1. The Ballad of Mary 2010 (feat. DORO and Van Canto)
2. Rebellion 2010 (feat.Hansi Kürsch and Van Canto)
3. The Ballad of Mary 2010 - extented symphonic Version
4. Highland Farewell Istrumental + choirs
5. Coming Home Instrumental + choirs