VINYL IS DELAYED. ORDERS WILL SHIP "SOMETIME IN NOV21".
Peak Oil is proud to present Invariant, the first LP in three years from Russia’s best kept electronic music secret: Hoavi.
Originally intended for pre-pandemic release, this collection of emotive and intricate homages to the slippery nature of genre has only intensified in relevancy and urgency.
From alt sci-fi dimension floor-filler “Streamline” to “Dver”, a contemplative evocation of a world in which time collapsed in on itself and liquid had embraced footwork, to the propulsive modular dub-tech evisceration of “Tessera” closing out the LP, Hoavi adroitly demonstrates why he should be considered amongst Russia’s finest cultural exports.
A gifted producer with a workaholic drive, these eight tracks are but a sample of his prodigious breath and grasp on the electronic music continuum, a clear harbinger of auspicious things to come for Hoavi.

Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

Following the release of his stunningly crafted ‘It Should Be Us‘ LP in 2019, Andy Stott announces his next album on Modern Love.
‘Never The Right Time‘ LP marks a decade since the release of ‘Passed Me By‘ – a masterfully deep and shadowy album of claustrophobic electronics and thumping dark dub that blew our minds upon first listen.
Written throughout 2020 and said to be inspired by the music the Manchester-based producer was listening to, ‘Never The Right Time‘ features hauntingly beautiful vocals from Alison Skidmore plus “hours of raw material; slow horns, sibilance, delayed drums, wondering flutes”.
As you can expect the results are nothing less than spectacular. Nine tracks, straight from the catacombs of Manchester’s finest. We won’t reveal all, but personal highlights include ‘Never The Right Time‘, ‘Repetitive Strain‘, ‘Don’t Know How‘ and ‘Answers‘.
‘

rRoxymore's long-anticipated debut album, Face To Phase, was born of her annual creative hibernation practice. Whereas her previous appearances for Don't Be Afraid - Thoughts Of An Introvert, Parts 1 & 2 - revealed inner worlds of saturated colour and natural expressiveness, she retreated into her studio at the turn of winter 2018 occupied with the idea of dismantling the dancefloor-centric pressure paradigm.
The resulting album, Face to Phase, finds rRoxymore methodically and mindfully stripping back to fundamentals: rumbling minimalist dub, sparse polymetric drums, boldy unpredictable melodic narratives and subtleties which hover out-of-reach or disappear into vapour. Forged by the spirit of club music cultures, Face To Phase favours deep listening; resisting the temptation to reflect on the past or project towards the future, it's an album that is firmly rooted in the contemporary.
Sparked by her own archive of field recordings, and produced primarily but not exclusively in the box, Face To Phase adds several facets to rRoxymore's already wide repertoire. The pensive and beatless opener "Home Is Where The Music Is" was inspired by her longtime friend Planningtorock, while "Forward Flamingo" is a spiraling dream-state of house music dissociation; elsewhere "Energy Points" remains anchored to the ocean floor, radiating heavy dub waves, "Passages" is a ghoulish skeleton of UK break beats, "What's The Plan" closes the album in a blissfully blunted fashion, while twisting, shape-shifting rhythms push and pulse "PPS21" into series of ever-evolving shapes and forms.
Through and in between the eight songs of Face To Phase, rRoxymore fortifies her status as a seasoned artist, grounded by over a decade of live performance and touring, collaboration, composition and experimentation. With a new live performance collaboration with a percussionist set to debut the LP at Atonal on 1st September, rRoxymore is primed to expand her reputation even further as one of the most vital and distinctive artists on the fringes of contemporary club culture.

“古老的它们，对着天空唱歌，天空亦有所唱,无人懂得。”
“Sky Singing”是Zaliva-D的第二张概念化全长专辑，延续一贯的声音和旋律，继续诉说不是历史也不在未来的故事。
Produced & Mixed by Li Chao
Mastered by Raphael Valensi
Cover Art by BaoJiaXiang
Released by Subkvlt

新专辑"Forsaken"《遗弃》刚刚由荷兰新锐电子音乐厂牌Knekelhuis（骨灰堂）发行。此张专辑的音乐收敛了以往的躁动，取而代之输送了更多诡异和悲凉。标志性的音色和旋律，一脉相承的创作思维，都将与上一张专辑“Sky Singing”《天空的歌声》遥相呼应。

Chace联合另一身份DSTORT发布全新实验性电子EP《DISTORTION》

Companies, etc.
Distributed By – Rough Trade Distribution GmbH
Pressed By – Arvato – 56294659
Mastered At – HP Mastering
Credits
Artwork [Paper Cut] – Ruth van Leeuwen
Design [Cover Design] – Andreas Haase
Producer – Martin Stimming*
Written-By – Dylan Naylor (tracks: 10), Guilhem Desq (tracks: 7), Martin Stimming*

Balancing contemporary house and techno with detours into footwork, gqom, and more, the Canadian musician’s mix reveals the range of influences behind her own singular brand of synth pop.

2021年马海平MHP以“Ma Haiping”之名，正式加入国际级techno厂牌Axis Records，在4月9日发行全新专辑，以嫦娥四号命名的《Chang'e-4》。作为Techno历史上最传奇的巫师（没有之一）的Jeff Mills，
其地位相比底特律的Techno三杰有过之而无不及，他潜心经营的Axis Records几乎是每一位电子乐迷/Techno Animal必听厂牌，并且经营了全Techno文化向的杂志《The Escape Velocity》。这并不算一张纯粹的Techno音乐的EP，7首作品，以“嫦娥四号”命名来代表对宇宙的探索，三大最适合全宇宙的电子乐类型：Ambient，Techno，Electro，
都在这张EP里完整展现，马海平用章节式的曲序来完成整张作品，
神秘的空间氛围感到代表音速冲击的高能Techno，跳舞的成分已经占的很少，整个过程更像一个太空漫游的配乐，只是显得更加的黑暗无边际和神秘。（节选自电板鸭评论）

SHAO发布新专辑《夜宿山》，一场震慑身心的感官想象
暌违近三年，SHAO邵彦棚带来了他的全新专辑《夜宿山》。这一次，SHAO邵彦棚试图以声音为载体，通过感官之间复杂而内在的联系，为我们带来一次堪称震撼的身心之旅。
早在2000年代初，SHAO邵彦棚便化名Dead J，见证并参与构建了中国电子音乐的最初场景。通过梦幻般的电子音色、留白及结构等建筑语言，开启了对于声音与抽象空间动态变化的探索，也因此成为中国新生代电子音乐的关键人物和中坚先锋。如今，当大众对电子乐已不再陌生，SHAO邵彦棚对于空间的注意力也向着更为广阔的领域弥散：光影间的闳意眇指、不断变迁城市景观中的人群状态、对于中国古典艺术意境的致意……
在中国古代诗画语境里，山是一个重要意象。不同于其他自然元素，作为一种高于地平线的地表综合体，山是最容易被感知的巨型景观，是个体对自然最直接的开垦和探索。人类从未停止过对山的憧憬：我们远眺、攀登、游览、停留、种植、又或者生活在其中，但从来没有人能准确描述山的全部：无论作为符号，还是景观，山始终是一个可见又无形的空间环境——越是靠近，越是消融，不断深入，周围的事物开始变幻，现实和梦境不断重组，空间交叠，时间和方位成为一种虚构，脚下场域流动，感官分解。《夜宿山》是一次旅程，对信仰的迷恋，朝圣，探索，抵达——前面有一片海。
《夜宿山》的名字很容易让人想到李白的《夜宿山寺》，虽然二者并无直接关联，但意象却有着文与音的暗通款曲之和，均展现了感官性的物境与观众作为第一视角的代入感。——尤洋 (策展人 , UCCA副馆长）
在层峦叠嶂般的声音浪潮之下，《夜宿山》为我们展开了一个由声音构建的感官场景：神秘、未知、如梦境般悬置于现实之上。透过鼓膜的轻微震颤，《夜宿山》以声音激发出感官所能带动的全部想象力，凝聚为一次足以震慑身心的感官体验：《Valley》弥漫着林中夜雾的气息；《Hidden Tiger》里可以感受到林中夜晚的危机四伏；在《Drifting》中，你甚至可以通过听觉感知到光影在明暗空间两端的回荡……《夜宿山》用声浪堆叠出的神秘仪式感中，声音场景随曲目交替变换，现实与超现实也在黑暗的虚无中悄然转换……虽然《Midnight Shift》、《Blurry Horse》、《Spiral & Laser》中有着典型的舞曲节奏，但事实上，其表达意象已离「电子舞曲」的概念相去甚远。通过《夜宿山》这场纯粹的感官之旅，SHAO邵彦棚似乎也在传达这样的信息：电子乐不等同于「蹦迪」——“电子乐是可以带人到达另一个彼岸的”。
与专辑同步上线的《Drifting》（漂浮）MV，通过模糊、延迟、放大等方式对影像进行失真处理，将真实材质从熟悉的城市景观中剥离，对生活的察觉便也生成了全新的视角：“如果现实是人们对周围事物的基本认识，那么一切都是超现实的。”即使拥有各自的轨迹，但如果从更高的视角出发，人群或许就是漂浮在城市空间中的微粒。
无论声音场景的延展还是演出场域的革新，SHAO邵彦棚始终在尝试打破音乐原有的局限，并发掘着声音作为感官本身所具备的，更深层次的可能性。