Nascent is about becoming:
The desire to become a better human being, longing to actively participate in the world around you, striving to actualize your potential, and finding meaning in this process. Over the past 4 years, these have all been things I've struggled to bring to fruition due to my own shortcomings. Nascent is the embodiment of all the emotions which emerged from this struggle.
Writing this album eventually became a source of this conflict. As I created the music which was supposed to help me find peace, I watched the rest of my life begin to atrophy. In many ways, Nascent is also about the writing process and its consequences. Despite this, I would like to believe I've come out the other end having grown because of it.
I am changing. I am learning to be willing, learning to take the shackles off. Who I am and who I want to be are starting to feel like the same person. It's been an insane journey and I am so grateful for it. Thank you everyone for your enduring support and patience. I hope this music finds a place in your life.
released September 22, 2022

On an independently released 30-minute EP, Angel Marcloid slightly recalibrates her uber-maximalist sound to be both lighter and heavier at its extreme poles.

U.K. edition of new album by German electronica hailed by iD magazine as 'Germany's Greatest 21st Century Pop Duo', 'Inheritors of Kraftwerk's Mantle' by Muzik magazine and according to NME 'Mouse On Mars Are A Fully Occupied Jacuzzi For The Mind'. 12 tracks & over an hour long!

HYBR:ID VOL. 1 IS THE FIRST INSTALLMENT OF A NEW SERIES OF ALVA NOTO’S WORKS BRINGING TOGETHER HETEROGENEOUS COMPOSITION METHODS.
HYBR:ID VOL. 1 CAPTURES THE MUSIC COMMISSIONED FOR THE SCORE OF ‘OVAL’, THE CHOREOGRAPHIC PIECE DIRECTED BY RICHARD SIEGAL AND PERFORMED BY THE STAATSBALLETT BERLIN AT THE BERLIN STATE OPERA IN 2019.
THE PROCESS OF CREATING HYBR:ID VOL. 1 WAS DEFINED BY THE SEARCH FOR A FORM TO BIND ASTROPHYSICS PHENOMENA, FICTION, AND PERFORMANCE MOVEMENTS.
ITS NARRATIVE IS INSPIRED BY CINEMATIC VISUAL TECHNIQUES AND STATIC IMAGES PORTRAYING SCIENTIFIC EVENTS WHICH ALSO INSPIRED THE TITLES OF THE NINE COMPOSITIONS.
THE MUSIC POSSESSES A DILATED RHYTHMIC BASE CONTRIBUTING TO THE IMAGES OF GRAVITY AND SPATIALITY. AT POINTS STATIC IS USED WITH AN ORNATE, DELICATE INTRICACY. THE ALBUM’S SONIC SPECTRUM BUILDS WITH DEEP SUB-BASS, GLOOMY SONICS, SPACIOUS SOUND DESIGN, AND INORGANIC AMBIANCE THAT IS GENTLY COERCED WITH ARTISTIC FINESSE.
THE NINE COMPOSITIONS ARE ACCOMPANIED BY GRAPHIC NOTATIONS INFORMED BY THE ALBUM’S SONIC AND ACOUSTIC CODES.
HYBR:ID VOL. 1 WILL BE RELEASED DIGITALLY AS WELL AS A LIMITED EDITION VINYL AND CD.
ALBUM ART DESIGNED BY CARSTEN NICOLAI / NIBO

The third of a six album cycle cataloguing The Caretaker’s fictional first person account of life with early onset dementia, presenting some of the last coherent memories before confusion fully rolls in and the grey mists fade away. In this crepuscular, autumnal phase, recollections phosphoresce and wilt in advancing stages of entropic decay, steadily approaching a winter of no return.
Continuing to mirror the progression of dementia, using nostalgia for ballroom as an allegory of the disease, The Caretaker’s musical flow in places becomes more disturbed, isolated, broken and distant. Singular memories, and all their connotations, begin to atrophy and calcify, crumbling away with each rotation of the record - sometimes in curt scene cuts, others in quietly breathtaking reverbed fizzles; like tea lights extinguished, never to flicker again.
These are the last stages of awareness before we enter the post awareness stages, where those memories become completely detached from comprehension. On stage 3, the haunted ballroom's repertoire becomes increasingly muddled, pealing off in recursive contrails from the gestures of Back There Benjamin, to snag on the stylus in starkly reverberant knots on Hidden Seas Buried Deep, or worn down to calloused nubs such as To the minimal great hidden, and Sublime beyond loss, all leading up to some of the project’s most uncanny detachments in Libet Delay and the coruscating brass shimmer of Mournful Cameraderie, which beautifully suggest the mercurial nature of memory and its recollection.

Written-By, Producer – Jan Jelinek
Artwork – Johan Berthling, Maria Larsson
Design [Graphic] – Bianca Strauch
Mastered By – K SST
Photography By [Inner Sleeve] – Kai Von Rabenau
Recorded and Produced at G.Guillaume Studio, Berlin 2004-2005.
In gatefold sleeve with 29 cm square black and white photo.
Made In EU.

by Charlie Wilmoth
The Austrian trio Radian is a post-rock/electronic group who uses both acoustic and electronic instruments. The group's members often play even their acoustic instruments in such a rhythmically precise manner that Radian sounds more like an electronic act than a band.
Radian -- which includes bassist John Norman, drummer Martin Brandlmayr, and synth player Stefan Németh -- formed in Vienna in 1996, although the group did not play its first show until a full year later. Soon after, the Rhiz label released the group's self-titled EP in Austria. The group's first full album, TG11, was released jointly by Rhiz and Mego in 2000. In 2002, Radian traveled to Chicago to record with producer John McEntire, and the Thrill Jockey label released the resulting full-length, rec.extern, later that year. Rec.extern was the first Radian release to receive widespread distribution in the U.S., and in October 2002 the group toured the Northeast and Midwest to support the album. Juxtaposition saw Radian team up with John McEntire again and was released on Thrill Jockey in August of 2004.

Experiential composer Tim Hecker’s ninth official full-length, Konoyo (“the world over here”) was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo.
"Inspired by conversations with a recently deceased friend about negative space and a sense of music’s increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone.
As with the Icelandic choir he arranged on 2016’s Love Streams, the heights of Hecker’s talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay.
Hecker will stage a series of special performances in tandem with the album's release, featuring members of the gagaku ensemble on shō, ryuteki and hichiriki, accompanied by Kara-Lis Coverdale."

Arca has shared a new song, “Mequetrefe,” from her forthcoming album KiCK i, scheduled for release on July 17 via XL. In a statement, Arca s aid “Mequetrefe” is about “the tenderness behind expressing who you are without shame, and the confidence and bravery it requires, because expression of gender-nonconforming self-states in a public space can often result in static within your environment.”
“Mequetrefe” follows the previously released singles “Nonbinary” and “Time.” Arca also recently teamed up with Shygirl for “unconditional,” a Bandcamp-exclusive single whose proceeds went to Black Lives Matter and Inquest UK.

After releasing lead single “Nonbinary” alongside a cybernetic music video earlier this month, Arca has now shared the release details of her forthcoming studio album, KiCk i. Arriving via XL Recordings, the follow-up to her groundbreaking self-titled album from 2017 will release digitally on June 26, with physical vinyl and CD options coming on July 17.
To commemorate the news, Arca has shared the project’s second single, “Time,” which originally premiered in her four-part “Mutant:Faith” performance last September. The track deep-dives into the realms of synth-pop and electropop, adding Arca’s signature twists and turns with lengthy reverbs, scintillating synths, and more. The single’s release comes alongside a Carlos Sáez and MANSON-directed music video for the track, which was filmed in front of a live audience at NYC’s The Shed and on the city’s streets.
“I don’t want to be tied to one genre,” Arca explains about KiCk i. “I don’t want to be labeled as one thing.” Produced and recorded by the Venezuelan artist, singer, and experimental composer, KiCk i boasts a stacked list of features from fellow boundary-pushers. Björk, Rosalía, Shygirl, and SOPHIE will all make cameos on the album, the first time Arca has collaborated with other artists on her solo material.

Last month, Alejandra Ghershi released a 62-minute single called @@@@@, her first new music since 2017's Arca. Broadcast on NTS, visualized on YouTube and finally put on streaming services as one long track for XL Recordings, it's yet another release from Ghershi with an experimental format. @@@@@ operates in the same vein as 2013's &&&&& and 2016's Entrañas, records that are not quite albums nor mixes, but perhaps serve as outlets for the artist's many ideas in between. After all, Ghershi tinkers with a lot of new music without official release. Since her last studio album, she has toured extensively, performed for Burberry and created a four-part immersive performance for New York art center The Shed. (The artist also just announced her next LP, KiCK i.) It's possible that music from these projects inspire bits of @@@@@—but with few performance videos and strict no-phone policies at her shows, part of Ghershi's work is, at least in the iPhone era, ephemeral and untraceable.
This way of being fits the new single's concept: sci-fi pirate radio. "@@@@@ is a transmission broadcasted into this world from a speculative fictional universe in which the fundamentally analogue format of FM pirate radio remains one of few means to escape authoritarian surveillance," she posted. Though it may be a fantasy framework for @@@@@, reality is not far off. We already live in a dystopian world where culture is dictated by machine-learning algorithms. By delivering a single, 62-minute piece of sound, Ghershi protects her individual tracks—which each have a title and time stamp—from becoming part of the data mining system. This move, however subtly, reminds us that taste should not be codified and rules aren't always right. Who better to deliver that message than Ghershi?
@@@@@ is another test of limits, made up of 30 short, surreal and, most characteristically, jarring sketches. Similar to past mixtapes, where one track ends and another begins is hard to parse. Meanwhile, the rhythms are erratic and the sound design marries extremes—sharp and airy, mystical and mutant, psycho and serene. Standout moments show the best sides of Ghershi's production work. "No Lo Digas," at 34 minutes, aches with the poignant singing revealed on Arca. "Membrane," at 39 minutes, shows the idiosyncratic beatmaker, a soft instrumental that's as pretty as it is ragged, topped off with sensuous masculine whispering. "Apuro," at 42 minutes, and the following "Saintly Pride," also found in a 2018 Primavera Sound live show, are rambunctious rave bangers with Ghershi's industrial-sized drums.
The single may be full of these kinds of highlights, but over its hour-long jumble of ideas—twice the length of Ghershi's other mixtapes—I wished more than once the "next" button were an option. @@@@@, much more casual and freeform than the artist's albums, is not so much a defining musical moment as it is another spectacular show of Ghershi's personality: the creature of chaos, the matriarch of experimental club, the artist who authentically straddles playful and profound. After repeat listens, I find myself enjoying @@@@@ most by starting around the 20-minute mark, with "Psychosexual," a track where Ghersi flaunts her attitude. "You can shake that pussy, bitch," she busts out over a slimy beat. "I don't care what genitals you were born with!"

A huge return from Sam Shepherd as Floating Points with Crush, his first album in four years and his first with Ninja Tune. It twists whatever you think you know about him on its head again.
Available as a limited Indie Shop Exclusive Edition - 140g black vinyl housed in an glossy sleeve with exclusive alternate cover art. Artwork printed inside and out, 4 page A4 booklet featuring a score of album track ‘Birth’. Download code included.
A tempestuous blast of electronic experimentalism with some of Shepherd’s heaviest, most propulsive tracks yet, nodding to the UK bass scene he emerged from in the late 2000s, such as the dystopian low-end bounce of previously shared striking lead single ‘LesAlpx’ but also some of his most expressive songs with his signature melancholia.
It’s the sound of the many sides of Floating Points finally fusing together: the carefree selector, the considered composer and the passionate label curator.
Standard LP: 140g black vinyl housed in a glossy sleeve with artwork printed inside and out, 4 page A4 booklet featuring a score of album track ‘Birth’. Download code included.
CD: CD in card digipack with fold-out booklet featuring a score of album track ‘Birth’.
Artwork by Hamill Industries.

Faitiche is delighted to release a short version of the radio play Zwischen (German for ‘between’). Devised and produced by Jan Jelinek for German public broadcaster SWR2, Zwischen brings together twelve sound poetry collages using interview answers by public figures. Each collage consists of the brief moments between the spoken words: silences, pauses for breath and hesitations in which the interviewees utter non-semantic sound particles. These voice collages also control a synthesizer, creating electronic sounds that overlay and merge with the voices to make twelve acoustic structures.
We all know the speaker’s fate: you falter, you mispronounce, there are breaks, silences and false starts. This results in delays, a language noise compared by Roland Barthes to the knocks made by a malfunctioning motor. Such gaps can be disconcerting, standing as they do for a failure of the speaker’s rhetorical skills. But what happens when they become a constitutive, poetic factor?
Zwischen consists of twelve answers to twelve questions. The answers were all recorded in interview situations. From the speech of the interviewees – all eloquent public figures – the pauses are extracted and edited together. The result is a series of sound... more
credits
released May 4, 2018
Written and produced by Jan Jelinek at G. Guillaume Studio, Berlin 2017 Originally produced for Südwestrundfunk as Zwischen – 22 Lautgedichte
Mastering by Raschad Becker Graphic design by Tim Tetzner Many thanks to Frank Halbig.