recently discovered- a real delight-best new electronic soul music ive heard for a long time

this song just gets better each listen (ive listened hundreds of times to the album)

Nil/Amber-Autechre

Pre-order the Psychic 9-5 Club LP in The Ghostly Store:
http://www.theghostlystore.com/products/htrk-psychic-9-5-club

HTRK - Give It Up

here's that electronic version, similar arrangement to the other one, just kind of has more blips

Yamantaka // Sonic Titan - Hoshi Neko Remix Electronic Version

Jason Urick is Portland based and he has released his last 3 albums on Thrill Jockey.
Oma333 is honored to play host to his latest release "The Day" recorded just after his last album "I Love You" came out in 2012. 
It's a stunning collection of dark electronics.  
Artwork by Peter Larsson. Black body printing on military grey cassettes. 
Edition of 133. Teaser videos by Kevin Luna 
http://vimeo.com/105284889

Released on the same day; "Golden Oldies" a split tape by Chicagojazzen 
http://vimeo.com/103902765 and Dammit I'm Mad http://vimeo.com/103902930

Sold out
http://oma333.com
http://oma333.tictail.com
facebook.com/oma333tapes


"Whoever You Are" by Jason Urick from "The Day" on Oma333

AVAILABLE FOR DOWNLOAD: https://kellyleeowens.bandcamp.com/

AVAILABLE ON LIMITED VINYL :
http://www.roughtrade.com/albums/89897
http://www.piccadillyrecords.com/prod/KellyLeeOwens-LucidArthur-NotOnLabel-103232.html

OR instore at Rough Trade, Sister Ray & Sister Ray Ace & Piccadilly Records.

Taken from KLO's debut EP.

"The perfect amalgam of songwriting and soundscaping, releases like this are why vinyl exists." - Piccadilly Records.

Written & produced  by Kelly Lee Owens.
Mixed by Kelly Lee Owens
Engineered by: James Greenwood
Mastered by: David Oversby-Powell 

Arthur

Traumatized

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

From the 2011 album "Sentimental Favourites" – originally released on Dekorder. Available digitally on Bandcamp at the nice price of pay what you want.
https://andrewpekler.bandcamp.com/album/sentimental-favourites

Sentimental Favourites

Name your price

The Twilight Of Your Smile

Taken from the upcoming album Both Lines Will Be Blue, out July 12th on Smalltown Supersound. Produced by Carmen Villain. Flute performed by Johanna Scheie Orellana. Mastered by Matt Colton.

Observable Future

"Reiterations" by First Tone from "Reactions" 2xLP/Digital due out October 2019.

"Reiterations" by First Tone

Taken from 'It Should Be Us', Andy Stott’s first release since 2016 and first EP since 2011 - a doublepack of slow and raw productions for the club, recorded this year and following a series of releases that started with ‘Passed Me By’ and ‘We Stay Together’ early this decade. 

There’ll be a new Andy Stott album in 2020, but in the meantime... this one’s for dancing..

It Should Be Us

Andy Stott - Versi

Ghostly International and Spectral Sound. Of Art & Artifice since 1999.

HTRK - Give It Up

ghostly

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SINDEX PLACID

Solo Player | Bitesha | Yansta

Solo Player | Bitesha | Yansta

David Gamble

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