12" out now!!
http://www.juno.co.uk/products/quavius/614609-01/

A1. Love The Way

Berlin resident Anastasia Vtorova aka Machine Woman follows up her ‘For Sweden’ 12” on Peder Mannerfelt with two new cuts for Where To Now? Records, accompanied by an expansive and sprawling remix from Kassem Mosse.

Machine Woman is beginning to cement herself as a rather unique figure in the world of Techno. Her music is undoubtedly brutalist, functional, industrial, and stripped back for the most basic of heads down body movement, but there’s a persistent seductive, soulful, and human element to her work which is in a state of constant interplay with this idea of the ‘Machine Woman’ - an approach which is undoubtedly inspired by the pioneers of man vs. machine music - Kraftwerk.

‘Genau House’ opens with the 11 minute ‘I can mend your broken heart’. Shuffling percussion struts alongside a myriad of synthesized melodies and the sound of data processing. For Anastasia, the track is inspired by unsuccessful Tinder dates, and the yearning lyrical content of the tracks certainly laments the implications of this perhaps often mechanical and rigid love seeking world against an honest and seeking heart – A Machine Music space to explore the increasingly common impact of disposable Computer Love colliding head on with a legitimate longing and want for lasting human connection.

‘Friday Night’ encompasses a similar vocal mantra but here the focus is not so much on the intricacies of the human heart, but rather the seduction, enthrallment, and sometimes unfortunate exclusivity inherent in sectors of the Berlin nightlife. Undoubtedly a track aimed towards the pitch-black nightclub ‘Friday Night’ is stricter in its intention, with less space for romanticism. An unrelenting Techno thud grinds with the mechanical shifting of gears and movement to create the desired hypnotic state whilst Anastasia’s heavily treated vocals plume the melody into even darker recesses of the dancefloor.

Kassem Mosse makes an appearance to close the record with his own incredible interpretation of ‘I can mend your broken heart’. To call this a remix is a discredit to Kassem’s ability to completely transform a work into his own whilst staying respectful to the original artists intention. Much like his interpretation of Simone White’s ‘Flowers in May’ (Honest Jons, 2015) Kassem takes the vocal line of the original and sets it against a deep, sprawling, immersive soundscape of his own. Over it’s 10+ minutes a Deepchord style dubwise basin of echo and melody lingers behind the deepest Trip-Hop style palette of slow, churning, and intricately evolving percussion.

“Machine Woman draws upon her foundations in ‘90s Leningrad and the hardest edge of her new home city’s industrial scene to forge a raw, buzzing, and brutalist style working on the cusp of dance functionality and avant-garde, tonal exploration. – Boomkat.” 
credits
released May 13, 2016

Genau House

Machine Woman - Genau House -  I Can Mend Your Broken Heart

from the album 'precious systems' available 7/15

mj guider 'lit negative'

Taken from 'It's Immaterial' LP by Black Marble, out October 14, 2016.

Order at The Ghostly Store: http://www.theghostlystore.com/products/black-marble-its-immaterial
Or at the retailer of your choice: https://Ghostly.lnk.to/black-marble

It's Immaterial

Black Marble - Iron Lung

Workshop 23 by Willow is out now on Workshop Records.

Juno - http://bit.ly/2cEjmXj
Phonica - http://bit.ly/2cl5ZPp
Hardwax - http://bit.ly/2cl6skP


WORKSHOP023

Workshop 23

Cititrax is thrilled to present a full length LP entitled Adieux Au Dancefloor by Montreal based recording artist, Marie Davidson. Marie Davidson has emerged as one of the foremost electronic artists working in contemporary pop today. As a long-time member of Essaie Pas (DFA Records), Davidson has had the opportunity to hone her many talents. She has been participating in the city’s vibrant experimental community for much of her adult life. However, in 2012 she began to unveil compositions under her own name, revealing a solo artist who possessed the combined confidence and vulnerability required to write, produce and perform unaccompanied. Davidson’s intimate solo work is embodied through a host of synthesizers, sequencers and drum machines which coalesce in synchronized harmony, punctuated by vocals, half sung, half spoken in both French and English. She masterfully shapes the overall mood, themes, emotion, expression and intensity of her work, which gives the final result a distinctive, cinematic quality. 
With Adieux Au Dancefloor, Marie makes a slight departure from her last two releases, via Holodeck (2015) and Weyrd Son (2014), by creating her first fully dancefloor oriented piece of work. Through the 45 minutes of music that comprises the album, she experiments with pop structures, defines her voice, and layers rhythms to make complex and beautiful techno tracks. She closes the album with the title track in classic Chanson style.
Adieux Au Dancefloor will be released on October 6th. The record will be pressed on 160 gram white vinyl and will feature photographs by the equally talented Corinne Schiavone. The record will be housed in a full color printed heavyweight jacket along with matching printed inner sleeve. Pre-order available now. Digital release to follow.

Order: http://minimalwave.com/releases/release/adieux-au-dancefloor/

Lyrics: 
It seems like honesty is not so fashionable these days, it's true, I ask a lot of questions.
You call me naive?
I'll tell you what, I'm naive to the bone.
Do you think I'm too soft?
Because I don't hide, or is it that your lost when I smile?
I don't need your love but I'll dare to ask you how you feel about me.
Just to get things straight.

I have no cards to hide.
My life is not a game.

Let me picture my future, a large room where you can hear the silence.
No space for arrogance, no pain in my chest.
Just the beating of my heart.
J'suis pas un cordeau moi! (In French)

In The Middle Ages, people used to wear clocks, it's 2016, get real.
So you think i'm too soft.
I have nothing to prove, I have no advice for you. But remember what Terrance said: 
"The last dance, we dance alone".

Adieux Au Dancefloor

Marie Davidson - Naive To The Bone

Following on from the acclaimed “Talk From Home”, Suzanne Kraft returns to Melody As Truth with a second full release, “What You Get For Being Young”. Recorded in Amsterdam over the course of May 2016, “What You Get For Being Young” offers a full immersion into Kraft’s ever-evolving world. Lush, digital manipulated synths spread across cold surfaces, metallic drums dance around skeletal song structures. Whilst echoes of “Talk From Home” remain, they are but faint echoes, as Kraft’s recent exploration into sound-design and digital manipulation confidently posits “What You Get For Being Young” as an entirely new chapter in the artist’s growing narrative.

Release date: 02/11/2106

B2 - Scripted Space

Title track from Joseph Shabason's debut Aytche available August 25th from Western Vinyl

Pre-Order Aytche:
Bandcamp https://josephshabason.bandcamp.com
iTunes https://itunes.apple.com/us/album/aytche/id1245245891?ls=1&app=itunes
WV http://westernvinyl.com/shop/wv165

Joseph Shabason
Twitter https://twitter.com/JosephShabason
Instagram https://www.instagram.com/josephshabason/

Saxophonist and composer Joseph Shabason’s debut Aytche builds a bridge off of the precipice his forbears established, skirting jazz, ambient, and even new age with the same deliberate genre-ambiguity that made their work so interesting.

Aytche is a document of exploration both inward and outward. Every step taken in sound-design mirrors a stride in emotionality, as Shabason employs a variety of effect pedals to coax rich moody textures from his instrument.  He explains, "I feel like robbing the sax of the ability to shred by effecting it and turning it into a dense chordal instrument really helps the instrument become something that it's not usually known for."  Aytche deals with themes of degenerative illness and assisted suicide with eloquence that instrumental music rarely achieves regarding any subject, much less such difficult ones.

Album highlight “Westmeath” approaches Aytche’s subject of inspiration head-on. Here, the album’s only verbalization appears in the form of an interview with a man discussing his father’s trauma and eventual suicide after surviving the holocaust.  Though we only hear a few obscured words and phrases from the interview, the impact is powerful.  For Shabason, whose grandparents survived the holocaust, this selection is anything but frivolous.

Aytche

Joseph Shabason - "Aytche"

'oh my' out 26 January, 2018 on Father/Daughter (North America) and Memphis Industries (UK/EU)
Pre-order: http://smarturl.it/nadine_ohmy

oh my

Ultra Pink

LIES-100
Terekke-Mix 91
from the upcoming Plant Age lp
to be released Nov 24th 2017

Plant Age

Buy LP direct

Terekke-Mix 91 (LIES-100)

‘Fortune’ was written in a fevered rush of energy post-election. The collective political anxiety of the time is channeled into four tracks that range from slow and drudging to spastic and sporadic. Guitars clang, keyboards spill, bass lurches, and drums crack. The EP is the culmination of years of honing their craft, and sees the band cementing their take on post-punk, dream pop, and kraut rock.

‘Fortune’ is the most collaborative effort the band has written. Opening up songwriting and vocals to all members allowed Posh Lost to explore each member’s ideas in depth. New textures mix with already established strengths to make this the band’s most confident release. The EP stands as a testament to each member’s growth as musicians and to their collective efforts as a band.

Denizen

Posh Lost began in 2012 as the dream pop project of Jeff Cornell, Sean Neppl, and Jackson Woolsey. Growing up together in suburban Minnesota, these longtime friends holed up in Sean’s parents’ basement, fleshing out early tracks. Joined by Jordan Bleau on drums and Emmy Carter on synthesizers, the band released their first EP, “Between Themselves,” under the band name Gloss on Forged Artifacts in 2014.
Since then the band has continued to evolve, bringing in Josh Olson on drums in 2015. Digging deeper into their influences has recast the band as post-punk vanguards and goth classicists, without shedding the gauzier tendencies of their earlier work. Marking the shift with a name change, Posh Lost’s first LP explores their songwriting abilities. Contrast is found between and within tracks. Guitars and keyboards occupy both crystalline and murky textures. Drums range from open and floating to tight and driving. Vocal duties are shared between Cornell and Woolsey, who both move between commanding and restful deliveries.
While still retaining the emotional yearning of their early efforts, Posh Lost sheds light on other affairs, from modern day urban renewal and historical erasure, to economic insecurity. But within every Ballardian paranoia or political diatribe lies personal revelation and regret. This is the dichotomy that defines Posh Lost’s sound: sometimes at the pulpit, yet only to return to confession.

Denizen

Posh Lost

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