Kaitlyn's solo debut Euclid (primarily written on a Buchla Music Easel synthesizer) was inspired by her love of mbira music, early electronic music pioneers like Suzanne Ciani, Laurie Spiegel, Oskar Sala, and Terry Riley, and euclidean geometry. Each of the first six songs on Euclid were initially structured using euclidean geometry, an idea which Smith explored while attending a class at the San Francisco Conservatory. As Smith explains, "We each chose a 3D shape and assigned our own guidelines to the different components that make up the shape. For example each point of the shape represents a different time signature, each line between the points represents a pitch, each shape within the closed lines represents a scale, etc. And then you play the shape." Despite their heady geometric origins, the songs have a playfulness and warmth that makes them inviting and memorable. In addition to the buoyant grooves of Smith's synthesizers, some of the songs feature wordless vocals, which energize the otherworldly songs, while grounding them with Smith's earthly presence. 

She slows things down for the second half of the record, which features a collection of twelve short pieces, Labyrinths I-XII. Originally composed as new soundtracks to old silent films she found online, Smith says the tranquil Labyrinth pieces are "intended to feel like one is walking through a holographic labyrinth and encountering different experiences such as hang gliding, viewing microbes under a microscope, ice fishing in Alaska, and watching glaciers collapse." Despite their brevity, most of these songs feel like mini odysseys, effortlessly casting a cinematic hue on the the listener's world.

Throughout Euclid Kaitlyn Aurelia Smith consistently delivers sonic puzzles draped in a warm Pacific mist. At times these songs feel so alive — like the musical analog to roots growing deeper and stronger, leaves on branches bending towards the light, or the sun peeking over the horizon, briefly igniting the air with a primordial swirl of warm and cool colors.

Kaitlyn Aurelia Smith - Careen

'Only Heaven ' EP Out Now -
AHOT / Stream / Download: https://coldcut.lnk.to/ohYo

Taken from ‘Only Heaven’ EP released 25th November 2016 on Ahead Of Our Time.

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Only Heaven

Coldcut - 'Quality Control Feat. Roots Manuva'

SOUSOUME TAMACHEK

02_Sousoume Tamachek

Dear all, we’re proud and happy to let you know that we’re close to reaching a record label milestone. After 5 years of releasing music suitable for both dancefloor and armchair, it’s now time to mark our 50th release: https://atomnation.bandcamp.com/album/50an - out October 6th

Pre-order

Olaf Stuut - Suspended Animation

When Lali Puna released "Our Inventions" back in 2010, it was a long overdue return for the band; in fact, more than half a decade elapsed between the current LP and its predecessor. However, the Munich-based foursome now seems to want to make up for that, dropping this new EP in early 2012, at a point when "Our Inventions" is still lingering in the air. It's an afterburner of sorts, a remix addendum, an early continuation fittingly entitled "Silver Light".
Before singer Valerie Trebeljahr and her band mates officially hand over the original recordings, they set the tone with a beautifully rendered cover song: Lali Puna's take on Mort Garson's "I've Been Over The Rainbow", originally released on the LP "The Wozard Of Iz" (1968), a dark parody of the original "Wizard", sounds both forsaken and strangely welcoming as they venture deeper and deeper into the void that is to be found at the very core of this track. With this choice Lali Puna not only pay homage to the late-great moog master who died in 2008, but also present a song that works as a stunningly ruminative prelude to "Silver Light". 
It's obviously dark now, and the night is upon us: Cornelius' remix of "Hostile To Me" washes over the listener like a beautiful lullaby, it's soundscapes shimmering at sundown or night-fall, moments that do not sound hostile at all; instead, by combining multiple vocal parts Keigo Oyamada ultimately even manages to lift this track to almost ethereal heights – obviously something Lali Puna would never dare themselves. Since "Our Inventions" was heavily concerned with the downsides of progress, and posing questions about our constant need to stimulate growth, it's a logical step to present Trebeljahr's lyrics (such as "destroy this place") in this downshifted way. "Leave your signs on the wall", she sings, but these are signs that are no longer tangible; it's nothing but a last flicker in the darkness surrounding us. 
In Los Angeles it doesn't really get that dark; only in the hills, a place a certain Will Wiesenfeld aka Baths calls home. This Will not only has some amazing sideburns, but he's also the perfect guy to deliver a remix of a track like "Move On": Baths will always turn the original into something with a lot of oomph, even if it's just to get things moving in his hometown, the capital of heavy traffic and congestion. However, Baths and his whooshing, brainfeeding approach as a producer are not an unlikely choice for "Silver Light" – after all he's an artist hailing from the anticon. camp, and by now it's almost a tradition to collaborate with musicians from Munich or Weilheim. 
Finally, hailing from the same camp, there's Odd Nosdam, who just recently collaborated with Saroos: "Safe Tomorrow" done Nosdam style is another massive, broad expanse of sound; it's a new take with more internal pressure, even though ultimately, after more than six and a half minutes, he follows Trebeljahr's request to please "try to make it home by night". And it's true: Nighttime is certainly the best time of day to enjoy the silvery glow of this EP.

buy 

Lali Puna : i ve been over the rainbow (coverversion)

"Soluzione" ist the first signal out of "Maschinen und Tiere", the latest album by Chris Imler, out on Staatsakt/Caroline International on october, 5, 2018.
Buy the album here: http://hyperurl.co/rhibuz

Tourdates:

04.08. Berlin, Sameheads Festival 		
01.09. Köln, c/o pop Festival - Staatsakt Labelgala
19.-22.09. Hamburg, Reeperbahn Festival 
22.09. FR-Toulouse, Le Printemps de Septembre – Contemporary Art Festival 		
06.10. Berlin, Arkaoda - Record Release Show	
18.10. FR-Paris, Badaboum 		
19.10. BE-Brüssel, La Vallée 		
20.10. BE-Tournai, Water Moulin

Chris Imler - Soluzione

First track off Jonas Munk's (Causa Sui) and Nicklas Sørensen's (Papir) new collaborative album, "Always Already Here", out August 16th, 2019!

Preorder available soon from www.elparaisorecords.com

Info:

"Jonas Munk and Nicklas Sørensen team up for a genre-defying record that explores American minimalism, psychedelia, and electronic music – both vintage and contemporary. On a foundation of interlocking guitar and synthesizer patterns, the duo constructs lengthy pieces that are experimental yet welcoming in nature, precisely executed yet with room for soaring improvisation. Always Already Here pays homage to the masters of classical minimalism (Steve Reich, Terry Riley) and the pioneers of electronic music and kosmische (Brian Eno, Manuel Göttsching), still it doesn't sound derivative or retrospective. The type of hypnotic bliss Munk and Sørensen strive for is distinctly timeless."

Jonas Munk & Nicklas Sørensen: "Shift"

το 13 από το άλμπουμ "Άγρια  Χλόη" σε μια ζωντανή εκτέλεση που ηχογράφησα για τις φίλες και τους φίλους μου με αγάπη.

13 (remix 2020)

K.BHTA -13 (live From A Room) March 20

'Mantra Moderne' is a stunning, contemporary masterpiece that fuses Anatolian Psychedelia, Brazilian Tropicalia, 60’s European pop and American jazz. A must for fans of Khruangbin, Portishead, Arthur Verocai, Goat, Caetano Veloso, Tom Zé, Os Mutantes, Cortex and co.

The duo is formed of Kit Martin, who lives between London and France and plays all instruments on the album, and Merve Erdem, vocalist and multi-disciplinary artist from Istanbul, now based in London. This is their debut album.

The album explores universal themes such as love, loss, decay, language and ideology, mixing three different languages: English, Turkish and French. Written and recorded by the duo - Kit composed all the songs and Merve wrote the lyrics - in rural France during 2018, each song was completed within a 12-hour window, pawning contemplation for spontaneity.

Dubbed by Kit and Merve as ‘lo-fi-hi-fi’ in reference to the high-end tube equipment that helped it find its way to 8-track cassette tape. The style owes its sound to narrow tape width, valve distortion, spring reverb, the mixture of high end gear with lo-fi equipment as well as a disregard to the norms of hi-fi studio techniques. All instruments were analogue and no samples were used. The instruments that are used range from tablas to darbukas, balalaikas to ouds, MS20 synths to Farfisa organs and a lot of cuica. The mixing techniques were done on-the-fly, tracking immediately to tape: compression, EQ, delay and reverb; meaning mixing could not be revisited!

The deluxe edition of ‘Mantra Moderne’ features two previously unreleased tracks - ‘Kozmos' and 'Rain (باران)’. It also includes remixes of album tracks from Baris K, Halal Cool J, and Natureboy Flako (who also contributes an unreleased cover version of ‘Senden Baska’).

Tracklist:
1) Senden Başka
2) Mantra Moderne
3) Tyranny 20
4) Pangea
5) Kuytu
6) Yanımda Kal
7) Yürüdüm, Büyüdüm, Çürüdüm
8) With A Sense Of Grace
9) Durma
10) Kozmos
11) Rain (باران)
12) Durma (Baris K Dub)
13) Senden Baska (Natureboy Flako Remix)
14) Kit Sebastian vs Halal Cool J
15) Senden Baska (Natureboy Flako Cover)

Kit Sebastian - Rain (باران)

Tabi

Song  from album "Filial Love". (4/21) on Siamese Twin Records
Music inspired by American artist TR Ericsson and his mother, Susan Robinson.

Dancing on the Head of a Needle 

We know this song 
and we dance to the beat 
There's a head on collision 
We've got a front row seat 

Right now, 
It's just you and me 
And a handful of dust 

And as far as I can see 
There's no-one else 
I can trust 

We know this song 
and we dance to the beat 
There's a head on collision 
We've got a front row seat 

Look me straight in the eye 
And maybe we can turn these clouds 
Into a clearblue sky 

We're dancing 
On the head of a needle 
Time 
And time again 

We're dancing 
We're dancing 

We know this song 
and we dance to the beat 
There's a head on collision 
We've got a front row seat 

We know this song 
and we dance to the beat 
There's a head on collision 
We've got a front row seat 

Time and time again 
Time and time again 
Time and time again 
Time and time again 
Time and time again 
Time and time again 
Time and time again 
...

Siamese Twin Records / Harlan Levey Projects

Dancing on the Head of a Needle

Wim Janssens

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