gap/void is the first collaborative full-length album by automatisme (the canadian musician and conceptual artist william jourdain) and swiss field recordist, ambient musician, visual artist and writer/academic stefan paulus. pressed on 180 gram vinyl, download code included.

a configuration of self is a hypothetical construct denoting a coherent pattern of feelings thoughts and preferred behavioural responses symbolised or pre-symbolised by the person as reflective of a dimension of existence within the self. >thorne and mearns, 2000< the rationale behind the series is based on each piece of music representing emotional response to the processes feelings and self- awareness of studying psychology and counselling and becoming more aware of the multiple defences behaviours and personality traits i have. each release will be themed around a particular part of my academic journey and include media to accompany the music.

the second release of polarity records is characterized by old-school house influences with techno shades. the artist, andy rantzen, is an australia-based lo-fi electronic producer. trained as an academic psychologist, rantzen has been writing and releasing music for over thirty years.

formed in 2007 by jakob seidensticker, florian schirmacher and henrik raabe, wareika was accidentally gathered on stage for the first time at hamburgs mythical mojo club. since then, the german trio has built a very singular sound signature after a decade of playing together. revealing the diverse influences and musical educations from all three individuals, the bands discography has been built over a solid live experience. being academically trained in jazz and classical but also self taught through electronic music, jakob, florian and henrik are able to sing, play guitars, drum machines, pianos, synthesizers, bass, percussions and way more

bartellow has long been associated with the esp institute though tambien, a trio formed alongside bavarian cohorts marvin and valentino, who have released seminal dancefloor material over recent years. with his debut album panokorama, we are invited into a completely different world of bartellow s creation a place where influences become a melting pot of mood, nuance and texture, and where instrumentation is abstracted from a variety of cultures, including those that exist solely within his imagination. bartellow has found a way to merge primitivism with retrofuturism, identifying their point of intersection and reveling in their union across ten songs. while his academic background as a jazz musician certainly informs both his progressive approach to composition and non-linear production, it is his obsession with electronics and synthesis that shape his current musical climate. the title panokorama stems from bartellows visualization of the album, a surreal landscape with a foreign presence centrally embedded, a panorama punctuated by a ko, although a hybrid word that reads as nonsense, it somehow feels and sounds just right.

new order live at alexandra palace, 2018. over 2 hours of live music on 180 gram triple vinyl, housed in a slipcase.

a configuration of self is a hypothetical construct denoting a coherent pattern of feelings thoughts and preferred behavioural responses symbolised or pre-symbolised by the person as reflective of a dimension of existence within the self. >thorne and mearns, 2000< the rationale behind the series is based on each piece of music representing emotional response to the processes feelings and self- awareness of studying psychology and counselling and becoming more aware of the multiple defences behaviours and personality traits i have. each release will be themed around a particular part of my academic journey and include media to accompany the music.

east man is a new project from anthoney hart and its material predates his previous work as basic rhythm. his unique take on grime reduces the sound to its steely fundamentals, bringing in influences from dancehall, drum and bass and techno to gird the voices of the mcs he works with. his own name for this hardcore continuum mongrel is hi tek.
anthoney struck a friendship with the academic and theorist paul gilroy, who wrote the album introduction below, after starting personal research on representations of working class and mixed race families. he asked paul for some help after coming across his work via stuart hall, paul’s mentor. their discussions and friendship developed, and it dawned on anthoney that his research and the east man album had some synergy, so he asked paul to write a piece conveying that.

hope are in the black phase. everything around them is obscured. every lyric and every spark of music, every photograph and every recording is drenched in black. it’s not the black of wave or gothic bands, but the unpretentious black of portishead or talk talk. a black arising from a wound and at the same time covering the wound, burying it. a scab. a black letting you forget the jazz, the academics, and the provinces that hope has come from. in germany, jazz, academics and the provinces are very close, and hope had to live through most painful experiences, play many unnoticed concerts, and remain unloved to find the love for themselves and their music. only this explains the dark stringency and consequence of their self-titled debut album (produced by olaf opal), featuring monolithic songs like cell, kingdom and raw. songs, sounding rather like dystopic infinity than a light-hearted debut album. songs, compressed to one word, as if the listener should not waste any time with reading, but start listening. listen and dive into the endless hope wave of sound, vehemence and black. and yes, during all of this, the iconic singer christine börsch-supan is naked. we can only guess her contours - it is too dark.

uwe schmidt has long been recognized as one of electronic musics most respected and versatile artists. a man of many talents, projects and identities including atom heart and senor coconut, uwes playfully ironic and acid- tinged atom tm moniker is perhaps the identity that most speaks to the new york dancefloors where the bunker makes its home. several atom tm releases are much-loved bunker classics and with the future nights 12inch uwe offers a heady experiment in what happens when a track takes you so far inside your own head that you’re in danger of losing your way back. . the a side is comprised of two fuzzy vocal techno tracks that are as fun to listen to as they will be to subject to some heavy tweaking in the hands of a capable dj. the b side, chemistry is particularly versatile and crazy-making with elements of darker techno stirred into a disorientingly stereophonic maelstrom that’s guaranteed to cause a dancefloor to lose its moorings until the only thing keeping reality from splintering is the tracks dry academic vocal reassuring us that its all just chemistry

its been some 7 years since reggie dokes was last seen & heard on a wph release, so safe to say this one is long overdue. our detroit hero took a bit of a hiatus from music production in recent years, but he is back and has been cooking up some serious heat. on wph 004 one of the tracks received a slight edit treatment by fcl and so red d decided it would be a nice twist to do the same on this one. but seeing as san soda was globe-trotting again red d handled the edit duties solo. which is all academics really, because in the end its about reggies unique detroit sound. transpose & jazz is my mistress will appeal to any adventurous dance music dj because they cannot be categorized or compared to anything. they are reggie dokes tracks and reggie dokes tracks are what they are: reggie dokes tracks

number three in the four part schleiben series from emotional response arrives with dont dj and tropical hi-fi at the controls. the former is the current creative endeavour of florian meyer, founder of the diskant label and one of the more experimental and academic producers to surface from dusseldorf in recent times. he also forms one third of the durian brothers. meyers kosmose is a 20 minute piece which explores the link between polyrhythmic percussion and brooding electronics understandably, its ripe with introspective qualities. offering some contrast, northern australian producer tropical hi-fi turns in oceanic mythology, a meandering journey through found sounds, psychedelia, folk music and more which sounds like listening to sued b-sides whilst tripped out on acid.

bon voyage is an ever-shifting constellation of musicians led by paris-based producer and bass player adrien durand. durand was first spotted in 2009 by jamal moss, boss of renowned chicago label mathematics recordings, which released durand s solo effort (impersonnel naviguant) under the moniker les aéroplanes. that first record, done using a very academic house music setup consisting of an eight-track cassette recorder, a drum machine, a cheap analog synthesiser and an even cheaper sampler, caught the attention of such dj s as beautiful swimmer and toby tobias. for his bon voyage project, durand recruited drummer nicolas ballay and keyboard player/engineer maxime kosinetz. while opening for legendary italian dj daniele baldelli, the band caught the attention of chicken lips s steve kotey, who released bon voyage s first two records (sorciers des aéroports, l imposture) on stendec, a new imprint created for the occasion

the goal with supernova was to look back to the disco era but with a synth heavy and altogether more cosmic twist. alex is a big fun of modern russian classical music composing style. also he was inspired by early english progressive scene (yes, elo etc). this is why u-kas melodic lines are long and not so straight sometimes. and oleg is musically far from academic school and prefers zappa, early german electronic and psychedelic krautrock etc.

album of one of the most talked about electro acts of the moment. one luxemburgish, one lebanese, one french, one musical language which takes its source from the academic knowledge of juilliard school of n.y.c. but raises itself above the classic, contemporary, rock and electronic genres. the first album of aufgang knocks down, surprises, and lays down matchless basis for reinterpretations. after >sonar< released earlier this year, here is the full lengh album ... future classic.

quadratur des kreises: der engl?nder spielt sich durch alle m?glichen stile.

vox populi field works vol.ii is the second part of a broader project entitled ‘field works’, in which the label travels to different locations in the world in order to collect sounds, eventually creating an archive of some of the finest and humblest musical traditions. inspired by academic methods proper to ethnomusicology and ethnography, this project’s aim is to showcase the diversity of our human cultural heritage, which is threatened by accelerated globalization and homogenization of the worldwide musical spectrum.
this record is the result of a twenty-day trip to japan. led by anthropologist and label founder fred scharf and his vox populi records crew, this is the second instalment on the ‘field works’ series. this 12’’ vinyl release is a collection of field recordings, jam sessions, studio recordings, street soundscapes, religious rituals, fighting championships and wedding ceremonies, all of which were remixed and reinterpreted by japan blues, tim karbon, hiroaki oba & shizka (aka inoue shirabe), delivering tracks whose core represents a wide array of traditional japanese sounds.

spider-man: homecoming original motion picture soundtrack highlights on a picture disc vinyl.

driftmusic, version: k / wht / 001 - exploring the deep roots of avrokosm, where occult still means hidden, starting in reverse. best foot forward, two epic reich-esque ttrriippmuzik cuts exploring rhythm, harmony and polymeter. beyond the cloud suckerpunches of non giallo, un-trance tech-disco glass-spacerock. non academic explosions of synthetic joy. not for wimps.

new album of previously unreleased music recorded 1962 at auditorium maximum/ freie universität in berlin. austrian genius friedrich gulda on piano and baritone saxophone, leading a 13-piece, top-shelf lineup of players featuring benny bailey, erich kleinschuster, georg riedel, fatty george, arne domnérus and ack van rooyen. sparkling modern jazz in front of an excited audience, including parkers anthropology, monks round about midnight plus original material by gulda and riedel, with world premiere of “music for three soloists and band. it is the rhythmic drive, the risk, the absolute contrast to the pale, academic approach i had been taught. (f.gulda in new york times).

deeply rooted in classic hip-hop, funk and boogie, kiev-based beat maker pahatam didn t mind selling everything he had back in the day in order to afford his first roland drum-machine. addicted to vinyl, he believes that the dissonance is what makes music beautiful and puts the groove and atmosphere in there in the first place. experimenting over the years have led him to produce a raw house and academic techno sound and he never seems to stop exploring

here at bearfunk we have been pretty busy as of late it was a casual visit to geneva just like any other. we had just finished a buzzing set and soon after we found ourselves talking to a five bearded academic types. it turns out they were a bunch of theoretical physicists out on a cosmologists night out. they work them hard at cern and that day the large hadron collector had been a real beast rebooting five times before lunch. they were pissed off and needed a new challenge. we offered them a job on the spot and they promptly moved to our london hq working on a wage of tea, vinyl and nandos. we set them a challenge. build us a time machine! they started soaking up all those bearfunk-groove-boson particles and. you know what? they did it! a time machine of our own. our first task, jump back in time to 1985 and retrieve us something really cool. set controls to the manhattan office to celluloid records. fresh from their hit with herbie hancocks rockit, spearheading rap with fab five freddys change the beat and afrika bambata stompers the legendary label is preparing to release the debut album from nyc-paris emigre lord funk.

schwarzes doppelvinyl inklusive downloadkarte in farbigem gatefold mit bedruckter innenhülle. vor nunmehr 35 jahren hat sich new order aus dem musikalischen nachlass der legendären joy division gegründet, nachdem sich deren sänger ian curtis 1980 das leben genommen hatte. in den 80er jahren war die band das bindeglied zwischen experimenteller elektronik und emotionaler gitarrenmusik und baute musikalisch die brücke zwischen depeche mode und the smiths. mit ihrer mischung aus spröder melancholie und sanfter zuversicht haben new order welthits wie blue monday und true faith geschaffen und sind in die annalen der popmusikgeschichte eingegangen.

vor nunmehr 35 jahren hat sich new order aus dem musikalischen nachlass der legendŠren joy division gegrŸndet, nachdem sich deren sŠnger ian curtis 1980 das leben genommen hatte. in den 80er jahren war die band das bindeglied zwischen experimenteller elektronik und emotionaler gitarrenmusik und baute musikalisch die brŸcke zwischen depeche mode und the smiths. mit ihrer mischung aus spršder melancholie und sanfter zuversicht haben new order welthits wie blue monday und true faith geschaffen und sind in die annalen der popmusikgeschichte eingegange

vinyl only! synths glittering through the night are pierced by metallic percussion and crushed by bass frequencies from a deep abyss! many times have ricardo esposito and micheal nadjé demonstrated their tight dj skills all over europe and now these two brothers have stepped up their game yet again to craft two tracks in a most simple and efficient way that only early chi house is capable of. claps, toms and tambourines rushing fiercely through arped hooks bring back that 87 feeling! the flip transports us back to the present day in the form of two remixes, but wont betray the a-sides spirit. for b1 john spring trades arpeggios for chords and introduces a thump you will surely be able to feel on the floor. kyle, on the other hand, hooks up his analog gear and pulls out synth lines that will get everyone on the dance floor dizzy – but only until the bass line crushes their chests.

it is not about knowledge only, academic or otherwise, it is and has always been more about understanding each thing for what it is, what it stands for and its origins. this is definitely the case with quell, who has been a friend of the these days records since the very beginning. after the artists collaboration with argy under the these days in-house project moniker >club lonely<, this is his first personal ep for the label. drawing influences from a few distant chronologically, yet classic styles of dance music, starting from disco-flavored house all the way to friendly nods at kerri chandler, ron trent, chez damier and the earlier period of new york citys ibadan records, >perception ep< blends all of them together in a most elegant and mature way. amidst the plethora of the house music sound recent revival, quell presents a very complete and solid proposal, which shows that he adores as much as he comprehends the connections between the past, present and future of this music

part 1 of the new double-release from tiefschwarz aims at the heart of house music: soul. “on&on” is a first-class arranged club track. starting off with a wonderful mellow theme, that is adumbrated by the bass line in an one-and-a-half minute long exposition. the track ups the tempo with an additional hi-hat resolving into a shuffle beat. in double time, we move on towards the first break. here an edgy, minor key-chord sequence is introduced, making it obvious for everyone, that this track is gonna take off. eventually the keys function as a counterpoint to the classic bass line. a four-to-the-floor “on&on” vocal sample takes over after the break, adding another percussive aspect. as the track goes on a mulitiplicity of side elements sets in - no room for tediousness! in the end the “on&on” vocals resolve into “it’s so simple… . who knows, but this could be a broad hint to all the tech-house academics out there. no matter what, this grande finale raises a smile from every last sweaty soul on the dancefloor. with “best inn” on the b-side tiefschwarz create a dance classic, dressed in 2009 fashion. reminiscent of long gone nu-groove times, a traditional house beat - including a tiny off-beat tinker bell - blasts out of the speakers. a slured synth-organ provides the track with that certain edgyness. here, the brothers keep it laid-back yet exciting at the same time. this piece goes on and on and on - and you yourself run alongside, not wanting to pause. but watch out! at the latest in the second break, tiefschwarz put nostalgia to the test via some shockingly muffled metal drums. one of these moments, where you wish yourself back into the middle of an eight-hour deep-house set in 1992. the train departs. one thrillingly beautiful landscape after another runs by, until the warm sun strokes of the south suddenly rouse you out of slumber. arrived