Lee Norris aka Metamatics, Norken and one half of Autumn of Communion. Nemmit Con was made in the autumn and early winter of 2017. The last track Unreadable was finished in the last days of December. Only analogue synthesizers and step sequencers were used on this collection of tracks. Nemmit Con is dedicated to Conrad Schnitzler and Edgar Froese.

Ishq morphs into Indigo Egg whilst evaporating Ringo Starr with a laser gun in favour of Miles Davis style drumatronics to create an album of eqyptronica and psytropic tripped beats, sounds and vortextural anomalies.

A spaceship ride across Noospheric dimensions.

Channeled directly from the mind’s eye of Sun Ra on for this momentous occasion, Indigo Egg creates an album of deep moods, heartwarming novelty and the sound of tropical sunrises on distance planets + a hint of the extraterrestrial DNA we all know and love.

It’s in us all, it’s music from another dimension designed to take you back in time to a future we have yet to behold.

Limited to 150 copies.

Alio Die is considered one of the precursors of ambient music in Europe. His music can be described as a very spacious, experimental ambient, combined with many electro-acoustic elements. This album was recorded at the Kalisz Ambient Festiwal in Poland. A beautiful journey from start to finish. Limited to just 150 copies.

An electrifying stratosphere of vibrant realms and enchanting tonalities evolves with every breath of Martin Nonstatic’s hand-crafted synthscapes. Gently progressing into a waterfall of mind-massaging oscillations, Ligand is an ambient downpour of dramatic euphoria.

Hauting, soulful minimalism is engraved within the atmospheric frequencies that paint these melancholy walls, a downtempo outcry of distant, mechanical pads and dystopian melodies crawling against an auditory horizon. The experience of a voyage to the core of your emotions.

Krystian Shek released a number of superb and still underrated albums on Namlook’s FAX imprint over the years; his first Carpe Sonum offering, 2014’s Sometimes Not, was a bracing return to form, and al-Qāhirah is the follow-up, and it’s a dandy, a longform slice of far-flung ethnotronica that speaks within dub’s mother tongue but jettisons the lockstep rhythmic underpinning. In so doing, Shek’s augured quite a brilliant thing: digidub that is all languid pools of sound, froth, reverberation, and echo, plunging the listener into a vast abyssal chamber whose sounds mimic the detritus found in long-abandoned sensory deprivation tanks. Yet the whole experience is becalming, welcoming, and thoroughly non-isolationist: throughout the fifteen-minute excursion of the title track, we are treated to a rainbow coalition of thrillingly sculpted shimmers lighting up a desert night sky like some man-made aurora borealis. Shek’s skill lies in his ability to showcase works of ‘ambience’ that are leagues removed from Eno’s hoary old definition—this is a music of flares and fanfare, bursting with light, drunk on the absinthe of nature.

Near:Glow is a long form elaboration of the track on the same name from Steve’s 2017 Near Series trilogy. The piece was chosen because of it’s particular cinematic atmosphere where the shadow of clouds roll over vast dark pine forests. Afternoon rain tumbles down mountain rapids and at times the utter silence can feel like pressure on your body. Near:Glow is an astute study of the elements that blends nature and humanity through your speakers.

Dark Entries returns to the New Jersey basement studio of SMERSH to unearth an 18-minute jam session from 1989, backed with two contemporary remixes. Smersh was the duo of Mike Mangino and Chris Shepard from Piscataway, NJ who began making music together in 1978. They were uninterested in traditional notions of songwriting or live performance. Between 1981 and 1993 they released over 40 cassette albums on their own Atlas King imprint. As these tapes traded their way across continents, Smersh developed a devoted following in places far beyond New Jersey, leading to releases on dozens of other labels from around the globe. “Sideways” was taken from a cassette titled 100, which refers to a 100-minute jam session the band recorded to tape on June 12, 1989 in Piscataway. The track was composed and performed by Mike, utilizing a Roland TB-303, TR-606, SH-09 and an ARP 2600. A frenetic hybrid of techno and acid with driving EBM style beats, “Sideways” weaves intricate industrial noises with synth melodies that drift in and out of phase. On the flip are two fresh remixes by different aliases of prolific Ann Arbor producer TADD MULLINIX. As JTC, he expands the sound palette, adding organ stabs and lush pads, drawing on Detroit deep house and UK garage. The CHARLES MANIER remix features chanted vocals on top of an array of pulsating synths, stark percussion, and post-punky guitar effects. Includes an oversized postcard with notes.

The late Mexican electronic musician Oscar Menzel, aka Airwaves, only realized a small handful of recordings in his short lifetime (including one under the alias 29), but the two Airwaves discs issued on the Opcion Sonica label back in the mid 90s remain one of the many undiscovered gems scattered across the vast graveyard of obscure, one-off electronic music projects and recordings. Released during the era when musicians the world over were firing up banks of synthesizers to inaugurate their own take on the ambient subgenre, Menzel’s cosmic creations took the stuff of legend (Eno, Tangerine Dream, Schulze, Namlook, and a gaggle of others) and recontextualized them via sonic easels adorned with fresh daubs of paint. This resulted in such sparklingly effective concoctions as the two-part shimmer festivities of “Biomechanical”, the gorgeous starshine twinkle of “A Little Twilight Moment”, and the Steve Roachian broadbase expanse of “Sunset Mists Distant Peaks”; in short, an exploration of tones and timbers that sounded strangely familiar yet still eerily unplaceable. Menzel’s fire burned but for a brief time, but electronic music aficionados can rejoice that his art exists to further illuminate the planet.

At the start of 2017, Mick Chillage released “Exulansis” A lengthy voyage exploring a vast sonic landscape that is Ambient music. At the end of 2017, Mick returns to txt with “Harmonic Connections” something of a departure from “Exulansis” showcasing his passion and ability to blend and mix many genres within the electronic music sphere. From the spacious grandeur of “Beyond the Infinite” to the soulful Detroit Techno strains of “Choice” the acid-tinged “Room 303” echoes and pays a little respect to the Berlin School experimentalism of the 70’s yet keeps its feet firmly in the 21st century. “Harmonic Connections” reveals a connection in the cosmos, nature and music and is a glimpse of Mick’s vast musical influences from soundtracks to ambient and experimental electronica that effortlessly connects with moments of IDM and Techno rhythms, often melancholic and equally optimistic “Harmonic Connections” looks to the past and the future with a rich sonic tapestry.