Originally released digitally on Iboga in 2014, Live on the Roadblog is the latest full-length by Saafi Brothers, comprised of longtime dubtech-nician Gabriel Le Mar and partner Michael Kohlbecker, making its CD debut on the Novum sublabel of Carpe Sonum. The origins of Saafi Brothers are long and storied, their brand of smoky, world-weary ambient dub first arising from the Blue Room label in the 90s, and running concurrent with Le Mar’s numerous other projects, either solo or in tandem with other bong-busting wunderkinds. Gabriel Le Mar’s beginnings arose like many of his 90s colleagues from the ashes of the club, where the sturm und drang of bodybeat was at the epicenter of atmosphere. Le Mar’s tendencies towards compositional variety lifted him well out of the dancefloor ghetto to advance his visions of an anarchic, far-flung, ‘post-dance’ music. Effortlessly hard-wiring the strident lilt of original dubplate, Middle Eastern vibes, and Asiatic mosaics to a contemporary matrix of high-tech electronics, Le Mar singlehandedly tapped into a singular type of machine age voodoo. Within the larger remit of Saafi Brothers, Le Mar and Kohlbecker augured a long history of interwoven reverb and delay into a labyrinthine fabric of Orb-like, fourth-world fancy and spongiform rhythmic shudder. Live on the Roadblog is no different, but its hypnotic, rubbery textures and keening artificial interzones would make even Adrian Sherwood swoon. Le Mar and Kohlbecker at this point have far transcended their psychedelic trance roots, as evidenced by a track such as In the Eye of the Storm, where arcing Kraftwerkian pulses whir over, about, and under sinuous basslines, ghost-voices, and some spectacularly immersive rhythm programming. We’re delighted to be releasing this bold work on Carpe Sonum Novum; like fine wine, the Brothers have only improved with age.Live on the Roadblog includes a gorgeous 8-page “travelogue”-style booklet designed by Simon Ghahary (and this additional artwork is the reason for the higher-than-normal pricing).

Stripped reveals a veritable jungle of masterful mastodonian beat madness of a type not seen in electronic circles for decades. At once gleefully and respectfully signifying the engaging 90s era of IDM while simultaneously pointing into a far more cybernetic aural future, Stripped is hardly that; it’s somewhat more ‘streamlined’ than Le Mar’s early works, but that hardly diminishes its brilliant, complex, and magnetic sound design, where the listener’s attention is so engaged one must literally react to the rhythm. Le Mar’s rep amongst the post-dance glitterati is long secure, yet one can’t ignore the fact that there’s a reason he’s so admired despite a mere handful of recordings over the past 25+ years. Whether solo or under the guise of Saafi Brothers, Le Mar has the uncanny ability to turn a series of percussive skeins into one immersive harmonic convergence, deftly lacing up an assortment of melodic/rhythmic fragments into energizing knots of dubwise shift and burning techno chrome. Pulse becomes central to Stripped’s molten core; synths unleash both whooshing arpeggios as well as great yawning chasms of sound that nearly swallow the hurtling beats. Le Mar manages to balance the power struggle between stasis and momentum so the end result becomes even more stimulating to the inner ear. Stripped might well be one of the more disingenuously-titled albums in electronica. The descriptor is easily betrayed by Le Mar’s characteristic liquid squelch, digital snap and pop, and the sheer miasmic surface tension of the entire enterprise. And the better we listeners are for it.

The last time we heard from Petter Friberg, better known under his nom de disque Motionfield, was through his sole physical CD release Optical Flow, on the defunct Somnia label, way back in 2008. He hasn’t exactly been idle since then, keeping busy releasing download-only albums on a fairly regular basis. Those outings, however, seem but prelude to Luftrum, a beautifully sculpted multi-segment creation of ambient art which marks his triumphant return to more permanent media. Luftrum is that rare work, one that spotlights an artist working at a level of craft that far exceeds his years. Stylistically, the album harkens back to some of the weightier moments first starmapped by the Euro masters of kosmische but there’s a persistent ‘symphonic’ flavor linking the various movements that encompasses ages both new and old. Friberg effortlessly butts textures and layers against one another, mixing sounds of varying hues that alter both mind and mood. But Luftrum has many introspective moments peppered throughout the galactic expanse; it’s third movement in particular utilizes the pitter-patter of little beats to exude an earthbound psychedelia. Motionfield is certainly an apt moniker, as Friberg’s colorful eddies suggest anything but minimalist drone stasis. As tones stretch and time loses its kinetic sense, there’s enough cellular activity energizing Luftrum’s body sonica to make its hour-plus duration feel like one fluid day’s journey into night. Mastered by Manual mainman Jonas Munk, whose intuitive touch skillfully augments Friberg’s sound and vision.

Sinine Platoo was originally released in 2002, then reissued digitally with two bonus tracks in early 2013. Later that year, Carpe Sonum was born and contact was made with Galaktlan regarding a CD release. Sinine Platoo is an album of beautiful otherworldly electronica, chock full of warm, soaring melodies which might remind you of Arovane, or perhaps an easy listening version of Autechre.

From the original press release (slightly edited):

Sinine Platoo began as a study of fractal music. The tracks Sulase surm, Videoton, Tekitaja, Num and Sulase surm repriis contain melodic sequences generated via mathematical algorithms. The conclusion was that it’s possible for a machine to generate beautiful, emotional music–when ordered to do so. The truth is, music is math and emotions are in the eyes of the beholder.

Originally sent to Pete Namlook in 2006, Tales of Ten Worlds is certainly a storied release. Namlook responded kindly and praised the album, but declined to release it–noting that by then FAX had moved away from the palpable classic FAX sound of this album. Since that time, Tales of Ten Worlds has circulated among the FAX cognoscenti, and some have considered it “the one that got away.” In 2013, Si completely reworked two of the tracks and revisited the others, repairing some production issues that existed in the early version. The result is a sublime masterwork of ambient electronica filled with lush synths, ornate melodies, and delicate rhythms–all the necessary ingredients which harken back to the classic FAX label sound. Renew your passport, pack your bags, and prepare yourself for a journey through ten breathtaking sonic landscapes.

The ten tracks that comprise OI represent the culmination of a seven-year bicontinental journey, from North America to India and back. John Sobocan, aka Bubble, dreamt that Sathya Sai Baba had beckoned him to India, so off to India he went. Consequently, half of the tracks were recorded in Puttaparthi, within 200 meters of Sathya Sai Baba, and the other half were recorded 13000 km west, while John was dog sitting in a remote area north of Toronto. Even though the tracks were recorded in disparate locations, they share a common theme of zen-like spiritual ambience. Quench your sonic thirst with this heavenly brew combining a generous helping of environmental field recordings alongside serene, meditative compositions that uplift and calm the spirit.

Sometimes Not finds Krystian Shek in relaxed mode, remixing four tracks from his first full length CD Eisblumen, which originally appeared on FAX +49-69/450464, alongside seven new tracks. Krys likened the process of producing this album to that of painting on a canvas, eschewing the groovebox and instead relying primarily on the trusty TR-808, along with a Minimoog and MS-20. The result is a downtempo masterwork, perfect for the chillout room or late night listening via headphones. A refreshing drink to quench your sonic thirst. Don’t forget to chill before serving.

Haemus represents an about-face for Lorenzo Montanà, a name which has lately come to be associated with IDM, glitch, and groove-infused programming. An intimate, spiritual album, Haemus mixes electronic and organic acoustic sounds, and its melodies are inspired by the old legends of the Mediterranean sea. Instruments such as dulcimer, violins, and qanun are balanced gracefully with electronic textures to form eight tracks of ethereal ambient drones. While Lorenzo’s typical rhythms may be missing on Haemus, the use of acoustic instruments recaptures the mood of his earlier works. Embark on a personal journey with Lorenzo, sharing his images of the Mediterranean through ancient sounds and subtle electronic textures.

Continues the series which began on the legendary FAX +49-69/450464 label…Between 1991 and 2013, Thomas P. Heckmann produced and recorded several hundred tracks, released countless singles and CDs and made his name in Techno / Electro / Minimal / Industrial / EBM / Ambient / Acid and so on. These are tracks that, for whatever reason, were never released, but were favorites of Heckmann and those around him. These tracks show the other side of Thomas where his influences are the 60s and obscure music, a side which has not been heard since the mid 90s via his Drax project. So take a seat, dim the lights, get a fancy drink and listen openly to the little gems and analogue escapades from the man and his instruments!

Dedicated to Pete Namlook “Indiana Drones is the first collaboration between Material Object and Phonaut. This project was recorded in November 2012 and was originally intended to be released on Pete Namlook’s Fax + 49-69/450464 record label. Immediately after completing the recording I tried to get in touch with Pete which led to the tragic discovery of him having passed away. Pete Namlook / Peter Kuhlmann had an immeasurable impact on the electronic music world, as an artist and curator, as well as on my own life both as a mentor, collaborator and most importantly as a friend. Now his memory lives on through us. Each of the five parts of this project feature individual artwork comprised of photos from Pete Namlook’s home town of Traben Trarbach in Germany.” Recorded November 2012 in Berlin, Germany Written by Material Object & Phonaut Produced by Material Object Mastered by Man Made Mastering, Berlin