Vector Trancer
Opening The Inner Gates 1

After featuring on the label with a contribution to Erell Ranson’s “Hand In Hand” Remix EP in 2018, SUED co-operator SW. punches back in on KOC with a hectic six-track sonic journey by way of inaugural transmission.Crest-surfing the margins betwixt abstract beat-making, hardware experimentation and further explosive club-ready wares, the German producer breaks the trip in with the tropical hot "ariaJA" - reeling out a savvy mashup of animalian field recording, spaced-out FXs and loopy elastic bounce.Cranking up the heat, a notch further, "moonNEWsoon" pulls out a hot mix of muscle-aching breaks, jackin' n’ smackin' toms and iridescent synth stabs, all coated with a thick sauce of mind-boggling machine stunts. Trading its gridlocked intro for an aqueously luxuriant design throughout, gOiOsee has us deep-diving in an all-blue scenario where each element finds itself draped in richly-hued envelopes.Flip sides and here comes the further shape-shifting, non-formulaic "mASsLESS", which invites us to see straight through glassy cascades of skittish snares, gummy synth arpeggios and futuristic chimes as an Eden of AI-rendered birdsongs and forgotten melodies come to life before our eyes.Back to a more dynamic mindset, “justMUST4y brings lush flights of altered piano chords and pop-informed harmonics face to face with a gritty, metronomic drum work to weave another singularly off-kilter epic SW. holds the secret of, right before "VFXpeaksTWIN" wraps it all up in a soul-invigorating, Twin Peaks-scented and horizon-broadening ambient finale.

After the Stroom release, James Bernard was revealed to the new generation. From Rising High/Sapho vaults, find over here 5 remastered tracks from 93-94 period. Alongside with 'M/N' compilation, Late-Night Rec. continues to explore the sound of a composer who made cross techno, electro and ambient at their peak. Incl. 'Lost In It' from his 1st LP, longly awaited to be reissued. A long-play record designed for ambient-atmospherics connoisseurs. Ltd edition of 300.

ABST017 - SP - 2020Abstrakce is really excited to finally present one of the most rare, interesting and difficult to find of Carl Matthews´ cassettes on vinyl for the first time and remastered by Colin Potter.Composed and recorded at his own home studio in 1991 and influenced by Harmonia and Cluster, Matthews developes a really personal project. A very delicate usage of rhythm machines, samplers, sequencers, e-bowed guitars that show up briefly hinting at a lo-fi Innovative Communication feeling... The capricious nature of these experiments opens many different doors of wonder to the curious heads, easing deep listening away from clichéd Berlin School, New Age or Krautrock -the most obvious reference points here-, into a foreverland of non academic modernism, where to take shelter and briefly vanish.Quiet but not static, mellow but not too new agey and trippin' but not too trancey, this music finds its own space and character in the world of home recorded electronica. A true jewel of the european electronic underground.

Éditions Appærent is extremely proud to present the original soundtrack for Christopher Makoto Yogi's film I Was a Simple Man, composed by Alex Zhang Hungtai and Pierre Guerineau.I Was a Simple Man is a ghost story set in the pastoral countryside of the north shore of O'ahu, Hawai'i. Revealed in four chapters, it tells the story of an elderly man facing the end of his life, visited by the ghosts of his past. Incorporating familial history and mythology, dream logic and surrealism, I Was a Simple Man is a time-shifting, kaleidoscopic story of a fractured family facing the death of their patriarch that will take us from the high-rises of contemporary Honolulu to pre-WWII pastorals of O'ahu and, finally, into the beyond.The soundtrack is a delicate, elegaic paean to Hawai'i as it appears in the film; lush and florid; subtly psychedelic; bathed in moonlight. The sound of the island — the spirit of the island — is as much an instrument as Zhang's saxophone or the scattered, raindrop piano that peppers the record. Even at harsh peaks, like a no-input mixer talking to itself like a lonely ghost, the record retains a sense of quizzical calm. Both nothingness and interrogating nothingness; misery and magic.