This is tremendously fun, its dynamics survived a reasonable span of time (15 years), and it is still, together with the first volume of Organ Transplants, one of the band's finest achievements. Covering Bach, Swans, Bambi, Kylie, the Complaints Department, all sorts of library sounds and what not, this is surely some of the most engaging sound-art you'll ever hear. It includes 60 tracks, obviously meant for random reproduction. And it even features an audio collage-cum-reflection on the meaning of "me" and ego in pop music. What else do you need?

Displaying the band's lighter side, this album probably inaugurates Stock, Hausen & Walkman's third (and last) career phase. Having worked for some years on the fringes of noise, found-soundology and plunderphonia, the band moved on to the brilliant Organ Transplants Vol. 1, where their sampling virtuosity and humor produced one of the most compelling (and truly passionate) tributes to lounge music and hammond havoc in the history of music. In the second half of the 90s, the band was caught by the electronica hype and went on to produce some of the nastiest drum'n'bass exercises under the guise of Dummy Run. Ventilating Deer is somehow caught between the worlds of Organ Transplants and Dummy Run, being more reminiscent of People Like Us than of Christian Marclay. A fine addition to the discography of a historic band which produced not only music, but also a history of music.

The Anti-Pop Consortium returns to the scene with their first full-length release for Warp Records - "Arrhythmia". It's a brilliant fusion between hip-hop and electronica. And although some of the beats are complex, much of the mix is quite minimal. There are rarely more than three elements being mixed at once, which makes it much easier to concentrate on the relentlessly seeping lyrical flows. The balance feels flawless, since the beats and loops brought forth sound very inventive, well-crafted, and on point. Although the Antipop Consortium will throw hip-hop heads a curve ball, it is nothing that a true fan of hip-hop wouldn't enjoy. It gorgeously represents an inventive minimal approach of familiar elements, which showcases their impressive and unique rhyme styles brilliantly. Definitely a keeper.

“Unit Of Resistance” is a collaboration between a handful of NYC musicians (laying down tracks of protest in 2004) and a selection of international DJ’s and mixers interpreting these tracks two years later. The story of how this unusual collaboration came together is written about in the liner notes and made even more captivating by the accompanying music. After over a year of international touring Raz found a handful of DJ’s/Musicians to take the music created that one fateful day and to create their own unique tracks. Raz set up a sophisticated web of information via the internet to allow the mixers access to prima material and to do with it as they wished. Perhaps the end result is conspiratorial music raising a lone flag or perhaps it is many different flags being raised jointly. Power to the people."

"Jetlag and trinnitus Reworks is a collection of tracks road-tested and developed by Si Begg over his last two years of gigging around the world. They are his idiosyncratic definition of dancefloor fillers. These are not tracks you will have heard on TV-advertised compilations or being hammered in Ibiza. They are tunes direct from a global electronic underground, from nights with no big name DJs and un-restrictive music policies. This kind of music has no name and refuses to be defined. It doesn't go top 40, it probably wont win any music industry awards. But it is loved by a passionate group of people across all ages, races and genders tired of a music industry paralysed by nostalgia."

Based in Cologne, Brinkmann is one of Germany's most respected minimalist techno producers. The former art student is something of a recluse, although he has collaborated with fellow dub-techno pioneers Mike Ink and the Basic-Channel collective. Brinkmann usually records on his own WvB Enterprises label, under a number of different monikers including Max, Soul Center, Max.Ernst, Ester Brinkmann, Suppose and Ernst. His dub-inspired sound has been described as "funk-charged electronic music". Calling his experimental remix projects "variations", he has produced work for Ink, Richie Hawtin, Depeche Mode, Cari Lekebusch, Echoboy, Pluramen, Akufen, Christian Morgenstern and Tied and Tickled Trio. In 2002, he signed a deal with the UK's NovaMute Records label and released the third in his Soul Center series.

ROIR is proud to release Martin Rev’s self-titled solo debut album, originally released in 1979 on Charles Ball’s Lust/Unlust label, now with 5 bonus tracks (3 unreleased & exclusive). Rev is best known for his confrontational work with Alan Vega as Suicide; considered one of the most influential bands of the last 30 years. This record, somewhere between the harsh sound of Rev’s early work with Suicide and his more melodic, solo material ("See Me Ridin’"), is concrete evidence of how influential Rev’s dirty American-motorik music really was. All songs written & performed by Martin Rev. All compositions produced by Charles Ball & Martin Rev. Tracks 1-6 originally appeared on vinyl (Lust/Unlust Records 1980). Liner Notes by Steve Barker (The Wire UK).

Decks, EFX & 909 is a taste of this experience. Moving between deep techno (Jeff Mills, Surgeon), funky house (Ben Sims, Baby Ford) and blissed-out dub washes (M5, Rhythm & Sound from Basic Channel), Hawtin effortlessly blends sound into sound, continually modifying along the way. A selection of tracks it may be, yet Hawtin transforms the whole experience into an original form, bringing his own recording experience into the DJ equation. An album as equally potent in the living room or on the dance floor, Decks, EFX & 909 is a masterful piece of work, a shining example of how a DJ mix album should be."

We™ members Ignacio Platas (Once 11), Rich Panciera (Lloop) and Gregor Asch (DJ Olive), met in 1991 while living in Brooklyn, during the infamous Brooklyn underground party scene in Williamsburg playing at, and producing, many of the most memorable Brooklyn warehouse after-hours environments of that period. We™ 97 release "as is" can be considered a classic. We opened for the Orb that spring. Their 3rd release, "decentertainment" landed them at Barcelona's Sonar '99. they have been talking about a new record in '06. Their first track appeared on Word Sound's compilation Crooklyn Dub Consortium, Vol. 1 in 1994. The group signed with Asphodel and released their debut LP, "As Is" in the spring of 1997. The Square Root of Minus One followed in 1999, with Decentertainment appearing on Home Entertainment one year later. "As Is" was recorded at The Bloody Angle Compound, San Francisco, California in November & December 1996."

Long awaited cd issue of Monolake's killer Plumbicon remixes project. First up is minimal techno's man of the moment Sleeparchive who weighs in with exactly the kind of stripped killer you'd expect, all Sahko inspired sine tone bleeps coupled with Henke's tight electronic drum sounds, crisp and shockingly good. The Rebreather mix comes next and is immense - all sweeping strings, delayed bass tones, thick synthesized patterns and crisp percussion - the entire track could have been layered over any number of eye popping visual sequences and would have made for a breathless soundtrack of the finest kind. Following on from this the Dedbeat mix could easily have been inconsequential but the Scape stalwart manages to turn in a dubbed out rewire that brings to mind Rhythm and Sound at their most electronic or Pole at his most complex. Great stuff all round, and I shouldn't forget that the cd contains an exclusive 10 minute mix from the man Henke himself!

Working at Berlin's Dubplates & Mastering in the early '90s, Mellwig became an expert of vinyl cutting and mastering, setting new standards and playing a crucial role in the development of the Berlin-based Basic Channel/Chain Reaction axis. In 1995, he released a self-titled disc by his Async Sense project on Moritz "Maurizio" Von Oswald's Imbalance label. Mellwig also formed a partnership with Thomas Koner in the '90s as Porter Ricks; the duo released a number of crucial singles on Chain Reaction (Biokinetics) and revamped their sound for a number of post-Chain Reaction singles on Force Inc. Continuous Mode was issued in 1997 by Chain Reaction; the alias popped up again during 1999 as he began issuing his material through Klang. Using the sound of latter day Porter Ricks as a foundation, Mellwig's layered, up-tempo material showed inspiration from the likes of Suicide and Krautrock without really directly referencing either. 2001 saw the issue of Disinformation Design on Klang, which compiled his first singles for the label. A. Kellman