Released in 1974, Zuckerzeit marks a clear turning point in Cluster’s work, introducing shorter formats and a more defined rhythmic framework. The increased use of drum machines and structured sequencing sets it apart from the duo’s earlier, more diffuse recordings, while maintaining a focus on texture and tone. Developed in close proximity to Michael Rother and under increasingly independent production conditions, the album establishes a more direct and accessible approach without simplifying its underlying ideas. This standard edition makes the album available again on CD and vinyl following the previous limited anniversary release. A key recording in Cluster’s catalogue, capturing a pivotal moment of transition and refinement.
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…features nine previously unreleased tracks and demos.
Exclusively reissued on CD for the first time in over twenty years, presented in Deluxe 7” sized packaging with 2CDs featuring the album newly mastered, plus a comprehensive selection of the best of the original era remixes. Also features brand new sleeve notes written by author Kevin Sampson, The Farm’s former manager.
As a club DJ, radio broadcaster, podcaster, and label founder, Jamz Supernova has become one of the U.K.’s foremost tastemakers, exposing audiences to music from around the world, particularly from regional dance music scenes. Her first official release is 
…Now teaming up with the pastoral synthesist Dorian Concept, 
…features seven previously unreleased bonus tracks from the same period, as well as a comprehensive selection of remixes from artists like Max Cooper, Robot Koch, and Aparde.
With a gap of 16 years between their first two records, it seems like The Avalanches have almost become prolific these days. Now expanded to a trio (new member Andy Szekeres joined Robbie Chater and Tony Di Blasi earlier this year), the group’s fourth album, No Bad Memories, follows a mere six years after 
The last time that ominous waves of synth, the sharp clack and echo of gate reverbed drums and a pervading sense of unease like this dominated the airwaves, the 1980s had just dawned. Joy Division had come to its unfortunate end, but New Order was just getting going. The more playful, but still doomy, Depeche Mode offered up a dance beat under the sounds of annihilation. And Margeret Thatcher has just begun her project of cutting the floor out from under working people’s feet, launching a brutal austerity campaign that made life desolate for ordinary Brits.
Somewhere in the middle of the Bone Bame touring cycle, 10LEC6 stopped being able to work. Nicole, the singer whose voice is the entire centre of the group, was served an OQTF, the French administrative order requiring a person to leave the country. The practical result was that the band could not honour festival bookings outside France. A Paris collective built almost entirely on movement, on diaspora, on rhythms carried between continents, was pinned to one territory by paperwork. It was Nicole who then told the others the legend of 
Martin Zeichnete is working as a sound editor in the DEFA (Deutsche Film-Aktiengesellschaft) animation department in Dresden but his mind is elsewhere. Like many young East Germans of the time he listens furtively to West German radio at night and becomes infatuated with the ‘Kosmische Musik’ drifting across the divide from his neighbouring country. Martin, a keen runner, hits upon the idea of using the repetitive, motorik beat of this new music as a training aid for athletes. He believes these pulsing, hypnotic rhythms will have a positive mental as well as physical effect if used correctly.
Drawing from musique concrète, post-punk, free psych, kosmische and of course dub, Valentina Magaletti, Al Wootton and Susumu Mukai’s Holy Tongue surpass themselves on their second album, turning in a set that’s almost completely unmoored from time and space. It’s heady, essential listening FFO The Pop Group, Popol Vuh, Equiknoxx, John T. Gast.
Mika Oki’s art installations are all smoke and mirrors, quite literally. Roiling clouds of fog are lit by prismatic lights, while images are variously reflected, distorted, and projected through frames, making doors become mirrors and mirrors become windows. They are more experiential than physical, serving to make reality oddly illusory. They are also a great introduction to 
After creating something more down to earth with 
Edge Conditions stands apart from anything else 
Anna Atkins, the 19th century botanist and photographer whose Photographs of British Algae: Cyanotype Impressions is widely regarded as the first photographic book, made her images by placing algae directly onto paper coated with a light-sensitive solution. Where the plant blocked the ultraviolet light, the paper remained white. Everywhere else, it turned the deep Prussian blue that gives the process its name. At the center of each image, the algae’s fronds produced their own negative.