John Maus – The Combine (2017)

Broadly cut from the synth pop cloth, Maus has fashioned the frosty minimalism of its fabric into a cloak of infinite meaning, genuine grace and absurdist humor over the course of three defining albums since 2006. His fourth album Screen Memories, follows six years after 2011’s We Must Become The Pitiless Censors Of Ourselves, which appeared like a thunderbolt of maniacal energy and turned everyone’s heads.

Screen Memories was written, recorded, and engineered by Maus over the last few years in his home in Minnesota. It’s a solitary place situated in the sub-zero winter temperatures creep into the songs as do the buzzing wasps of summer.

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Tommy Four Seven featurette

Tommy Four Seven takes Telekom Electronic Beats TV deep underground to discuss his vision as an artist. As a DJ, producer, label owner, event organiser and as one half of These Hidden Hands, Tommy explains how the different aspects of his career work together and compliment each other to solidify his vision.

The Normal – T.V.O.D. (1978)

After buying a Korg 700s synthesizer from Macari’s music shop in London, Daniel Miller recorded and released a single under the name The Normal. This was “T.V.O.D.”/”Warm Leatherette”. Both tracks were minimalist electronic songs influenced by the Crash novel. He wanted the sound of the recordings to be visual, like driving along a highway between large buildings then going through a tunnel. The single was recorded in Daniel Miller’s mother’s house using a TEAC four track tape recorder and the Korg synthesiser.

Kiasmos – Blurred (2017)

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Kiasmos mark their return in 2017 with a new 12” EP titled Blurred — available worldwide on October 6th via Erased Tapes.

Since their 2015 Swept EP, the duo have been performing shows extensively across the world. After writing and recording together in their native Iceland this year, the pair will be bringing a glimpse of light to a particularly gloomy time of year as their light sounds are brighter than ever.

Words from Ólafur and Janus (and Máni), August 2017:

“To write new material felt like a new beginning for us after two years of touring. The plan was to write something a tad darker than our previous stuff. Spring in Reykjavík had other plans though, as this turned out to be our brightest release to date.” — Janus Rasmussen

“Stimming was one of the reasons we started making four-on-the-floor music and we have been listening to Bonobo since we were young, so it was a great honour that they wanted to contribute remixes for the EP.” — Ólafur Arnalds

“I wanted to make something that felt natural but digital at the same time.” — Director Máni Sigfússon