SC Distributon

"Elite Excel" is the first listen to Stellar Om Source?s new album Joy One Mile. Furthering her sound further from the formless soundscapes of her earlier work by digging up the roots of NYC electro and Detroit techno, Christelle Gualdi's version of dance music remains unpredictable and inventive. Featuring a top-notch remix by recluse producer Kassem Mosse.

Delivered from its celestial womb to the human world for inevitable elevation, Tactile Galactics is the new album by Secret Circuit, the experimental dance music moniker and cosmic interface for Los Angeles artist Eddie Ruscha Jr.

House of Woo is the new album from Maxmillion Dunbar, rogue house producer and one half of DC dance captains Beautiful Swimmers. House of Woo is a pure blast of bliss that works on a Funktion One just as well as it does a blown set of speakers at a house party gone woozy with punch drunk love.

Holly Herndon?s debut collection of material hybridizes experimental and dance music into hard-coded human sensuality. Incorporating themes of presence and physicality / flux and futurity within said musical expressions via Herndon?s unapologetic use of computer as her primary instrument, Movement translates the Avant-Garde into what Herndon fundamentally considers ?life practice.? The influences of Maryanne Amacher and Galina Ustvolskaya are as prevalent in Herndon?s music as Pan Sonic and Berlin and Birmingham 90s techno. Still, in line with pop deconstructionists Laurie Anderson and Art of Noise, Movement is purposefully positioned to reach new ears beyond a niche.

Essential collection of new mixes and unreleased material from Sensations? Fix, the cosmically conscious, defiantly DIY enterprise of Franco Falsini and his band of psychedelic renegades.

For the ninth volume of FRKWYS, a music and film series pairing contemporary artists with those that may have preceded them in style and / or approach, Sun Araw and M. Geddes Gengras meet The Congos in Jamaica.

Julia Holter's second album, Ekstasis, is a collection of songs written and recorded across the span of three years in Los Angeles, California. Ekstasis marks a return to the playful searching of her 2007 Eating the Stars EP, but guided by newly-learned disciplines, slightly better technology, and nearly limitless home recording time. Holter's songwriting stems from a mythological reverence of that which is incomprehensibly beautiful. Stars was a first attempt at musically transcribing this beauty, while discovering the honest enjoyment of unadulterated creativity. Holter's critically acclaimed debut album Tragedy (Leaving Records, 2011) embraced Stars strains of shimmer, but used sparser textures in a narrative context. While Ekstasis reflects the conventions of her classical training, the album is also uncannily, if unknowingly, poppy. Holter's approach to crafting the songs of Ekstasis centered around what she describes as, "open ear decision: what seemed to sound best for that moment." This blindness to reverence unintentionally steers Ekstasis along the experimental pop spectrum most commonly associated to New York's Downtown music micro-universe of the 80s, specifically the works of Laurie Anderson and Arthur Russell.