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"Reactions" is the debut album from First Tone, the musical partnership of New Orleans-based artists Turk Dietrich (Second Woman, Belong) and composer Duane Pitre (Important Records). While the project has been at work quietly sculpting their sound for years, "Reactions" is the first available set of recordings. Those familiar with the respective works of the two artists will be happy to find a collection of music that is very much of the duo, and yet totally unlike anything they've produced before.

Over six tracks, First Tone unfurl poignant, flickering compositional works that utilize pitch material that is tuned using the system known as Just Intonation (which Pitre has studied for nearly 15 years) in conjunction with various software and a single hardware synth. The result is a collection of music that is both organic and alien. Layers of tone and texture build and dissolve from the ultra minimal to the enormous, on occasion seamlessly blending the two. A wide array of striking timbres patiently wash over one another, at times sounding like organic instruments, at other times sounding completely otherworldly.

"Reactions" is a masterclass not only in sound design and dynamic range, but also in sonic depth. The album's approach to the usage of time and dynamics work together to create the perception of a three-dimensional spaciousness of sound. The holographic effects produced from the spaces between the album's sounds are mesmerizing, with discreet arrangements that demand repeat listens to fully absorb.

RUMPELN
Pumping proto-rhythms disrupting a wall of distortion building up from unintelligible screams, broadcasts of gadgets on the brink of destruction, DIY instruments made of springs, shards of metal and trash, all hardly held together by a skinny, long-haired figure jumping in the flicker of glitched out AV loops – there’s a deep understanding to be found in Anton Kaun’s performances that we, as animals, will never really get along with our electronics.

DANIEL DOOR
With his latest setup, „wallwart scales“, Daniel Door explores the sonic depths of a bundle of wallwart power outlets. Disconnected from the machines (like smartphones, external hard drives and old Casio keyboards) they once fed with electricity, their distinctive inner wiring becomes the base of a microtonal scale made audible by an EMF microphone (the Elektrosluch made by LOM, Batrislava, Slovakia) and mangled in a constantly re-sampling arrangement by an Elektron Octatrack sampler.

The larynx or voice box is a small organ located towards the top of the neck in humans and some other animals. Constructed largely of cartilage, it houses the vocal folds that allow for the manipulation of pitch and volume, which are essential for the phonation of spoken speech. It is also involved in bringing air to the lungs when we breathe and it protects the windpipe when we swallow. However, those unfortunate to experience the potentially fatal malignant tumours of laryngeal cancer will have their larynx removed, resulting in a traumatic loss of speech; thankfully, as this rare record issued by Smithsonian Folkways in 1964 demonstrates, removal of the larynx does not necessarily spell the end of speech for such blighted individuals. Instead, through developments in artificial voice creation, patients could learn to employ modes of vocal communication again. The album was recorded by physician Harm A. Drost at the Phonetic Laboratory of the Ear, Nose and Throat Dept of the University Hospital, Leiden, in the Netherlands, working under the direction of Professor H. A. E. van Dishoeck. As the advances were fairly new and surprisingly varied, Drost felt a phonograph album demonstrating the techniques would be useful for those in the field. The album thus features a narrator explaining aspects of several different techniques, followed by examples of patients employing them. Buccal speech (limited to certain consonants), parabuccal speech (collecting air in a space between the upper jaw and the cheek), glosso-pharyngeal speech (a method deemed obsolete where air is forced between the tongue and the palate), esophageal voice (made by reconditioning one’s esophagus via swallowing, suction or injection), various injection techniques and devices such as the larynxophone, pipa di tichioni and “western electric” are all explored here, along with other aspects of the larynx and its absence. Speech After The Removal Of The Larynx is definitely one of the strangest albums ever given a commercial release!

Yellow Vinyl

Serotonin returns to revenge with Serotonin's Revenge 2, a four track compilation representing the depth and breath of what we live for.


While resting with his camel in the Taklamakan Desert in Xinjiang this summer, bpmf noticed a shiny object. He picked up a DAT labeled "Static Breaker - 1994". It contained some solid electro, including "Transmission Complete”. Who made this? Did it fall out of a UFO? We may never know. Look for more releases from this find coming from Serotonin Records in the future.

Hailing from Biella, Piedmont and now based in Milan, Kreggo is an eclectic and versatile artist. Defined by Juno as part of "the gum-under-the-schooldesk underground", he has been active since 2014. Along with being the brain behind the Art-Aud label and the cult Secret Rave series, he has released collaborations and projects for labels such as Lobster Theremin, Helena Hauff’s Return To Disorders, Super Rhythm Trax, FTP and Melodies Souterraines to name a few. For Serotonin, he delivers evolved, deep breaks with an edge of electro funk.

Siviyex is Toronto duo Castelvi (Bass Guitar, Vocals, Synths, Vocoder) and M. Gomes (Synthguitar, Programming). Their sound combines elements of Shoegaze, Electro, Italo and New Wave, with the conceptual influence of alternate dimensions, space, dreams and out-of-body experiences. The next wave sound of "Dreams in Wannex" is a definitive part of the world Serotonin envisions.

Schooled in dance culture since a young age, with influences and experiences ranging from rock to rave, London based Nexus 23 brings a "Vortex" of his stark, bass-heavy blend of electro and industrial sound to Serotonin records.

Also included on the vinyl version 4 loops from Serotonin in-house artists: John Selway, bpmf, Synapse and Pointsman.

Look for the digital release everywhere November 5th, 2019 and the vinyl wherever cutting edge records are sold.

Dan HabarNam returns to Chris Farrell's label with a follow up to last years acclaimed 'Draw Your Pattern' 12". Picking up where that left off 'Major Blinks' delves deeper into sub heavy techno with superb sound design and depth. On the flip 'The Source' transfixes with its eerie pads and broken drums. Another strong release from this label and another chapter in this unique Romanian artist's story.

One year after its release, Quartet Series proudly presents the remix EP of Nachtbraker's successful debut album When You Find a Stranger in the Alps. A collection of remixes by some serious talent. These three producers were carefully selected by Nachtbraker because of their impeccable reputation and ability to bring something unique to the world of music.

Humble Danish maestro Central (Help, Dekmantel) flips "Flambo" into a Jori Hulkkonen'esque summer anthem with a highly addictive bassline. Preacher of wonkiness Frits Wentink (Wolf, Heist, Bobby Donny) took "LOL" and brought it some serious keys on a solid breakbeat while maintaining its jolly character. Flipping the record, Nachtbraker brings us the evolution of "Just Doing My Thang" turning it into a quirky dance floor tune whilst also showcasing his ear for detail. Up and coming talent Nemo Vachez (Forest Ill, Opia Records, Rakya) dives deep into "Horsepony" as if he's cruising the depths of a rainforest in a submarine. His surreal dub mix is the perfect final track of this fine piece of wax

360 degrees of freedom is overwhelming in music, and you need not truly begin to find freedom until you put yourself under extremely narrow constraints.” It was with this quote that Don Slepian laid the groundwork for over 40 years of musical output. Slepian’s work draws equally from the harmonic terrain he explored while performing with a Javanese gamelan ensemble, as well as his time spent building and modifying electronic audio equipment for studios and fellow musicians. Gravitating towards improvisation and experimentation, Slepian built a breathtaking sound-world that stretched the briefest of moments into an eternity of detail and depth. In 1980, Slepian self-released a series of cassette albums that built upon and perfected this practice, offering “New Music for Digital Orchestra”.

New Dawn is one of those albums - an enthralling example of New Age euphoria, and early-electronic
experimentation.

New Music For Digital Orchestra? An ironic subtitle for an album without any traces of digital technology found within. The instruments, tools, and recording techniques are entirely analog. A Korg PS3100, Mellotron voices, Mellotron flutes, analog tape echo and analog recorder were used to create both of the pieces found on New Dawn with both tracks being recorded live with no overdubs

Carla dal Forno announces her second full-length album, Look Up Sharp , on her own Kallista records.

Dal Forno beckons a bold new era in her peerless output pushing her dub-damaged DIY dispatches to the limits of flawless dream-pop. In a transformative move towards crystal clear vocals and sharpened production, Look Up Sharp is an evolutionary leap from the thick fog and pastoral stillness of her Blackest Ever Black missives, You Know What It’s Like (2016) and The Garden EP (2017). Three years since her plain-speaking debut album, the Melbourne-via-Berlin artist finds herself absorbed in London’s sprawling mess. The small-town dreams and inertia that preoccupied dal Forno’s first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces. Look Up Sharp is the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar. Dal Forno connects with kindred spirits and finds refuge in darkened alleys, secret gardens and wherever else she dares to look.

In her own territory between plaintive pop, folk and post-punk dal Forno conjures the ghosts of AC Marias, Virginia Astley and Broadcast through her brushwork of art-damaged fx and spectral atmospheres. The first half of the record is filled with dubbed-out humid bass lines, which tether stoned hazes of psychedelic synth work as on ‘Took A Long Time’ and ‘No Trace.’ These are contrasted with songs like ‘I’m Conscious and ‘So Much better’ that channel the lilting power of YMG and are clear sequels-in-waiting to dead-eyed classics like ‘Fast Moving Cars.’

The B-side begins with the feverish bass and meandering melody of ‘Don’t Follow Me,’ which takes The Cure’s ‘A Forest’ as its conceptual springboard. It’s the clearest lyrical example since ‘The Garden’ of dal Forno’s unmatched ability to unpick the masculine void of post-punk and new wave nostalgia to reflect contemporary nuance. Look Up Sharp reaches its satisfying conclusion with ‘Push On’ - dal Forno’s most explicit foray into an undiscovered trip hop universe between Massive Attack and Tracey Thorn. The album’s last gasp finds personal validation in fragility: ‘I push on / I’m the Place I’m Going,’ a self discovery lifted by reverberant broken beats and glass-blown vocals.

Adding further depth to Look Up Sharp are the instrumentals, which flow seamlessly between the vocal-led pieces. ‘Hype Sleep’ and ‘Heart of Hearts’ drink from the same stream as The Flying Lizard’s dubbed-out madness and the vivid purple sunsets of Eno’s Another Green World. While ‘Creep Out of Bed’ and ‘Leaving for Japan’ funnel the fourth-world psychedelia of Cyclobe’s industrial-folk into the vortex of Nico’s The Marble Index.

Conceived as a whole, Look Up Sharp is a singular prism in which light, sound and concept bend at all angles. A deeply personal but infinitely relatable album its many surfaces are complex but authentic, enduring but imperfect, hard-edged but delicate. A diamond. Look up sharp or you’ll miss it.

Luc Kheradmand, under his “nom de plume” Voiski, has created a gem of a record for ara, named At e Speed Of Love His highly distinctive sound is distilled into 5 stunning tracks which feel both analog and futuristic. Diverse yet coherent, the record is a fantastic blend of positive energies, unfolding and revealing its different faces as it progresses ; ecstatic at times, and moving at others. is is music with enough depth to project your own meaning and emotions.

Limited 12” Vinyl : Numbered edition of 500 . Handmade with love in Berlin

Each vinyl sleeve is individually painted with highly-pigmented acrylic, using a single-movement brush technic, on grey cardboard sleeves, protected by a high grade transparent outer sleeve Since releasing physical records is increasingly becoming an irrational choice, each ARA record is irrationally produced as an hand-made work of art.

Editions are individually numbered, recognisable as a part of a whole, while being slightly different by nature.

In the years before ​Hunter Lombard​ perfected the gentle art of juxtaposing mega breakbeats with lush synth hooks, the New Yorker was an active rock musician. Citing the afterglow of her guitar background as a big influence for her current melodies and timbre, Lombard inhabits a sparsely populated intersection in dance music. For ​Schloss’​ third release, Lombard connects the dots between sweet rave nostalgia and clublands latest wrinkle. She has previously released on Volvox and John Barera’s label Jack Dept, and can often be found behind the decks at Elsewhere, Good Room or Bossa Nova Civic Club.
Slow Foam​ is mixed and mastered by Matt Karmil.

Floating Points' personal collection of global soul, ambient, jazz and folk treasures form the latest in the warmly revered Late Night Tales series.

Sam Shepherd aka Floating Points' music taste is notoriously tricky to define, ranging from ethereal classical at one end to coruscating techno at the other, united only in a firm belief in the transcendental power of music to move hearts, minds and - yes - feet. Similarly, his production career has ranged from early experiments in dance music with breakout records such as the 'Shadows EP' and collaborating with legendary Gnawa master Mahmoud Guinia to his expansive album 'Elaenia', which met with critical acclaim upon its release in 2015.

This Late Night Tales excursion into the depths of the evening reflects his broad tastes. The globally-travelled producer has collected untold treasures on his travels from dusty stores in Brazil to market stalls near his hometown. There's the gorgeous 'Via Làctea', culled from Carlos Walker's debut album, Abu Talib's (Bobby Wright) plaintive 'Blood Of An American' and Robert Vanderbilt's gospel reworking of Manchild's 'Especially For You'. Raw soul and feeling oozing from each song's pores.

At the other end of the music scale are the modernists, such as Québécoise Kara-Lis Coverdale who weighs in with the indelible 'Moments In Love', Kaitlyn Aurelia Smith whose 'Milk' is an exercise in tranquility, while Sarah Davachi's meditative mix-opener offers respite from a weary world.

We have some exclusive tracks for Late Night Tales; alongside Davachi's offerings there is also Toshimaru Nakamura's 'Nimb #59', as well as the now traditional cover version. hepherd delved into his childhood
memory for this one, a track taken from the first album his parents bought him, Kenny Wheeler's 'Music For Large & Small Ensembles': Sam offers up his interpretation of 'Opening Part 1'. Wheeler also contributes horns to Azimuth
track The Tunnel, written and performed by Norma Winstone and John Taylor who, coincidentally, are the parents of Floating Points' drummer Leo Taylor. Closing the album, Lauren Laverne reads the suitably nocturnal poem 'Ah! Why, Because The Dazzling Sun' by Emily Brontë.

'I tried to find music that reflects the stillness of night. And because my musical interests lie all over the place, it's quite difficult to distil that notion down to just a few songs. I was quite keen to have some electronic music in there but I also really wanted to have some soul music mixed in, so I had to try and find a pathway between all of this different music.' - Sam Shepherd (Floating Points) March 2019

SNK and Brave Wave Productions are proud to reveal their third collaboration : Generation Series 09 - PULSTAR for CD and vinyl.

Originally released for NEO GEO in 1995, 2D shooter PULSTAR became a cult classic among SNK fans, featuring fast-paced gameplay, graphics and music. The soundtrack is composed by ex-SNK composer Harumi Fujita.

PULSTAR The Definitive Soundtrack features the entirety of the original music remastered and restored to the highest possible quality, in collaboration and consultation with SNK and original composer Harumi Fujita. This re-release features both the Neo Geo AES and Neo Geo CD versions of the PULSTAR soundtrack, giving fans a choice of which arrangements to listen to.

PULSTAR The Definitive Soundtrack on CD and vinyl will feature a booklet containing artwork from the SNK archives, in addition to in-depth track-by-track liner notes written by composer Fujita herself. Fujita recalls her feelings on each song, detailing the methodology in which they were created and what inspired their direction, which includes historical events that occurred in Japan during the mid-1990s.

PULSTAR The Definitive Soundtrack features an exclusive cover drawn during the game’s development but has never been publicly revealed until now. Fans of the original package design will find it reproduced faithfully in the center gatefold.

The vinyl release will come on 2 LPs, with Disc 1 (Sides A and B) dedicated to the Neo Geo AES version and Disc 2 (Sides C and D) dedicated to the Neo Geo CD version.

©SNK CORPORATION. All rights reserved. Licensed for use by BRAVE WAVE PRODUCTIONS.

PBR Streetgang return to their newly launched KURTZ imprint this October to deliver ‘Acid Tools’, accompanied by Wilde Renate residents Longhair on remix duties.

Founded in Leeds but now found touring the international scene week in, week out, Bonar Bradberry and Tom Thorpe, aka PBR Streetgang, have cemented their position as leading names within the current house and disco landscape via a slew of stand-out releases on imprints such as Skint, Crosstown Rebels and Futureboogie, plus appearances in 2019 alone at Glastonbury, Love International, Printworks and a summer residency at Pikes Ibiza to name just a few. Launched earlier this year, their new KURTZ imprint quickly found favour amongst a who’s who of the industry’s leading names, from Andrew Weatherall to Bicep, Hot Chip to Soul Clap, and here we see the duo step out again on home turf to deliver the second instalment as they reveal their Acid Tools’ EP, featuring three versions of the up-front ‘Ron’ - each of which have been doing damage in their sets across the summer months - backed by a remix from Wilde Renate residents Longhair.

Up first and delivering the ‘Full Fat’, version one sees Bradberry and Thorpe introduce punchy analogue percussion arrangements in tandem with a chunky, menacing acid line at the production’s core, whilst infectious vocal samples and hooks ebb in and out of the mix to guide the production as it chugs along, whilst the ‘Half Fat’ mix strips back the vocals to reveal a driving and warping journey across six-and-a-half minutes. Next up, Berlin duo Longhair’s remix welcomes a low-slung interpretation armed with delayed effects and sci-fi atmospherics to provide a combination of rich depth and space, before rounding out proceedings via the ‘Fully-Skimmed’ mix – a high-energy 909 fueled workout set to feature as a favourite for many across the months ahead.

For the latest release in their ongoing ‘International’ series, Into The Light Records takes us to Sydney and the dreamy, softly spun musical world of talented multi-instrumentalist Max Santilli.

“Surface” is Santilli’s debut album following years spent working alongside Jacob Fugar in Ken Oath Records-signed downtempo duo Angophora. It draws on a personal archive of home recordings made between 2016 and 2018 using a range of guitars, synthesizers and acoustic percussion instruments.

As you’d perhaps expect, it’s an intimate and hugely personal set that wraps drowsy, slowly shifting musical flourishes around gentle, sun-kissed rhythms and suitably spacey chords. Santilli offers subtle nods towards his various inspirations – think the mesmerizing ambient-jazz fusion of Michael Bierylo, Steve Hillage’s timeless early ambient works and the intricate acoustic guitar playing of Steve Tibbetts and Miguel Herrero – while forging his own distinctly lo-fi and otherworldly path. As a result, “Surface” is an album of impressive depth and diversity, held together by Santilli’s reflective, emotion-rich vision.

UK duo Wayward continue to turn heads after a big 2018 and return with a fresh new EP that features a remix from cult minimal man, Voigtmann. 

 For their latest offering, they turn once more to Silver Bear Recordings as newly announced co managers of the label and in the process remind us of the depth and talent that remains a hallmark of their output.  Opener 'The Energy' is a driving cut with lush drum layers carrying you along as distant pads flesh out the groove. Soft female whispers add layers of soul and the whole thing will make close-knit floors go off. 'Space Marines' then gets more edgy, with techno-leaning drums and freaky samples that make for a pumping but classy groove, finished in style by some heavenly sounding, uplifting pads. Voigtmann is a long time underground figure, releasing on a range of vital labels and has a superbly reduced sound, showcased here on his druggy, infectious remix. Notable for its swirling pads and zoned out vibes, it rounds off another expert Wayward release.

Chief Udoh Essiet believes in rhythm. He serves it Hot-and-Spicy on his new album Afrobeat Highlife Crossing, from the depths of his soul to the beat that emanates from his hand-made
antelope-skin congas and talking drums from his native Nigeria.
Chief Udoh is a veteran artist, singer, songwriter and virtuoso percussionist. His musical journey took him from the traditional rhythms of his village to Swinging Lagos in the 70s, where
Udoh apprenticed with Dr. Victor Olaiya’s Highlife Band while still too young to reach the tops of the congas onstage. (They stood him on a Coca Cola crate!) He has personally worked
alongside the biggest artists from Nigeria in the 70s and 80s, including the legendary Fela Anikulapo Kuti, creator of Afrobeat, at the height of his fame. Afrobeat Highlife Crossing has all the elements of these Old School styles, effortlessly blending the essence of Afrobeat and Highlife grooves, resulting in a sound that’s purely original. The percussion is out of this world, the bass is melodic, the horn arrangements are next level, the BVs are perfect and the ‘Pidgin’ language Chief Udoh sings tops it off with some Nigerian seasoning, like a dash of Hot Pepper on Stew!
His lyrics speak the cold-blooded truth, telling us to look inside ourselves and fight against corrupt governments that keep getting us into corporate-sponsored wars, leaving innocent civilians to live with the consequences. His label Uwem Music’s motto is “Right now is the best time to play the record” and we agree!

Patrick Conway keeps a low profile and wobbles through the alleyways. This is his first offering for the ESP Institute. Side A’s Know The Future is properly moody, a UK rave track skirting the fringe of everything we hold dear from the days of our youth—big grey melancholy chords, mild shuffling breaks and anonymous diva cries peppered sparsely throughout—yet the artist manages to skillfully tick our nostalgia boxes whilst avoiding the road into full-blown pastiche. It's a versatile track, easily suitable for both the early hours in the warehouse or the tender drive home where your terrible Tuesday awaits. On the flip side, Patrick continues his plunge into emotional depths, summoning layers of ghostly sighs, chopping up the beats in half time and introducing a more prominent use of bass, but midway through Digital Warfare he jettisons the angelic pleasantries in favor a more deranged headspace. He’s had us swallow the wrong pills, sending us through a labyrinth of mirrors and echoes for the second half of the track, only to partially find our footing in the last minute. These two songs will send you to another time and place.

Dreamteam pairing of Defaultman and Sapurra collaborate on this highly impressive 3 tracker for Poker Flat Wax. The two have collaborated frequently before, and with this vinyl only release, the juices are really flowing. 'Paperman' kicks things off - a slinky mid-tempo groover with an edge. The tight drums keep the rhythm ticking over while dub fx and a thick bassline add the drama and suspense. On the flip comes 'Groove Tutorial' - as fair a name as any when the programming is this good. The beat shuffles and chugs along, always staying fresh and interesting, while a minimal layer of other instrumentation adds depth. 'Lessons Cost' rounds off the EP, a full jazzy-house excursion that showcases the producers’ wide ranging talents and ear for rhythmic excellence.

Following his collaborative ‘Conscious’ EP alongside Rossko earlier this year, Per Hammar returns to FUSE sub-label Infuse with three more standout offerings this September.
Swedish don Per Hammar has been turning out quality dub, house and techno with a dusty sense of atmosphere for more than a decade. In that time, he has established a number of his own labels including Dirty Hands and 10YEARS, while most recently founding De Vloer with Mandar member Malin Genie. Now firmly established as a key protagonist in the underground scene, the Berlin-based talent reasserts that position once more here as he returns to Infuse with his slick three-track ‘Side Effects’ EP.
‘Side Effects’ is a sublime 10-minute excursion into warm depths. Sustained pads drift in the distance as subtle percussion rolls in the foreground keep you locked, whilst soft-edged chords bring colour and soul and ensure this is a warm and hypnotic cut. Next, ‘Document Save’ is a more edgy affair with subtle synth details, samples and trippy pads all weaving in and out of the busy, fluttering drum line that keeps you on your toes. Last of all, ‘Remote Dubb’ is the most visceral on the EP: employing coarse synth textures and bustling drums that are expertly designed to enliven the ‘floor.