quête:dance opera

Presenting another fully legit, remastered and repackaged reissue from the WD vaults! Brand new style for 2020.

Londons "Warriors Dance" Label was a unique operation + pioneering London label during the late 80's acid house phenomena. Home to an assortment of DJs, MCs and soundmen, they went on to make their own original and indelible mark on the rave scene from the infamous 'Addis Ababa' studio on Harrow Road on the North-West side of the city.

A former reggae and soul studio that was instrumental to the output of influential artists like Soul II Soul and more, a steady diet of reggae, bass, hip-hop, house and techno kept their edgy, and diehard UK sound and style right at the cutting edge of the dance music underground across the globe with the top DJs and producers of the day celebrating the label. The studio, helmed by label owner Tony ‘Addis’, acted as an incubator for artists whose names would go down in the history books.

No Smoke was one of the main and best known outfits on this cult label. Their mammoth worldwide, cult club smash 'Koro Koro' is still in DJ bags across the galaxy today! 'Righteous Rule' is another tuffy from this crew, some heavyweight bassline madness for the dance.

All the elements of the WD sound are here, a perfect mix-up of Reggae vibes, jacking house and tribal badness rolled into one. A proper record, to be played on a proper system! This one's become a rare catch out in the wild, and is fetching some P's on the web among the collectors. Here's a nice 2020 repress for you, done the right way!

No Smoke 'Righteous Rule' is the pure unadulterated WD vibe, featuring original label artwork tweaked by Atelier Superplus and lovingly remastered by Curvepusher, UK. Special thanks to Nicky Trax & Tony Addis. Proudly distributed by Above Board distribution. 2020.

Hello operator, you have a collect call from 1-800 Girl...
Ringing in their fifth releases following appearances on the label from Kasra V, Dream 2 Science, Brian Summers, Mark Seven and more, Feelings Worldwide line up three emotive rave cuts from long time friend 1-800 Girls.
Making serious noise across the digital airwaves and a piece of the furniture on your suggested panel on YouTube, 1-800 Girls delivers his second solo EP via Feelings.
One for the sad crew who like to rave the release features three tracks filled brimming with thick pads and atmosphere for those long dark winter nights in the dance.

Concealed within the eclipse, Overdue presents a new black-label 12" series - symbolic of its sinister auditory contents.

Further proof of their unbridled dedication to sound system music and commitment to quality, the Belgian Dubstep imprint unravels
it's fifth physical release. Based in Denver, its newest signee by the name of Ghast returns to the spotlight, following up on heavyweight releases on prominent labels such as Encrypted and Gradient Audio.

The talented American artist sets the stage with two unruly armaments, alongside murderous remixes by Denmark's bass music stalwart RDG as well as the label operators themselves, Substrada & Caba.

Starting the engines, 'Mothership' immerses the stage in flickering echoes and haunting wails - the air bustling with anticipation. Eerily disfigured, granular reverberations materialize amid a pressurized and truly outlandish soundscape, barren at its core. Heading into the second section with renewed vigour, no dance floor remains unscathed in the ensuing aftermath.

The subsequent doomsday scenario, as engineered by Substrada & Caba, strips the ship to its bare essentials - laced with trippy drum instrumentations and the psychedelic foley samples. The meticulous flow presents itself in a bleak dungeon style - hoodlum vocal fragments rounding off the resulting low-frequency inferno.

Flipping the record to its equally profound B-Side, 'Vehement Mess' unhinges another portal into madness - dance floor upheaval guaranteed. Showing no signs of mercy, the infernal armagedon proves to be emblematic for Ghast's dystopian sound design. Profusely industrial and with clinical efficiency, hitting all the right frequencies as the second wave ignites but all available power reserves.

Finishing off any remaining survivors with his irreproachable signature style, RDG's remix marches onwards with unrestrained might in a four-to-the-floor fashion - super-charged, galvanizing the rave in a no-holds-barred shutdown.

RAVE026 is a double hammer of blitzkrieg gabber and seething acid trance/schranz from Service
Animal (Vereker) and Crime Unit, featuring material previously issued on impossible-to-find
tapes by the cult, DIY label; Live Adult Entertainment
The punkish reputation of Live Adult Entertainment precedes them as one of the underground’s
keenest yet elusive operations to emerge in recent years. Based in Thessaloniki, a port city in
northern Greece, they’ve released some 28 tapes, CDR’s and lathe cut vinyl of musick ranging from
psy-trance to industrial noise and concrète since 2017, and always in editions ranging from zero
to 20 tops, leading to feverish and frustrated reactions from those listeners who’ve chanced upon
their YouTube videos before they get taken down. Finally, this 12” features the first readily available
and properly mastered LAE material on a physical format.
On the A-side, Endangered Species label boss Oliver Vereker adopts his gabber alias Service
Animal for his first outing proper since appearing as Renoir on his label’s 2017 CD, ‘Death Always
Follows’. Revolving material originally available on tape in edition of 20 copies, it boots off with
the 12-hp hoof and dive-bombing drones of ‘Core Of Reality’ next to the evil Arcardipane styles of
‘F.T.W’, which are both produced with the same, powerful conviction in charred black metal, noise
and hardcore techno that made his 2015 releases as Restraint and Grace so vital, only with added
acceleration and syncopation.
The B-side follows with a pair of seething workouts from the ‘Cyber Afterbirth Vol.1’ mix by
LAE co-owner, Crime Unit. Hearkening back to a sound that was ubiquitous between Hackney
Warehouses and small-town UK/European techno clubs in the late ’90s/early ‘00s, they are
ravenous examples of the LAE aesthetic, applying scuzzy DIY principles to gnashing German
schranz and adrenalising acid trance with ruthlessly direct results that pack one of the meanest
breakdowns you’ll hear this year. Trust they will mercilessly sort the dancers from the posers.

Phillipi is set to release his debut solo EP ‘Amadurecimento’ on November 29th via DEEWEE, the multi-faceted label and creative space operated by brothers David and Stephen Dewaele (2manydjs, Soulwax).

São Paulo duo Phillipi & Rodrigo dropped their beautifully uplifting debut album ‘Paciencia’, which earned the backing of an eclectic array of supporters including 6 Music, Mixmag, DJ Mag, PAPER, Tiga and Joe Goddard + more.

While ‘Paciencia’ pulsated with a euphoric beach party vibe, Phillipi’s solo project explores much darker territory. By uncompromisingly maximising the bass alongside a relentless beat, lead track ‘São Paulo’ is immediately oppressive and ominous. That intensity only amplifies as it’s blown open with tribal percussion, almost whispered vocals and glitchy synth stabs. ‘Vibe De Verao’ then takes a more progressive approach, with minimalist techno constantly evolving in surprising and inventive ways.

The EP’s second half extends Phillipi’s impossible-to-pigeonhole approach. In complete contrast to the preceding tracks, ‘9000’ is cinematic in scope and lighter in tone, feeling like the score to a lost ‘70s sci-fi cult classic that’s been reworked for 2019. And ‘Gelo Seco’ caps an unorthodox sonic adventure by setting a spliced, stuttered vocal simple around a dancefloor-friendly soundscape - making the title, the Portuguese phrase for dry ice, entirely appropriate.

As with all DEEWEE releases, ‘Amadurecimento’ was recorded, produced and mixed at the label’s inspiring headquarters Ghent, Belgium.

SIS003 welcomes Boston's deadliest modern wave duo Dead Husband to the SISTERS family across the murky waters of the Northern Atlantic for a host of dance-floor focused workouts.

A mixture of syncopated drum work and reverb drenched arpeggiators define Dead Husbands debut on the label across a capricious collection of tracks/music.

Doug Lee gives Facial Recognition the usual An-i treatment drawing out a monologue of emotion through the sub bass and sweet undulating use of distortion which constantly helps the track and the low end move forward, whilst electro aficionado Privacy offers up his take on the track with a rolling 4x4 composition true to his unique modus operandi, slowed down powerful.

And a remix debut for Papers, 5 years after down tooling from their white label series, they round off the record bridging the Atlantic gap with their distinctly steezey techno sound.

2x12"

A stunningly accomplished work, ‘Deep Rave Memory’ is an insight into Fearless’ worlds – both metaphysical and geographical. Pulsating in unison with the heartbeat of a modern metropolis, it was recorded at the Metal Box’ – his studio located on the peninsula of land where the River Lea meets the Thames.

The haunting and wistful blue ambient ‘Vision of You’ leads into the bracingly chilly ‘New Perspective’, which evokes a heavy rush where perceptions are blurred and vision is freeze framed, via elements of techno-soul, Sheffield Bleep and Mika Vainio.

A snarling beast of a track, the relentless machine funk of ‘Devil on Horseback’ perfects the pure cathartic release of dark ‘n’ hot body music, whilst ‘Acid Angels’ is a throbbing low-fi 303 requiem, which encapsulates that perfect dancefloor moment, when the first light breaks through the shutters.

A future classic and the album’s modus operandi, title track ‘Deep Rave Memory’’s discordant filter passes sweep across a hypnotic melody, communicating a deep sense of warm nostalgia and taking you on an epic journey – stretching out a single riff over 12 minutes – akin to the krautrock greats of which Fearless is so fond.

‘Atlas of Insanity’ is big room techno with pounding kicks, death-whip metallic snares and head spinning, spiralling synth lines that drill into your core. This is raw, impulsive and frantic music that sizzles with electric effervescence.

The Germanic kosmische idyll of ‘Driving with Roedelius’ is a homage to one of Richards’ heroes – Hans-Joachim Roedelius – and was inspired by his experience playing a set consisting solely of the electronic pioneer’s music, at a festival celebrating his life and career.

On the album's closer, Fearless recounts, “‘Broken Beauty’ is something I’ve always strived for in my art. It’s inspired by Robert Frank, William Eggleston and the way they could take the most inane object a turn it into something of beauty. It’s equally schooled by the aggressive simplicity of King Tubby’s dubbing and the transcendence of Joy Division’s ‘Decades’. The sparse allure of the best dub and techno is something I’m always striving for; being able to conjure emotion with the fewest possible elements; to not fix what’s broken, but to make it shine.

Limited to 500 copies.

Editions Mego is proud to present the latest addition to the compelling discography of Thomas Brinkmann. Throughout his career Brinkmann has focussed on the human operating amongst industry alongside rhythms that manifest as a result of technological advancement. With this new release Brinkmann makes a u-turn, looking back to the early industrial age. Comprised of recordings of various looms, Raupenbahn investigates the sonic properties and consequences of the first automatic loom as constructed by Jacques de Vaucanson in 1745. Thomas Brinkmann once again adheres to his tendency for clarity and simplicity whilst further investigating not only the sound and rhythms of the machines (looms) but also what role they serve in society and what consequences they have on the environment. Raupenbahn presents 21 tracks in total, 11 feature on the vinyl, the remaining 10 as digital bonus tracks. The majority of recordings were undertaken by Brinkmann in 2017 with a Neumann KM 184 stereo set. Additional recordings were sourced with permission from Monika W. recs. from 2014 Central Museum of Textiles Łódź, Poland. Each piece presents a diversity of material which borders on the breathtaking and beautiful in richness and complexity. The various looms unravel rhythms and patterns unexpected from machines of the early industrial age.

The loom holds a significant role in shaping our world being the catalyst for Charles Babbage's Analytical Engine which, alongside the subsequent work of Byron's daughter Ada Lovelace, paved the way for modern computing. There is a linage of the loom that fits succinctly in Brinkmann's overall argument. Here we encounter a parallel between machine driven economies and the music that rose from such places, consider the Sheffield steel industries, the Manchester weaving industry or the Rhineland / Düsseldorf loom and machine industry. Is it a coincidence that the practice of such machines in the environment gave rise to today's predilection for electronic dance music, in pop, soundtracks, etc.

Raupenbahn features no treatment or processing and explicitly displays varying tempo and timbres which ascertain a wide range of acoustic structures. The artwork features Ingrid Wiener, Rosemarie Trockel and Alexandra Bircken, three different generations who would with ideas of fabric weaving, loming and the like. This exceptional release works on a number of levels alongside it's striking sonic palette.


i 9 Günne (Irmscher) BO Möhnesee / D

Neurot Recordings are proud to reissue the landmark collaboration Neurosis & Jarboe, which was originally released in 2003. This latest version is fully remastered and with entirely new artwork from Aaron Turner.

Very limited silver metallic and black swirl 2LP - Non-Returnable

Steve Von Till explains the idea behind the remastering; "Bob Weston (Chicago Mastering Service, and member of Shellac) worked closely with Noah on making these new versions sound as good as the possibly can. Noah has the most trained critical ear for fidelity out of all of us being an engineer himself. We recorded this ourselves with consumer level Pro Tools back then, in order to be able to experiment at home in getting different sounds and writing spontaneously.  The technology has come a long way since then and we thought we could run it through better digital to analog conversion and trusted Bob Weston to be able to bring out the best in it....This new mastered version is a bit more open, with a better stereo image, and better final eq treatment."

He continues about the original artwork..."Aaron felt he could create something that would unify the energy of both Jarboe and Neurosis in an elegant manner.  We let him do his thing and I think it definitely adds to mystery of the album and sets it apart from the rest of our catalog."

When two independent and distinct spheres overlap, the resulting ellipse tends to emphasise the most striking and powerful characteristics of each body. Such is the case with this particular collaboration between heavy music pioneers Neurosis and the multi-faceted performer Jarboe (who performed in Swans and who has collaborated with an array of people from Blixa Bargeld, J.G. Thirlwell, Attila Csihar, Bill Laswell, Merzbow, Justin K. Broadrick, Helen Money, Father Murphy, the list goes on...) The musicians pull from one another some of the most harrowing and unusual sounds ever heard from either artist at the time - a sentiment which also rings true to some 15 years later.

Neurosis & Jarboe opens with a high-pitched whirring sound winding up as Jason Roeder's ominous tom-drum beat and Noah Landis' slinking synth line writhe in unison until Jarboe drops in, drawling in her characteristic, corrupted Southern belle voice, "I tell ya, if God wants to take me, He will." From there on in, the album is a series of abrupt shifts and cleverly juxtaposed themes that flows in a rhythm of its own. The sinister and ethereal sounds, vocal coos and electro-pulses of "His Last Words" seem like the perfect soundtrack to a David Lynch film. On "Erase," song parts are dissected and grafted one atop the other, continually building tension as Jarboe wails and yelps with Banshee fervor.

The project began with the artists working in seclusion, recording the elements that would best highlight their own characteristic integrity and personality, rather than either attempting to mimic one another's familiar elements. As recorded ideas were passed back and forth, the collaboration proved to bring out the most unhinged and urgent talents of all those involved.

Throughout the album, that signature "Neurosis note" - the sound of something simultaneously recoiling and erupting, the apocalyptic tone announcing the birth of a new world - reaches its apex and becomes evermore icy and eviscerating. Guitarists Steve Von Till and Scott Kelly trim their tones for cleaner, chorus-drenched effects layered between the thunderous distortion blasts of bassist Dave Edwardson. Likewise, Jarboe's operatic wail and other vocal contortions sound perfectly suited to the eruptive emotional fray of the music.

The collaboration is a deeply textured mosaic that is a culmination of merged aesthetics from two major influences on free-thinking sounds. It unlocked the hidden potential of electronic music as a new force in heavy rock. At a time when groups like Oneida, Wolf Eyes and Black Dice were beginning to experiment with technology in making mind-numbing leaden electro-drone freed from any essence of "dance music," Neurosis & Jarboe redefined all notions of their past - and outlined the course of heavy music to come. It's interesting to look back through the lens of this release, and think about these ideas and concepts in the present.

Neurosis & Jarboe remains the meeting point of all art that takes us beyond ourselves.

VSK is honoured to start the journey of his new imprint with a selection of great artists. “Equilibrio volume 1” is a presentation of the different visions of techno the label wants to focus on. Modernity, deepness and hypnotism, sound design and complex textures will be the key elements of the label.

The first track is a collaboration between VSK himself and the Polish producer Michal Jablonski. X&Y is a combination of Epic drones, glitchy fx and a metallic fm synth line. Speed and fast modulation are the main ingredients for the development of an obsessive groove.

Malaria by the Spanish artist Kwartz, is an hypnotic dance between extreme ranges of frequency ; white noise and rising screams are wonderfully mixed together with an aggressive broken-subbeat.
The surgical touch of Ansome brings with “Operational Amplifier” a really complex sound design and fierce rhythmic programming, while a distorted roar

beats hauntingly the time.
The last cut, Shori by the italian artist Flaminia, is an obscure and elegant march. Cinematic and ethereal strings come together with an aggressive raw beat , providing an excellent techno experience.

The second edition of Dekmantel’s foray into the era-defining, trans-Atlantic, cult techno label that is Djax-Up-Beats, comes another re-issue of classic 90s cuts.

The label say "The Dutch label was responsible for releasing some of underground’s most foundational dance music, mixing together Chicago and European artists alike, and acting as the launchpad for some of today’s biggest producers. Featuring offerings from luminaries such as Felix Da Housecat, and Glenn Underground, alongside veterans such as Steve Poindexter, and DJ Skull, this second EP highlights the classic label’s old-school’s sound, while showcasing its diverse range, from dubbier, ambient moments, to wall-thumping, body crushing house force. Timeless music, repressed, and re-released for a new generation of DJs who covet the classic machine music.

The second re-issue EPs, offer a more introspective look at the label’s earlier releases. Leading Volume 2 is Terrace’s 'Bewitched', to which DJ Richard has described as being the defining track of the label’s beginnings with its "dreamy, Detroit-style techno mixed with the harder rave elements of Northern Europe”. Glenn Underground’s bass-roller 'Real Space' weaves together soulful passion and Chicago prime beats, while Felix Da Housecat’s Temptation — originally from 1993 — gets a well earned re-release, reminding us of the soulful, deep and lustful energy the producer once had. China White, whose name doesn’t get banded around as much as it should nowadays, see their ethereal hit 'Theme from the Underground' get another opportunity to bliss out the more upbeat rave community.

The energy turns darker with Frank de Groodt’s The Operator, breaking the outer-most barriers of electro-techno, with 'The Mind Strike'. Chicago and Dance Mania’s Steve Poindexter turns out rolling, dance-energy bomb 'Body Jam', while Mike Dearborn’s deliverance of unreal, dry techno in 'Deviant Behaviour' runs aplomb with classic drum-machine pulses, claps, and uncomfortable, yet punishing melodies. DJ Skull’s 'Don’t stop the beat' rides the EP with gushings of hand claps, and gentle, early 90s warm techno color, that transport you back to a time of more informed, and conscious electronic musings, a feeling that embodies Djax’s heyday.

Founded in Eindhoven at the turn of the 90s, Djax-Up-Beats quickly earned an international reputation for being a key source of Chicago house, acid techno, and floor-filling, heavy-hitting, straight up underground 12”s. It’s a sound that spawned the sonic aesthetics of today, and can be heard in the left field techno productions of the likes of Bjarki, Salon des Amateurs and other erstwhile analog junkies."

Inner space centurion and local star command operative Tommy Walker III returns with a new mission directive this DATE...
Hardwiring to the Red Laser network and initiating an advanced, beta-tested programme of futuro-manctalo cybernetics, TWIII's meta-level hybridisation of Italian synth disco & northern English rave styles, combined with an expert deciphering of modernised club dynamics has resulted in a faultless system capable of withstanding the most extreme sonic test environments. RL30's eight tracks are RL Corp. operation-certified to work alongside Human2.0's electrostatic discharge profile. Universally approved usage for sentient earth dwellers offering portals into dancefloor ecstasy and inter-dimensional transcendence. This programme begins with 'Pocsy', and sees euphoric holograms burst through galloping Italo mechanics, fusing retro-tinged optimism with a nu-age release. 'Shoiab' (named after a fellow starship captain tasked to MCR and in alliance with RL Corp...) unleashes red shifted synths and carnal cowbells for the cyberotic lap-dancers to get jizzy too. 'Autopilot' allows the on-board crew to reassemble, a well automated array of arpeggios guiding the shuttle during the first phase, until reconsolidating in the latter stages for full-on interdimensional 5-D funk jam. 'Lightwork' is pure RL endorsed synth-jizz, erupting out of Tommy's arsenal like a mis-timed giant alien cumshot; minus any Manga references.
'Astral Projectile Vomit' address a common problem endemic to protectors of our star cluster; then channels a shiny, serpentine chrome sequence and thrusts it down the rainbow road for maximum belly aches.
More hydraulic collisions between electronic disc-boogie and newly mined atomic particles from passing asteroids ensures Srg. Walker has enough mainroom material to keep the Sharons and Traceys of the main hub dancing in between injections of dimethyltryptamine. Closing with a trio of humanoid hits that'll have Jonny5 ordering kryptonite margaritas for the entire ship, Tommy Walker celebrates with the cosmic conge, 'Gary Blast'.
RL Corp is confident RL30's internal algorithm is a future-proofed, cross-species platform for auditory excitement, and will continue to stimulate listeners across a multitude of environments.

Tesseract 1 is the first remix EP taken from debut album “Corpus Hypercubus” by JESUSLOVESACID, the figure head behind Vitalik Recordings. The music from the album was described as “IDM with a Balearic twist” by Resident Advisor and was picked up by a wide range of selectors. Tesseract 1 employs some heavy hitters on remix duties, Mathew Jonson and brother Nathan Jonson team up under their Midnight Operator moniker for a high octane acid techno workout, the production is immense as you would expect from the duo and they have managed to retain the ethereal chords of the original track (which also features on the EP) whilst producing a peak time dance floor weapon. Appleblim takes things into dreamier territory with a pitched down breakbeat remix of “Philosophy”, a sublime ode to blissed out hardcore, it’s an enthralling dub masterpiece, another instant classic to add to the collection. Finally there is the anonymous “Wax Works Edit” a dub acid edit aimed squarely at the floor, rounding first vinyl 12” from the JESUSLOVESACID project.

Since completing his two-decade-long hip-hop trilogy as Dabrye in 2018, Ann Arbor-based artist and Bopside label head Tadd Mullinix has engaged his arsenal of aliases with renewed heat. First came the debut of X-Altera, a new project flexing a wildstyle hybrid of drum & bass and deep techno. Now, he returns to James T. Cotton, a moniker which dates back as far as Dabrye and helped define Spectral Sound, the dance imprint of Ghostly International. While historically tagged as Mullinix’s acid house alias, JTC has always expressed with a more pliable sense of genre, freely fusing an eclectic blend of classic electronic sounds; helpings of Chicago acid, Belgian New Beat, and the leftfield techno stylings popularized both in Berlin and Detroit. With Indigo, Flesh and Fire, Mullinix moves closer to the latter city, adopting a bright, optimistic tone informed by minimalism and futurism.

"I have been more withdrawn and introspective on a personal level, in a positive sense, and I think that fact has made my creativity reach toward feelings about peace, positivity, fantasy, wonder, and openness,” says Mullinix.

The EP is packed, but still playfully ambiguous; a club-ready set built to max out mixing boards with spacious and nuanced melodies and motorized percussion. Five tracks, each with roughly five-minute run-times, offering all but a few breaths in a quest for highly operative dancefloor hypnosis. The record wastes little time locking in; on the first track, “Innerloire Rendezvous,” a dense square kick plows through a brisk four-on-the-floor routine phasing over harmonious synth stacks of rubbery fifths and sevenths. The title track splatters a lenticular static spray between thumping kick, billowy melodic swells, and staticky clicks, snaps, and claps.

Mullinix’s distilled musical vocabulary, developed by his many years in the game, gives the set a misty-eyed quality without compromising its contemporary merit. This is music, inspired by history but fiercely forward-thinking, that feels both subterranean and airborne; in the grind on the ground and soaring above in an iridescent super-charged fog.

key selling points: - Debut release on Spectral Sound - Past releases on Firm Tracks, Nite Owl Diner, Sweat Equity, FCR, Clave - Limited to 300 copies worldwide.

Xavier De Enciso is a DJ, scholar, producer, artist and renegade promoter who has been operating in Los Angeles for two decades. He’s at home on underground dance floors. His 4 track ep for Yaxteq visits darker and lighter corners of this special place. Dark
hypnotic pulses and textures dominate Rasquache and Metztli. The dance floor journey continues with WareHouse Deep and Long Distance with their hi tech funk fueled basslines and swinging drums. This is essential for skilled DJs that must take their audience on a real ride!!

Spearheaded by James Dean Brown (also known from Perlon's Narcotic Syntax) and Victor Sol, and featuring other rotating members, Hypnobeat is a true product of the open-ended spirit of DIY music that proliferated in the 1980s. The prescient project championed deft, machine-powered rhythm programming as its modus operandi long before the practice would become a dominant global cultural form. Since Hypnobeat was revived in 2012 with Helena Hauff joining JDB on stage for improvised live performances based on one 707 and three 808s, there have been a string of archival releases shining a light on the early and more recently recorded works of this forward-thinking venture.

This latest collection for Artificial Dance comprises three freshly unearthed iterations. Long-form A-side track 'Polychrome Desert' is a pure percussive exercise, programmed and recorded by JDB in 1986 with a chain of three 808s filling out a stereo panorama. The intention was to create a pure, meditative rhythm drawing on African influences and reinterpreted through what was then the music technology of the future. 'Spies In Malaysia' is a live recording from a concert Hypnobeat performed in 1985. Its lurid melodic passages and crunchy percussive blasts formed the closing track of the set, which was met with rapturous response. Recorded in the same year, 'Sumatra Railway' was the product of an impromptu session between JDB and Victor Sol. The song finds the pair exploring a more shadowy, surf-inspired sound, laden with echo and freewheeling through seven minutes of sun-kissed, subtly tropical subversion.

With each successive release, the plot surrounding Hypnobeat thickens in a tangle of 1/4' jack cables and ancient effect pedals. From its shifting line-up to the diverse sonic repertoire, it remains one of the wondrous plants of German electronic music in the pre-techno era.

fter Liquid Liquid disbanded in 1985 I continued to record electronic music at my home studio inEdison,New Jerseybut I decided to mix the songs for "Concepts" at another studio so I could have another set of ears to help with the mixes. I was lucky when I looked in the local music ads that I to find Gabriel Farm Studios inPrinceton,New Jerseyowned and operated by Andy Gomory. Andy was a true talent, a keyboardist and arranger, we hit it off immediately. After he recorded my mixes we would record songs together. Andy played drum machines and keyboards while I played percussion, keyboards, & guitar and we both sang. When Andy and I parted ways in the late 1980's I decided to add both drums and percussion as well as overdubs from guest musicians many of which are included on this album. The albums timeframe ends in the year 2004. The later recordings have a jazz feel to it yet still had dance music elements mixed in. The title track "Primitive Substance" really sets the tone as you hear the great playing of Michael Gribbrook on Frugel horn/Trumpet and Gerry Carboy on bass. Also, my favorite song on the recording "Forgiveness" has David Axelrod (not the famous one) playing beautiful melodic bass guitar thru out.

Special thanks to Euan Fryer of "Athensof the North" for releasing this album. As I listened to the songs I decided to use for this recording it brought back memories of the hours spent adding the extra sounds and instruments to the point where I wanted to listen to them again and again to see what I missed hearing . Keep a close ear this might happen to you after hearing "Primitive Substance".

Thanks for listening!

Dennis Young/April 2019

The Growing Bin may have taken a hiatus for AW18, but don‘t be fooled into thinking this is a deciduous operation; after all the most powerful plantlife grows from below. Moving through the mulch, Basso traces the mycellium network from Hamburg‘s forests to the gentle slopes of Hasenheide, reconnecting with James Booth for the officially first Growing Bin release of 2019, or the first ever Glowing Pin Release.

Emerging from the green house with a heroic dose of wavy caps, the Mancunian export unleashes A-side sizzler ‚Space Echo Track‘, a little post-minimal magic for the peak time shamans. Built around the polyrhythmic patter of organic percussion, a touch of UK shuffle and the occasional blast of soundsystem bass, the track rolls and rattles from start to finish, tailor made for mid-set hypnosis. And while neon leadlines dance with disorienting sampler vox and papaya whistles summon the ethno-flute melodies, Booth brings us to a new level of future primitive consciousness, unlocking the Stargate once and for all. Onto the B-side and we‘re hurtling through galaxies, submerged in the entheogenic frequencies of‚ Locus of Control‘. Shimmering swathes of angelic synth vox and dreamlike pads drift freely, forming a
perfect counterbalance to the warp factor thrust and rasping resonance of the wormhole sequences. Beatless in space, ‚Locus‘ balances ambient techno and acid gurgle, cleansing your synapses like a Sven Vath warm down circa ‚94. This is music for the microdosers...

Die 13 Tracks auf "Polymer", darunter energiegeladene Banger, helle, melodische, viszerale Rhythmen und hypnotische Strukturen, bilden das vielleicht kompakteste Album von Plaid. Das Duo ging Anfang der 1990er aus der Formation The Black Dog hervor und zählt neben Acts wie Aphex Twin, Autechre oder Nightmares On Wax zu den Eckpfeilern des Warp-Labels. In ihrer langjährigen Karriere arbeiteten Plaid zusammen mit Björk, London Sinfonietta und den Southbank Gamelan Players und füllten Venues vom Sydney Opera House über das Londoner Bloc bis zum Berliner Berghain. "Polymer" trägt all die Emotionen, Einflüsse und Inspirationen in sich und funktioniert als ihr Statement in modernen Zeiten.

“Introducing COSMIC RESIDENTS v. 1, the first in an ongoing compilation series from Cosmic Resonance Records. This series will showcase emerging talent from Toronto’s underground creative electronic music scene.

This first edition features local favourites and Cosmic Resonance residents Radiant Aura Faculty (aka Raf Reza), KOREA TOWN ACID and Hemingway along with (and making their vinyl and Cosmic Resonance debut) Body Butter, WeTurnToRed and Smoke & Shadows.

On the A-side, Hemingway kicks things off with Astralnauts, a deep, dubbed out boogie breakbeat burner dedicated to explorers of the astral plane featuring fellow label don Chris Evans on rhythm guitar. Radiant Aura Faculty (aka Raf Reza) takes us even deeper with the mystical 'Cid Pit Riddim', a slamming 707 acid bender sure to melt any dance floor. Things get slippery with Body Butter’s debut single ‘Lights In The Hallway’, a timeless operatic pop opus featuring Neil Rankin (aka Burt Sugar), Chris Evans (aka Mr. Bliss) and Hemingway behind the board.

On the flip side, things heat up with Shamanta Chandran’s project WeTurnToRed (recently releasing their debut EP on ORO Records), featuring the progressive modular techno odyssey 'Warm Winter', an escape from Toronto’s long and tumultuous blizzards. Emerging from the Mahogani Forest, Korea Town Acid reinterprets Hemingway’s emotional ode to the jazz aesthetic 'Blue Notes' with her trademark cerebral rhythms and a masterful bassline that elevates the original to new heights. Closing it off, we have an amazing collaboration between Curtis Clark (aka Smoke of Lab.our Music) & Em Zy (member of Nikki Fierce) called Smoke & Shadows with their stellar debut single Convincing Thoughts that features Em Zy’s hazy vocal emanations amidst a backdrop of mystical reverberations and a dark, powerful groove.”