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Vlad Dobrovolski (S A D, 12th Isle, GOST ZVUK) is 1/2 of S A D, a band previously released as on Muscut and GOST ZVUK, an upcoming band LP on 12th Isle, came up with his solo album called Playbacks For Dreaming.

Jungle, an ever evolving genre still rooted in it's birth some 30 years ago. Paying homage to this evolution, E-Beamz presents Continuum-z, 9 tracks of retro-futurism crafted by some of today's leading artists.

Featuring a core of UK talent such as Tim Reaper, Mani Festo and Denham Audio as well as a smattering of international artists from places as far afield as Brazil & New Zealand, Continuum-Z encapsulates Jungle's enduring global appeal, with the genre in ruder health than ever before in 2022.

Following Chari Chari and Rui Maia's albums, Organic Series releases another collection of beautiful music by funcionário, artistic alias of multitalented Pedro Tavares.

"Lisbon Dreams" is a conceptual album shaped by Pedro that evoques his travels between Setúbal and Lisbon, while studying Fine Arts at the portuguese capital city.

Music wise, "Lisbon Dreams" represents an unfolding new world, full of overwhelming feelings translated into musical landscapes and possibly inspired by contemporary producers like Nuno Canavarro or Susumu Yokota.

But when Pedro talks about his album he likes to quote John Cage: don't try to create and analyze at the same time. They're different processes.

- For fans of Susumu Yokota or Nuno Canavarro

Breaking News! DJs Pareja and Matias Aguayo have joined to form the dance project MDM Factory!

Modern transcendental Techno music for those who know, and those who want to learn!

In a turmoil of events nightlife would change forever, and confined to their respective places - A flat in Buenos Aires and a house in the jungle Diego Irasusta, Mariano Caloso and Matias Aguayo joined forces to create new communication on distance via music.

Taking all their dance floor knowledge and dreaming of sound systems and togetherness in a better future, DJs Pareja & Aguayo put their minds, bodies and souls to work on this stunning EP that will please the forward thinking underground freaks as well as the big room techno pros.

Let’s dive into this divine mess of glorious dance floor jams from the future...

A1. Curvas Peligrosas

With the first track it becomes clear what this is all about: Wobbly metamorphous sounds from outer space jamming with stomping and bass driven techno beats of tomorrow, a new kind of rave, hypnotic and seductive, utterly strange but wonderfully catchy and contagious in a good sense, harsh shuffled hiatus and alternating kick drums, a relentless bassline and sophisticated electronic sounds in a a permanent evolution resembling and invoking altered states of consciousness.


A2. Love Boat

This new rave anthem seems like a classic you haven’t heard about. Muscle memories from dancefloor days trigger your body as you listen on your headphones, awaiting the chance to play it out soon, hopefully, as the dance floors slowly reopen. Alternating between parts of kickdrum, clap and snare awesomeness, and the mangled rave signals that slowly morph into a more concrete melody reminiscent of ancient dreams of the future, this track has it all for the club kids of today.

B1. La Vida Loca
The title track is a tech banger that will please those who dig Kenny Larkin, Claude Young, The Surgeon, Dave Clark or any other star in the nocturnal sky of Techno Techno, as well as the lovers of DJs Pareja’s classic Cómeme Clubbangers, or the more Techno side of Mr. Aguayo. Definitely has the potential to become a huge hit if enough djs that don’t rely on algorithms get their hands on it


B2. Las Llaves

The closer is hyper modern tech funk at its best. Percussive greatness as you can find it on many Cómeme releases is triggered in a different way, “sabroso” rhythms that are played in the light and purposeful way of an elegant jazz drummer, pave the way for an always evolving psychedelic lead synth sound, that will be a useful tool for the dj who knows when to keep the groove, prolonging those magic times between the risings...

Hugo Massien is a synthesizer engineer at Novation with high profile singles on XL Recordings and a stellar 2021 album "Metamorphosis" which caught the ear of Claude VonStroke. He is a fixture in the sets of Roman Flugel, TEED, and Ben UFO to name a few. We are more than thrilled to welcome him to the Dirtybird white label series with “Fast Forward”.

Hugo delivers four vinyl gems from melodic break of "Fast Foward" to the dream state mood of “Dynamic Symmetry”, the lo-fi bass of “Quantum Mechanics”, and sublime “Astral State”.

Diffuse Reality Records presents its fourteenth release on vinyl. An album of pure Techno with intergalactic remixes. Spin this record and set any dancefloor on fire!

The words legendary, seminal, and classic get thrown around at will these days, but Rudimentary Peni’s debut album is all of them. Recorded over two days at Southern Studios by John Loder and originally released in 1983 by CRASS off-shoot label Corpus Christi, “Death Church” showed a band moving away from the urgency of their two early 7”s and into their own realm. Creating a template that bands have been trying to replicate ever since, while ticking all the boxes to become a genre-defining album. Iconic artwork, a unique sound and their own lyrical universe. All merging seamlessly. Sonically the album is full of Nick Blinko’s extraordinary vocals and equally remarkable guitar, Grant Matthews’ big meandering driving basslines and Jon Greville's tight and relentless drum work which together made something intricate and hard hitting, with a sequence that makes the 21 songs on the album flow perfectly. Visually, the album is every outsider art lover’s wet dream. A six-panel poster sleeve with every inch covered in Nick Blinko’s claustrophobic black and white line drawings, while lyrically the songs deal with madness, religion, death, and questioning humankind from a dark poetic place rarely found in any art form. Remastered from the original master tapes by Arthur Rizk and housed in a replica poster sleeve, including the original insert, “Death Church” is back in print in LP, CD and cassette after nearly a decade of no official reissues.

Curtis Godino’s first album producing for The Midnight Wishers. Mastered by Shimmy-Dic’s Kramer. “Golden Wish” Yellow Vinyl LP ltd edition of 500. RIYL: the Shangri-Las, the Chiffons, the Crystals, the GTOS, Ween. What if a cute girl group scored a hit song about a car crash, then actually died in a car crash, but decades later, David Lynch conjured their spirits for a beach-themed Halloween special? That’s a feeble attempt to describe the fun, spooky universe evoked by musician, songwriter and producer Curtis Godino with his latest project, Curtis Godino Presents the Midnight Wishers. “I’ve always been a fan of girl groups and old generic love songs,” says the Brooklyn-based artist, previously known around town for his psychedelic band Worthless and his ’60s-style light projection shows. “No matter how cheesy, they always get stuck in my head, so I decided I would try to make some of my own, with the help of my friends.” Chief among those friends are the Midnight Wishers: lead vocalist Jin Lee and backing singers Rachel Herman and Jessica McFarland, all of whom Godino recruited for the project. Lee also contributed lyrics, which she tends to recite as often as she sings in a dreamy, earnest voice. The trio are the perfect messengers for Godino’s tunes, visually as well as sonically. In photos, they pose before bubble-gummy backgrounds, playing with a ouija board by candlelight, elemental like a cartoon crime-fighting team with their respective black, red and blonde hair. But make no mistake: This project belongs to Godino, a musical ringmaster in the tradition of Phil Spector or more aptly Shadow Morton, whose noir sensibilities spawned such uncanny pop marvels as the Shangri-Las’ “Leader of the Pack” and “Remember (Walking in the Sand).” In this case, Godino built the wall of sound almost entirely by himself, recording on his eight-track tape machine during the pandemic shutdown. Starting with drum tracks from Andrew Max and Adam Amram, he would add picked bass guitar in the style of L.A. studio legend Carol Kaye, then go bonkers with fuzzy guitars, Farfisa organ, mellotron, analog synthe- sizers, glockenspiel, an arsenal of other percussion instruments and an array of mysterious electronic effects. To fully realize the vision, however, Godino knew he needed more firepower. The Wishers’ multilayered harmonies and other vocal tracks were recorded and engineered by his roommate, Paul Millar, at Millar’s Bug Sound East studio. “I'm sure all those incredible old records were recorded on a four-track or whatever, but I don’t have the same discipline,” says Godino, whose stated goal was to create “songs so sweet they’ll give you a cavity

Straight from the fertile imagination of Pigs Pigs Pigs Pigs Pigs Pigs Pigs guitarist Sam Grant comes Rubber Oh - a place where an irreverent magpie spirit has its way with the eternal psych-pop continuum. ‘Little Demon’ is the first sample of this fresh foray - a bass-driven, blissed out mantra that sets out its stall where the travails of the everyday fade into the transcendental realm of the astral plane. A whole new box of sonic delights from a curious and artful talent, this track maps out a refreshing new landscape on which shameless melodic suss and wayward aural eccentricity lock horns. Some may be reminded of the likes of Air’s ‘10000Hz Legend’ and Super Furry Animals ‘Radiator’ by the montage of 60s-tinged mind-melt and sleek futurism here, but the truth is that Rubber Oh is a manifestation of a very personal vision. Alchemically assembled in his own Blank studios in Newcastle, ‘Little Demon’ - in all its thundering, earcandy glory, and accompanied by a Faustian, abstraction-embracing remix by friends and cohorts Richard Dawson and Circle’s Jussi Lehtisalo - is merely a first step into the unknown. “It’s a reference to when you’re lying in bed and your thoughts sabotage you” reasons Grant of ‘Little Demon’ - “It’s all meant to be this fixed loop - the lyrics, the riff, the drums - a constant repetition that keeps going round, maybe like a fever dream. The little demons that when you’re in bed suddenly start in your psyche, opening a door that just leads to another door” Wherever this door leads, ‘Little Demon’ is a psychic journey to be returned to on repeat.A. Little Demon B. Little Demon (Richard Dawson’s Haunted Wine-Cellar Version – Feat: Jussi Lehtisalo

A few years back I had this dream: I was walking through vast grasslands
towards a solitary hill
On top of the hill was a movie house. On the marquee: History of Jazz.I kept
thinking about it. What was in the movie house? What happened before? What
followed? Why was I going there? Why "History of Jazz"? To reach some kind of
insight, I began a film script, extending the dream tenfold. The script morphed
into a novella-sized book, a series of songs, and finally, a "mind-movie" podcast,
forming this labyrinthine, multi- medium story – equal parts dream, film and
waking life. Figuring out how to transcend the traditional parameters of the album
to create a more panoramic story- vision is something I've been unconsciously
trying to do for some time. I've been pushing against the edges – toying with
narrative, characters and visuals with Easterween and Niagara, a weird children's
book Daydreams for Night – but the scope of life behind Rialto felt too
irrepressible and expansive to be boxed in an album. The book and podcast have
kicked open the doors – allowing the album to lead or serve where it should.In
Rialto's extended narrative, Klaus (loner, insomniac) is working a stint as a driver
for a small town writer's festival. Following a series of unsettling paranormal
events, he finds himself agreeing to a strange request - to deliver a film reel in
time for its premiere at a secluded movie house - the Rialto. The journey leads
him through a circuit of strangely located, oracular movie houses, screening a mix
of dreams, fantasies, memories and prophecies - numinous films of personal
revelation. Inhabiting the movie houses are underworld characters and spirits
with ambiguous motivations, some helping and some hindering Klaus's quest. It's
a Dantesque, deep cleanse pilgrimage to untangle bitterness and trauma,
rediscover a lost clairvoyance, ancestry, and ultimately, the medicinal source of
eternal youth. A metaphysical noir. A hyperstition.Rialto's album stars seven
singer-artists playing characters alongside mine: Tamara Lindeman (The Weather
Station), Daniel Knox, Thom Gill (Owen Pallet, Beverly Glenn- Copeland), Ryan
Driver (Jennifer Castle), Felicity Williams (Bahamas), Robin Dann (Bernice) and
Martin Tielli (Rheostatics). All Toronto- based like me except Daniel (Chicago).
Performed by the Venuti String Quartet with arrangements by Andrew Downing.
Produced by Jean Martin (Tanya Tagaq). It's my 13th album and fourth on Tin
Angel - previous releases on Tin Angel: Miracle In The Night (2019), Small Town
Water Tower (2016), and Niagara (2014). Each of Rialto's eight podcast episodes
features a chapter from the book performed by a cast of twenty five - made up
almost entirely of musicians – including the speaking voices of the
aforementioned singers, as well as Meg Remy (U.S. Girls), Claudia Dey, Veda Hille,
Devon Sproule, Luka Kuplowsky and others. Rialto is available as a 101-page eBook (illustrations by David Ouimet) on Sud de Valeur Press. Premiere
performances begin fourth quarter 2021. Happy Rialto listening, reading,
watching, dreaming...

THE ELECTRONIC VISIONARIES RETURN WITH THEIR NEW STUDIO
ALBUM
.On their new album 'Raum', Tangerine Dream develop the concept of its
precursor EP (Probe 6—8) further
Composed & produced with full access to Edgar Froese's Cubase arrangements
(& Otari Tape Archive with recordings from 1977-2013), Thorsten Quaeschning,
Hoshiko Yamane & Paul Frick deliver late-night real time compositions combined
with classic studio productions, sequencer driven haunting soundscapes
alternate with anthemic warm synthesizers.
Composed in a time of social distancing & cancelled shows, the tracks cannot
exactly be recreated (or will at least need significant re-instrumentation for a live
performance). With the 17-minute 'In 256 Zeichen', they lay the fundament of this
record. 'Continuum', with its repetitive sequence & broken beat shows glimpses of
acid sounds & increasing choral atmospheres. 'You Are Always On Time' is built
on PPG wavetable sounds & eerie field recordings. The title track 'Raum' makes a
nod towards the early live studio performances like 'Zeit' & 'Phaedra' - the melody
accompanied by a chorus- like Roland Jupiter 8 part. An ambient rave Moog
Minitaur sequence highlights the final peak, till the violin slowly transports the
listener out. A heavy Moog bass marks the beginning & the end of this 15-minute
piece.
'Raum' is the band's second studio album after the passing of the founder Edgar
Froese in 2015. With deep respect for the sound of the previous five decades, this
record continues in the ever-evolving pathway of Tangerine Dream.
The band will be supporting the release of 'Raum' with live shows in 2022, starting
with an extensive headline tour of the UK in March. 'Raum' will be released as a 7
track CD presented in a digipak with a 12-page booklet

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962),(1) a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.

Patashnik was originally released by R&S Records/Apollo in 1994. It was number 1 in NME´s Independent Chart in March 1994 and reached number 50 in the UK official album chart.

The track Novelty Waves was used in Michel Gondry's Levi's 501 Jeans "Drugstore" spot, and holds - according to the Guinness World Records 2004, the record for "Most awards won by a TV commercial".

One reason why Jenssen's work stands out from the flood of early '90s ambient/techno releases is his strong sense of the quirkily creepy -- not in an Aphex Twin mode, but in his own particular way. The contrasting samples of a child quaveringly saying, "We had a dream last night," followed by a rougher sample saying, "We had the same dream," gives opening number "Phantasm" an unsettling feeling. Intensified by the, on the one hand, pretty, on the other, disturbing music, buried synth strings and a soft pulse accentuated by clattering noises deep in the mix, it kicks off the striking Patashnik very well. Though not as openly dark as acts like Lull, for instance, Biosphere still has an edge which isn't just melancholic, it's downright ominous at point. There's the slow crawl of "Startoucher," for instance, with its buried vocal snippets and deep bass drone, or the blend of the space signal atmospheres of "Mir" into the low, brooding intro to "The Shield." Not everything is so shadowy, though, Patashnik is primarily a relax and chill listening experience, but not without its gentle high points. "Novelty Waves," which became a crossover single in some quarters, has a good dancefloor sharpness to it even as Jenssen slyly sneaks in odd drones and samples through the mix. The opening snippet talking about an extraterrestrial disc jockey on "SETI Project" is good for a smile, as well as acting as a sharp lead-in to a fast rhythm track. Mostly, though, things continue on a deliciously unnerving pace throughout, gentle enough to go down easy but still just off enough to ensure you can't call this new age folderol for the rave generation.

Johnny Marr started his career with The Smiths, beginning an amazing history as one of the most influential songwriters and guitarists in British independent music. His subsequent creative journey has seen him at the heart of The The, Electronic, Modest Mouse and The Cribs, as well as working with such names as The Pretenders, Talking Heads, The Avalanches, and the musician and composer Hans Zimmer - with whom he recently recorded the score and soundtrack for the forthcoming James Bond film, No Time To Die, including the title track created with Billie Eilish.

In the wake of his time leading The Healers, Marr’s solo career has given rise to three UK Top Ten albums - The Messenger (2013), Playland (2014) and 2018’s Call The Comet, and he will be returning in February with his most expansive work to date, Fever Dreams Pts 1-4. It was created during the long, uncertain period that followed the arrival of the UK’s first lockdown, when his focus was pushed into both his interior life, and evoking the emotional states of others. “It’s an inspired record, and I couldn’t wait to get in and record every day,” he says. “But I had to go inwards.”

The upcoming album reflects his multi-faceted past, but takes his music somewhere startlingly new. “There’s a set of influences and a very broad sound that I’ve been developing - really since getting out of The Smiths,” he says. “And I hear it in this record. There are so many strands of music in it. I think it’s the most ambitious solo record I’ve done.”

Almost exactly a year after Tower Block Dreams' Time Is Now debut and the launch of our white label series, the UK-born, Madrid-based producer returns with a club-ready 5 tracker which fuses together the most danceable facets of UKG, grime and breaks.

The opening track "Bare Dubs" pays tribute to UKG's antecedents in pirate radio with sporadic MC vocal samples and a womping bassline. The product: a soundsystem banger with a disjointed, yet fiercely controlled two-step rhythm and grimey, extended basslines a la So Solid Crew and early Scratcha. Flip over the record and the A-side's cold rigour is swapped out for a sultry groove.

Euphoric piano stabs and playful R'n'B vocal chops energise "If You Want The Reload" and video-game-esque bleeps lend "Last One From Me" its blissed-out melody. But don't get too comfortable. The aptly-named "From The Top" sees a return of the opening tracks' grime sensibilities and introduces an FM static atmospheric to take things back to the old school.

Time Is Now White Vol.12 drops 25th February 2022 via Time Is Now.

Modern Woman have announced details of their track ‘Juniper’ along with details of their debut EP ‘Dogs Fighting In My Dream’
out September 17th (digital, physical out Feb 25th) via End of the Road Records, the recently launched label arm of the British festival. The EP wasrecorded and mixed by Shuta Shinoda (Anna Meredith, Jehnny Beth, Hot Chip) and mastered by Jason Mitchell (PJ Harvey,Aldous Harding, Dry Cleaning).

London based Modern Woman began life as the songwriting project of Sophie Harris, a literature graduate who started playing
the songs solo at spoken word nights she ran. “I had a firm idea of the direction I wanted the project to go in, and I knew that
couldn’t be achieved without a full band.” Harris says speaking ofthe band’s beginnings. “It was important to me to keep the
tenderness and lyricism of folk music but blend this with heavier and weirder experimental elements.”

An introduction through a mutual friend led her to meeting David Denyer, an Anglo-German-Armenian composer by trade
whose interests include Merzbow records and building his own instruments and pedals. The two started playing together with
Denyer playing an array of homemade violins, synths, effects and percussion - including a battered wooden table with a metal
colander nailed into it and jagged remnants of cymbals that take a pummeling throughout the band’s live show. Explaining the
set up Denyer says; “We always talked about being influenced a lot by Tom Waits and there are lots of stories of him smashing
up doors and using it as percussion so we gave it a shot. Thecolander was Sophie’s idea. I love pasta though so it sits really
well with me.”