quête:false

Depth.Request returns with False Vacuum, a high-impact split EP that brings together two distinct but complementary forces: Swarm Intelligence and Neuroclash. Pressed as a vinyl-focused release, the EP is structured as a cleardialectic - three tracks per side - each artist fully inhabiting their own sound terrain while contributing to a shared atmosphere of tension, futurism, and unease.
On the A-side, Swarm Intelligence delivers a conceptually driven triptych rooted in speculative futures, technological threat, and sound as psychological pressure.

Should you happen to have been paying attention to progressive house and trance in the mid 1990s, you may well be familiar with Brendan McCarthy's most celebrated release as Aquartherium, 1994's Full Moon EP. It was a massive record across Europe but also found favour in San Francisco's freewheeling free party scene. 'Full Moon' itself is especially potent - an all-action chunk of hallucinatory progressive house/trance fusion full of star-burst synth motifs, bubbly electronics and ambient techno sonics - though the heavier, bleep-sporting, Brown Album-era Orbital flex of 'Luci In Deep Hypnosis' is just as good.

a fascination flows down the chemical gradient. songbirds take flight from a colonial square in montevideo and fall as acorns in the foothills of the sierra nevada. the moon aches, holding a teeming darkness to the edges of the clearing as we make quick work for the machines. first a pulse, then an armature is spun up around it while the whipping plasma of virtual half-thoughts cools and hardens into something more familiar. a gleaming clash of frogsong begins to reveal its cadences, unspooling into regular striations. it forms a grid in the air, the water rises to meet it, and pressed between these mirrored planes of disappearance we find our vector and glide towards the horizon.

as in, a borgesian term of imprisonment in which you come to learn that stasis is an illusion. you attune and collect evidence. long shadows swing from the room’s sharpened edges, contracting and rotating with each passage of the sun, cumulatively tilting toward the next season. the cyclical heating and cooling of the concrete inscribes what you eventually recognize as an insistent rhythm onto your skin. it feels as though you’re preparing yourself to haunt the place. the first visitation comes in winter. sound bubbles from a crack in the wall, a conversation you can’t follow and hardened repeating codes that splash off the walls like rain. it had to be, and you’re looking away.

Anfang 2021 standen die Bandmitglieder von Lankum hoch über Dublin, den Winden der irischen Ostküste zugewandt, mit einem wundervollen Blick auf die Stadt, in der sie über 10 Jahre lang gemeinsam Musik gemacht hatten und dennoch spürten sie ein Gefühl der Unverbundenheit. Sie hatten die Stadt noch nie aus diesem Blickwinkel betrachtet, da sie immer fest in ihr verwurzelt waren und die Schönheit von Dublin immer aus dem Blickwinkel ihres Alltags sahen. Der kleine Perspektivwechsel half der Band bei den Aufnahmen in den Hellfire-Studios, wo sie nach der langen Stille der Pandemie begierig mit den Aufnahmen zu ihrem vierten Studioalbum "False Lankum" begannen. Wer jemals bei einem Lankum-Gig war, kennt die Energie, die diese Band erzeugen kann. Der unverwechselbare Drone-Sound, der sich durch ihre Arbeit zieht, wie bei ihren bekanntesten Stücken "The Wild Rover" (von "The Livelong Day", 2019) und "What Will We Do When We Have No Money" ("Between the Earth and Sky", 2017) hat die Kraft, einem den Boden unter den Füssen wegzuziehen und erzeugt dabei einen einmaligen Klang. "The Livelong Day" war das Album, mit dem Lankum aus der Schublade der "irisch traditionellen" oder "Folk"-Musik herausbrachen. Es ebnete ihnen den Weg zu medialem wie kommerziellem Erfolg, der ihnen 2019 den RTE Choice Music Prize einbrachte und dazu führte, dass sich ihre Shows in der traditionsreichen Konzerthalle Vicar Street in Dublin in nur 20 Minuten ausverkauften. Die neue Musik bringt auch neue Stimmen und so ist es das erste Mal, dass Cormac Dermody einen kompletten Song auf einem Lankum-Album singt. In Kombination mit seiner besonderen Tonlage erzeugt er eine poetische Kraft, die den Sound von Lankum bereichert. Mit "False Lankum" bewegt sich die Bands ins Unbekannte, ein Album getrieben von der wilden und oftmals seltsamen Schönheit des Schmerzes und der Freude, von Himmel und Hölle. Es ist gleichermaßen ein Album der Widersprüche und des Einklangs und sicherlich eine der spannendsten Produktionen, die in letzter Zeit aus Irland kamen. Nur wer mutig wagt, wird Herzen gewinnen - "False Lankum" ist der Schlüssel dazu.

The object appears at close range, triggering neuro-pop circuits that activate deep within a network of dubwise rhythmic traces. their glow begins to pool between the gaps in the wires as we zoom, in four jumps, from a the span of a familiar room to the diameter of a paranoid microscopic twitch. Externalism all the way down. two longtime collaborators re-render: loveshadow’s anya prisk again lends her voice, wrapping a heavy halfstepping throb in her signature panorama of sheer and lace. sean conrad, west coast stargazer and steward of the inner islands label, paints wistful figures with his ewi. moving closer, the arrangements reappear as hollowed-out echoes, shedding their semantic forms as their edges leave view. closer still, the surface becomes a total matrix of vision comprised of countless flickering bits.

a lacerated hunk of metal and circuitry- “Iri.gram” charred on the side- comes back round to us again, still icy from the dark reaches of its orbit as it fades across the sky like memories of a bad dream. it’s throwing signals in all directions at once, jamming any possibility of a coherent rendering and keeping its exact boundaries unknowable. electronically, it arrives as does a storm: softly, first portended by a single drop. but pick any frequency band and listen in– the cadence of the pulses as they intensify feels viscous and decidedly unmechanical. there are discernible sequences, yes, and all at 133bpm, but crouched between the frames there lurks another organizing presence that seems to grab and mutate each repetition on the way past, spewing a stream of facsimiles as it travels, seemingly in an attempt to evade both pattern recognition and any subsequent defensive reactions.

‘selfsame’, the second 12” on false aralia, mirrors the structure of companion release ‘zero key’ in presenting an iterative exploration of versioning itself, unspooling a line of flight through four ascending rhythmic configurations. the objects at the center remain hard to glimpse: holographic percussion, snatches of breath, contorted blue chords, and roiling subs phase in and out of perception, interlocking, dissipating and reappearing as familiar silhouettes. the slow and quick domains of rhythm superimpose and bifurcate, perpetually just out of grasp, only visible in mutual reflection. the apparent solidity of the structure dissolves into a froth of microscopic activity upon close inspection.

in the middle of it we instantiate false aralia: a series of recordings growing in all directions, cataloging the work of a group of north american collaborators centered around the studio practices of izaak schlossman (of aught, s transporter, loveshadow etc.) and facilitated by brian foote (of peak oil, kranky, etc.). with this outlet we hope to provide useful tools for dance and avenues for intentional listening.

the first release, ‘zero key’, explores valences of an idea as it slips, as would a thought or a cloud, into something else entirely across its four tracks of recursive microhouse rhythms and hallucinated dub spatializations. foregrounding its most melodic state, its most percussive, and two points between, the versions cut an indeterminate and continuous process into discrete objects that invite repurposing, layering, and other nonlinear methods of evaluation. played through, it may be interpreted as an emerging, or a coming-to-light, as a soft vocal figure develops a tougher rhythmic architecture that eventually occludes its prior form entirely. each of zero key’s facets spurs a parallel investigation into its internal logic of patterning and form.

DJ Support: Massimiliano Pagliara, Lauren Lo Sung, Make A Dance, ADMNTi, Jeremy Sylvester, Locky, SUCHI, Daisy Moon, Martyn Bootyspoon, Storm Mollison

Beeyou Records proudly presents False Promises, the latest EP from Dennis Quin, an artist known for his timeless, soul-moving House music.

First up on the A side Reactivate delivers a high-energy garage vibe with punchy basslines and crisp percussion. This is then followed by Diamond Hunting is a bumpy 4x4 track that works on every dancefloor.

Flipping on the B side Dennis opens up with Accidentally that blends classic House grooves with playful modern production, followed by False Promises (Original Mix) bounces with a lovely vocal and vibrant House energy. The EP finishes off with Well Conducted a track that howcases Dennis’ other styles with a downtempo, chilled vibe.

LIMITED Quantity. Deep dive into the realm of electro music. Hypnotic multi-layered baselines, unpredicted drops and bursting beats would make precise, nevertheless not full definition of this EP. Following the
debut of the sequel with an exhibition showcasing artwork’s creation and conceptualization, we face SEQ002: False Destination, a new chapter where the story continues in an unexpected way. It holds the question, to which unknown territory did the agent headed from his collapsed dimention? – Side A takes you on a journey that echoes the spirit of interdimensional travel, a recurring theme in electro music. Impact One throws you into a captivating sonic environment, grabbing your attention with distinct sonic events, all layered over a foundation of subtly shifting rhythmic patterns. A2 is another mention of wrong dimention, hard alterations on early 90s Rave revivalism with peculiar artifacts and touch of blue note with breakbeat burst out conclusion. –
On the flip, a couple of heavyweights. Thick kicks jumping from 4 tothe-floor to broken beat, uncertain breakdowns and unexpected amen breaks driving audience on the edge. Hypnotic bassline for B1 was characterized as Giorgio Moroder on steroids. Last track is a calm blend in ending on a hybrid cosmic breaks combined with Yamaha DX7. – ABOUT ARTWORK This time comic-like backside artwork has an insert accompaniment to immerse within the world created by the artist behind the record. AI has been used to create artwork, generating imagery as a way to bring ideas to life. It offers a cryptic clue, a fragmented piece of the puzzle that complements the music to tell the story

Repress

This new Acid Avengers EP celebrates the new UK electro scene with two of his most talented ambassadors : London-based producer Nite Fleit, known for some killer records on Unknown To The Unknown, Return to Disorder and International Chrome, and Bornemouth-based producer False Persona, who just released an EP on Nite Fleit's label Atomic Alert. The result of this association is six punchy acid tracks, somewhere between funky electro and dark techno !

Mit ihrem Debütalbum »time will tell« setzen FALSE LEFTY den nächsten Meilenstein. Das Duo – Veva (AT) Stehend am minimalistischen Drumset und Tom (GB) an der drei-saitigen Gitarre – bleibt seinem Credo treu: Reduktion bis aufs Maximum. Bittersüße Melodien treffen auf rohe Energie und schaffen ein Soundgewitter zwischen Alternative Rock, Indie und Post-Punk. Kein Füllmaterial, keine Kompromisse, sondern ein eigener Sound, der nach internationalem Erfolg schreit. Man hört Einflüsse von Bands wie The Cure, Radiohead gewürzt mit einer Prise Sex Pistols, doch FALSE LEFTY verwandeln sie in ihr eigenes Gebräu – roh, direkt und voller Haltung. Mit stampfenden Rhythmen, gekonntem Songwriting und dieser besonderen Mischung aus Urgewalt und fragiler Melancholie. Immer kraftvoll, immer unverwechselbar.

Weißes Vinyl. Entstanden aus den vielfältigen Facetten der legendären Londoner Hardcore-Szene, verkörpert False Reality die Kernwerte des Genres: Verbundenheit, Stärke und das Durchbrechen von Oberflächlichkeit. Die vier Bandmitglieder, die aus verschiedenen Fraktionen des Szene-Ökosystems zusammengefunden haben, haben sich einen Ruf als eine der dominierendsten Live-Bands der Szene erarbeitet und bringen jahrelange, hart erarbeitete Bühnenpräsenz mit. Heute kündigt die Band FADED INTENTIONS an, ein Debütalbum, das weit mehr ist als nur ein Nachfolger der im letzten Jahr mit Begeisterung aufgenommenen EP Path of Self Destruct, sondern einen enormen klanglichen Fortschritt darstellt, mit dem eine der härtesten Hardcore-Bands Großbritanniens ihren Horizont erweitert und dabei die Vielfältigkeit der menschlichen Existenz aufdeckt.

Mall Grab & False Persona's much-anticipated collaborative effort "Crazy" finally sees a release, packed with catchy vocal hooks and emotional synths, accompanied by two stunning garage-tinged club tracks.

A collection of three anticipated tracks from the upcoming young producer, False Persona.

Treading the line between techno, electro and broken beat.

Transparent green vinyl, limited to 300 copies. Comprised of individuals deeply rooted in the underground music scene, False Reality are a London-based hardcore band that formed in 2023. Renowned for their thrash infused, hardcore crossover sound and fiercely energetic performances they draw influences from bands such as Trapped Under Ice, Broken Teeth and Backtrack as well as early era Sepultura and even Deftones. Having recorded the debut EP 'Path of Self Destruct' with producer Steve Sears Jr (Gallows, TRC, Prowler, Conjurer), False Reality set out to prove why they stand apart, delivering a release that is in equal parts blistering as it is poetically cathartic. Lyrically delving into the complexities of life, exploring themes of betrayal, societal values, and tragedy. The first single released, 'Opposites React', is a groove-driven empowering track that features vocals from Jem of Aussie hardcore band SPEED, which has received support from Daniel P Carter and Alyx Holcombe on BBC Radio 1. Having initially been released digitally in April 2024, this is the first vinyl pressing of the EP, coming via Hassle Records. Limited to just 300 copies, this vinyl release marks a significant milestone for the band, as their reputation grows rapidly within the scene.

Der Frankfurter DJ und Produzent Gregor Tresher veröffentlicht am 29. November sein mit Spannung erwartetes neues Album 'False Gods' mit 16 Titeln über PIAS Électronique und präsentiert mit seinem ersten LP-Projekt seit acht Jahren seinen vielfältigen und umfassenden Sound in seiner ganzen Fülle.

Tresher gilt weithin als seltene Ausnahme in der trendgetriebenen EDM-Szene. Von den Anfängen in den 90er Jahren in seiner Heimatstadt Frankfurt hat er sich bis heute einen beachtlichen Status erarbeitet, ob mit Remixes für Größen wie Depeche Mode, Moby oder Extrawelt, seiner Freundschaft und wiederholten Zusammenarbeit mit Sven Väth, oder mit seinen eigenen Alben - sowohl unter seinem richtigen Namen als auch unter seinem Pseudonym Sniper Mode.

Nun erscheint sein bislang umfangreichstes Projekt - Eine introspektive Reise in einen der aufregendsten Köpfe der modernen elektronischen Musik. Auf diese Reise nimmt er auch einige Freunde mit: Von u.a. Sven Väth, über Anja Schneider bis zum französischen Pionier Laurent Garnier.

Record producer, composer, singer, and pioneer of the dub music genre Lee Scratch Perry passed away in August 2021. His influence over popular music since the 1970s is hugely significant, with artists including Bob Marley & The Wailers, The Clash, Beastie Boys, Max Romeo, Junior Murvin and The Orb all enriched by Perry’s legendary touch, innovative studio techniques and production style.

Conceived, written and recorded during the COVID pandemic, ‘King Perry’ was produced by Daniel Boyle, and features guest performances from Greentea Peng, Shaun Ryder, Tricky, Marta, Rose Waite and Fifi Rong. Two tracks were also co-produced with Tricky, who releases Perry’s last recorded performances on his False Idols label.

Over a career spanning six decades, Lee Scratch Perry left the music world with a huge catalogue of albums, productions and appearances that cannot be underestimated. Releases for Island Records, Trojan, Adrian Sherwood’s On-U Sound, Mad Professor’s Ariwa...the list goes on. It was in 2014 that Perry teamed up with UK producer Daniel Boyle, and from this collaboration came the Grammy nominated album ‘Back At The Controls’ and was followed up five years later with the ‘Black Album’.

The ‘King Perry’ album was born out of a request from Perry that he “wanted to do something new, something different but still with a dub framework”. And so, armed with influences as diverse as synthwave, big beat, drum & bass and electronica, Boyle and Perry traded ideas, beats and lyrics in a project that continued to grow as its various guest performers were added, resulting in a kaleidoscopic and engaging melting pot of rhythms, melodies, and voices. Poignantly, closing track ‘Goodbye’ was Perry’s last ever recorded vocal performance.

Leisure Group Recordings, a side label project of Razor-N-Tape’s JKriv, drops their first vinyl release with a 7inch slab of trippy dance-floor dub by Kings Of High Speed. Launched earlier in the year with J’s pensive balearic 'Within EP,' Leisure Group now delves further back into J’s personal archive for a pair of tracks that he began over a decade earlier with his Tortured Soul bandmate, the late keyboardist Ethan White. A huge lover of dub reggae, Ethan showered these tracks with tasty and authentic organ and synthesizer stylings. The tunes sat unfinished on an old drive for many years, until J recently excavated, arranged and finished off the productions with a healthy dose of dub via a Space Echo, Eventide and other hardware delay units. Dedicated to the memory of Ethan White, one of the grooviest humans to ever walk the earth.

Conceived, written and recorded during the COVID pandemic, "King Perry" was produced by Daniel Boyle, and features guest performances from Greentea Peng, Shaun Ryder, Tricky, Marta, Rose Waite and Fifi Rong. Two tracks were also co-produced with Tricky, who releases Perry"s last recorded performances on his False Idols label. Record producer, composer, singer, and pioneer of the dub music genre Lee Scratch Perry passed away in August 2021. His influence over popular music since the 1970s is hugely significant, with artists including Bob Marley & The Wailers, The Clash, Beastie Boys, Max Romeo, Junior Murvin and The Orb all enriched by Perry"s legendary touch, innovative studio techniques and production style.

,somewhere in the nowhere, between cows and sheep, there's a little studio:"klingt als ob man den schrank aufmacht und einem fällt alles entgegen" (fortuna ehrenfeld) "sounds shit" (new york times) "nope" (bbc6) "i fucking love it!" (brian eno) "honestly?!" (meg white) "mind opening" (hans zimmer) "well done" (idles) bonny und clyde sind in ein, ja sie hören richtig, walisisch/oberösterreichisches indie-duo reinkarniert und plötzlich riecht hier alles wie reifenabrieb nach einem vollgas-start auf der straße richtung sonnenuntergang.an den drums wird hier schnell eine new sensation offenbar.tank girl, punkbraut, madonna, blumenmädchen.mit roher gewalt und einem einzigartigen stil ballert veva mit stampfenden beats den weg zum tresor frei, während tom lässig mit dem ellenbogen durchs regal geht und die erbeuteten juwelen in form von schmutzig geschliffenen britesquen songzeilen für die ewigkeit auf den pokertisch wirft.im haldern studio hat martin, sänger und mastermind von fortuna ehrenfeld, den beiden einen derart geschmackvollen noise appeal auf die leiber genagelt wie man in hierzulande nur (viel zu) selten hört." FALSE LEFTY stellt die punkwelt auf den kopf. sie brechen nicht nur optisch, sondern auch musikalisch jedes klischee. drei saiten, drei trommeln- mehr braucht das duo FALSE LEFTY nicht. die band bricht mit perfektionismus, reduziert sich von überflüssigem, lässt das unwichtige weg und setzt auf einen minimalismus, der die hoffnung weckt, dass es doch so wenig braucht, um gute musik zu machen- eine vision, zwei menschen, drei saiten, drei trommeln. FALSE LEFTY sind eine newcomer band, bestehend aus einer schlagzeugerin, die im stehen drei trommeln spielt und einem sänger, der seine gitarre nur mit drei saiten bespannt: die frage ist nicht, was gute musik braucht, sondern was sie nicht braucht. seit der gründung der Band vor einem jahr spielten FALSE LEFTY über 40 konzerte, sowohl als headliner wie auch als support für Public Image Ltd., Fortuna Ehrenfeld, The Lathums, SONS, Kapelle Petra, Cash Savage and the last Drinks und viele andere.

In 2019 BC (Before Covid) Discharge frontman Jeff Janiak reached out to longtime friend and musician JP Parsons to assist on a new project. The pair wrote and recorded various ideas before reaching out to Amebix guitarist Stig.C.Miller who joined them in the midst of the global pandemic. The trio utilized this new creative climate of physical restriction and went on to set the foundations for their first album, via file sharing home recordings, which would be arranged and produced by Stig. It was several months later when he would call upon Nausea, Ministry and former Amebix drummer Roy Mayorga to complete the line up. Roy went onto record drums, mix and produce the band's debut album 'LET THEM EAT FAKE'.

In these unprecedented times of global restriction, fear and the everlasting lack of faith in the hierarchy 'False Fed' has cultivated a heavy sound that is drenched in melody, aggression and shrouded in darkness. It is not bound by genre, yet still offers subtle hints to the creators lineage. 

False Fed are:
Jeff (JJ) Janiak - Vocals 
Stig.C.Miller - Guitar 
JP Parsons - Bass Guitar 
Roy Mayorga - Drums 

Its been five years since Belgium's WeMe Records lovingly selected the first ever collection of Heinrich Mueller's (Drexciya/Doppleffekt) best remixes/remodels for a new generation of listeners that won't have to pay collector prices to have them on vinyl. Volume 2 of False Vacuum is now with us and still has riches to choose from.

These 13 rare and hard to find tracks (3 of which make their vinyl debut) all deliver in different ways as he systematically reinvents each one.

Beginning with his raw and now classic remix of Ultradyne's 'Clones', the hard-edged dance-floor friendly 'Woman's Scent' by Cisco Ferreira (The Advent), the more laidback and futuristic sounding 'Bohrium 274' by Jauzas the Shining and Victoria Lukas, the slow and mysterious and first time on vinyl 'Somehow' by Rough Days For Diamond Trade, reinventing the darkest of dance-floors on 'Rytumtraks 0002' by Albert van Abbe, the moody masterpiece and first time on vinyl 'Now We Continue' by White Car, Duplex's 'Autoslug' sounding like its been rearranged inside a black-hole, a balancing act between the light and darkness on Fasenuova 'Cachito Turulo', an insistent rise and falling workout for As One's 'Where Did He Go and Why', a tightly wound and almost meditative 'The Truth' by The Exaltics, an angular stomping march of the robots 'Longwang' by 6D22, a jumpy fidgety groove for first time on vinyl 'Forty Eight Hours' by Yan Wagner and perhaps one of his most sublime pieces is kept for last with 'So Long For A Small Storm' by Dollska.

Anfang 2021 standen die Bandmitglieder von Lankum hoch über Dublin, den Winden der irischen Ostküste zugewandt, mit einem wundervollen Blick auf die Stadt, in der sie über 10 Jahre lang gemeinsam Musik gemacht hatten und dennoch spürten sie ein Gefühl der Unverbundenheit. Sie hatten die Stadt noch nie aus diesem Blickwinkel betrachtet, da sie immer fest in ihr verwurzelt waren und die Schönheit von Dublin immer aus dem Blickwinkel ihres Alltags sahen. Der kleine Perspektivwechsel half der Band bei den Aufnahmen in den Hellfire-Studios, wo sie nach der langen Stille der Pandemie begierig mit den Aufnahmen zu ihrem vierten Studioalbum "False Lankum" begannen. Wer jemals bei einem Lankum-Gig war, kennt die Energie, die diese Band erzeugen kann. Der unverwechselbare Drone-Sound, der sich durch ihre Arbeit zieht, wie bei ihren bekanntesten Stücken "The Wild Rover" (von "The Livelong Day", 2019) und "What Will We Do When We Have No Money" ("Between the Earth and Sky", 2017) hat die Kraft, einem den Boden unter den Füssen wegzuziehen und erzeugt dabei einen einmaligen Klang. "The Livelong Day" war das Album, mit dem Lankum aus der Schublade der "irisch traditionellen" oder "Folk"-Musik herausbrachen. Es ebnete ihnen den Weg zu medialem wie kommerziellem Erfolg, der ihnen 2019 den RTE Choice Music Prize einbrachte und dazu führte, dass sich ihre Shows in der traditionsreichen Konzerthalle Vicar Street in Dublin in nur 20 Minuten ausverkauften. Die neue Musik bringt auch neue Stimmen und so ist es das erste Mal, dass Cormac Dermody einen kompletten Song auf einem Lankum-Album singt. In Kombination mit seiner besonderen Tonlage erzeugt er eine poetische Kraft, die den Sound von Lankum bereichert. Mit "False Lankum" bewegt sich die Bands ins Unbekannte, ein Album getrieben von der wilden und oftmals seltsamen Schönheit des Schmerzes und der Freude, von Himmel und Hölle. Es ist gleichermaßen ein Album der Widersprüche und des Einklangs und sicherlich eine der spannendsten Produktionen, die in letzter Zeit aus Irland kamen. Nur wer mutig wagt, wird Herzen gewinnen - "False Lankum" ist der Schlüssel dazu.

Tricky is back. Back with a new studio album, False Idols, and his own label (also bearing the False Idols name), but also back in a personal sense. I was lost for ages, he says. I was trying to prove something to people, trying to do something to please other people and also myself at the same time, which is never going to work. To be honest with you, Ive been floating around since Chris Blackwell and Island. My last two albums, I thought they were good, but I realise now they werent. This album is about me finding myself again.
It opens with a cover of a Van Morrison song, Somebodys Sins, which sees Tricky and vocalist Francesca Belmonte whispering Jesus died for somebodys sins, but not mine over a sparse groaning bass. The lead single Parenthesis, which features a vocals from Peter Silberman of The Antlers, has more rhythmic grunt, which gives a different dimension to the dark gothic atmosphere that pervades the record. No-one does this kind of thing better.
The resemblance to Maxinquaye is undeniable, though the material on False Idols is gentler; more mature. Many of the songs feature artists signed to Trickys new label, including 24-year Londoner Francesca Belmonte and Fifi Rong. The album also includes collaborations with Nigeria's new global star Nneka, the afore-mentioned Peter Silberman. In the months before the albums release, False Idols will also release an EP "Matter of Time" showcasing the labels roster on new non-album material produced by Tricky.
Why the name False Idols Because theres so much bollocks going on at the moment mate, Tricky fires back. People follow celebrities and read every little thing they do. Its living vicariously through someone else. Get your own life. All this stuff is false idols. In this new album Ill stand behind every track, Tricky says. I dont care whether people like it. Im doing what I want to do, which is what I did with my first record. Thats what made me who I was in the beginning. If people dont like it, it dont matter to me because Im back where I was.

White Vinyl Edition

Tricky"s first album on his brand new False Idols imprint, launched almost a decade ago in 2013. "I was lost for ages" he says, after a 3 year hiatus since his previous album.

ORANGE VINYL EDITION

An essential collection of represses from Tricky"s catalogue available in colour. "Calling it Adrian Thaws is saying you don"t really know me," says Tricky, explaining the title of his 11th album. "So many times people have tried to put a finger on me and every album I go to a different place."

• ‘Paper Man’ is a major discovery for lovers of Sam Dees’ music and the Atlanta/Birmingham soul sound of the 70s. Written and recorded in that productive period, it has only just been found in the vault of Moonsong / Clintone recordings. Sam Dees worked with Alpaca Phase III for the Atlantic release ‘I Like To Party’ in 1974 and a Clintone release the following year. He co-wrote this ballad with Wes Lewis and Ken Walker from the group (he also composed ‘Someone To Run To’ with Wes Lewis and group member Berry Collins).

• Dees is the vocalist on ‘False Alarms’, one of several brilliant Dees compositions first released on his “Second To None” Kent CD in 1995. With “so tied up” being such an important lyric in this song, it is conceivable that it is a forerunner of ‘So Tied Up’ which featured on his Atlantic LP at this time.

False Heads release Frank Turner produced second album ‘Sick Moon’ via Scruff of the Neck Records.False Heads have taken the UK by storm in recent years, forming in 2016 and eventually catching the attention of key industry figures. With an incendiary live reputation like theirs, it should come as no surprise that the band have also earned the praise of multiple renowned radio stations and hosts. The iconic Iggy Pop and Steve Lamacq (BBC 6 Music), John Kennedy (Radio X), and Jack Saunders (BBC Radio 1) have all supported the band within the UK, with Planet Rock and Radio X playlisting them as well. Internationally, the likes of KINK (NL), Sirius XM (US), and RTE2 (IE) have also given False Heads airtime. Their single ‘Rabbit Hole’ has been streamed over a million times alone on Spotify and their previous album ‘It’s All There but You’re Dreaming’ nearly 4 million times across all platforms. The ten-track album was produced by Frank Turner at his home studio, with lead single Day Glow coming just weeks after Turner’s own record FTHC landed the UK Number One spot. ”If they came to my town I’d show up for that, if they come to your town you might wanna show up”-Iggy Pop. Track list.1. Day Glow. 2. Mime the End. 3.Thousand Cuts. 4.Thick Skin. 5.Cottonmouth.6.Hangman. 7.Said and Done. 8.Slipping Through. 9.Hainted Houses. 10.Doll’s Eye.

False Heads release Frank Turner produced second album ‘Sick Moon’ via Scruff of the Neck Records.False Heads have taken the UK by storm in recent years, forming in 2016 and eventually catching the attention of key industry figures. With an incendiary live reputation like theirs, it should come as no surprise that the band have also earned the praise of multiple renowned radio stations and hosts. The iconic Iggy Pop and Steve Lamacq (BBC 6 Music), John Kennedy (Radio X), and Jack Saunders (BBC Radio 1) have all supported the band within the UK, with Planet Rock and Radio X playlisting them as well. Internationally, the likes of KINK (NL), Sirius XM (US), and RTE2 (IE) have also given False Heads airtime. Their single ‘Rabbit Hole’ has been streamed over a million times alone on Spotify and their previous album ‘It’s All There but You’re Dreaming’ nearly 4 million times across all platforms. The ten-track album was produced by Frank Turner at his home studio, with lead single Day Glow coming just weeks after Turner’s own record FTHC landed the UK Number One spot. ”If they came to my town I’d show up for that, if they come to your town you might wanna show up”-Iggy Pop. Track list.1. Day Glow. 2. Mime the End. 3.Thousand Cuts. 4.Thick Skin. 5.Cottonmouth.6.Hangman. 7.Said and Done. 8.Slipping Through. 9.Hainted Houses. 10.Doll’s Eye.

Over the past decade, Vienna-based Florian Stöffelbauer – also known as Heap, has built a consistent reputation as a skilled DJ, producer and Neubau’s label head.

Isla is proud to present his latest effort “False Hope” which explores the intersections between industrial, electro and dark wave – all with a leftfield twist.

As diverse as it is powerful, the 7 tracks featured here almost feel like nocturnal tales, chalking out Heap’s observations wandering through the streets of a silent city, with cigarette smoke permeating the air and sirens ringing in the distance.
The cinematic essence of the release emerges from the very beginning, with the atmospheric beauty “Diall” transporting us straight into some late-80s scenery of Kraftwerkian nostalgia. In “Jetzt Oder Nie” a sharp knit of drums is placed on top of the grave frequencies of the bass: it’s indeed “now or never”, the moral imperative of the release, requiring us to take action.
Throughout the whole album, hypnotic sounds punctuate the dark space, bouncing between the polyrhythmic and uplifting energies of “Inner peace” and “No Palm Too Big”, a sneaky slow-burner with a nocturnal groove and Gayna Rose Madder’s robotic voice reciting the stream of consciousness of this urban wanderer.

“Trist” rises slowly yet powerfully thanks to its mystical synths covering the ground and preparing us for what comes next.
The title track “False Hope” holds the unique charm of a creature effortlessly floating in between dualities. As obscure as it is airy, as delicate as it is forceful, this hybrid composition is rich in details and plot twists.

At the end of this journey, “Losing time” reminds us of the urgency to take action expressed at the beginning of the album. In a rarefied canvas, an off-kilter solitary sound comes in, starting off as insistent as a car horn in rush hour, and evolving into a beautiful instrument arpeggiating the melody.

Here Heap concludes his narrative for now. We like to imagine him walking away, a shadow fading in the smoke of the city as the first lights of the day appear.