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Brand new Omar-S. Keep it FXHE!

DJ Woody teams up with the incredible champion beatboxer Ball-Zee to create the ‘Box Cutter Mini’ 7”. Made up of 100% original new sounds, this record contains skip-proof vocal phrases, noises, sound effects and beatbox drums perfect for scratching or beat-juggling.
Side A is programmed at 133.33 bpm and contains 7 skip-proof loops, 4 phrases containing vocals and effects and 3 drumming phrases.
Side B is programmed at 100 bpm and follows the same format but with 7 different phrases.

Each side ends with a lock groove. 2 copies are a must for the 7” jugglers!

• 100% original sounds and phrases

• Perfect for portablist scratch jams, drumming, beat juggling and production

• 14 skip-proof loops

• 2 lock grooves

• Super loud and deep pressing on black vinyl

Bedouin’s Human By Default recruits Upercent for the four-track ‘Inconformisme EP’ this May.

Previously recording for Watergate, Kompakt and Adana Twins’ TAU, the Valencia-based DJ/producer arrives on Bedouin’s imprint for his debut appearance on the label, delivering some of his most accomplished productions to date on vinyl.

Across the record, Upercent displays combines his wide range of musical influences into a set of engaging downtempo dancefloor cuts with impeccable attention to detail. Opener ‘Elefants’ twists various acoustic instruments and vocal samples around soft shakers and warm low end, leading into theloose percussion of ‘Fluir’, grounded by a softly thudding kick amongst fluttering and glitched out FX.

On the flip, ‘Caduco’ combines the natural and the synthetic as hand percussion meets sharp synth stabs and glowing pads. ‘Hipocresia’ twists mangled horns over a low slung backbeat.

Vinyl LP comes with a limited edition magazine, featuring drawings by Williamz himself, as well as lyrics.

‘SoundKilla Mindset’ is a Reggae & Dancehall opus which takes Mr. Williamz back to his roots as a sound system native and draws on inspiration from the OG Nicodemus. A respected statesman of the Portobello dancehall-soaked streets, Mr. Williamz uses modernity combined with elements of styles from the Reggae greats to create a record only someone as proficient and knowledgeable in the scene as he could.

Born in London, UK - when Mr Williamz was 6 years old, his father moved home to Jamaica bringing both him and his younger with him. By the age of 10 he was already a local favourite winning local clashes and competition and at 15 he returned to London. Fast-forward to today and he is a soundsystem icon who is recognised for his authenticity, Mr Williamz 20 year career has seen notable collaborations with: Major Lazer, Shy FX, Mungo's Hi-fi, Green Lion Crew and Big Zeeks. He has recorded and performed with the likes of: Chronixx, Damian Marley, Gappy Ranks, Hollow Point, Jah Mason, Junior Demus, Mikey General, Pinchers, Spragga Benz, Stephen Marley, Supercat and Topcat.

He also recently made his acting debut in the feature length film “Yardie”, directed by Idris Elba. With recent radio support from David Rodigan, Ras Kwame, Rodigan, Toddla T, Robbo Ranx, Daddy Ernie & Allan, press support from Clash Magazine and Reggaeville, Mr Williamz is undoubtedly continuing building his lasting impact on the genre and wider UK music scene.

Repress

Guy J returns home to Lost & Found with two absolute monster tracks! And for the first time in the labels history, these tracks will be available on vinyl as well digital download.

Let's get straight to business then and its Dizzy Moments kicking us off. A techno grooved workout with percussive layers meeting subtle yet ethereal pads, creating a warm atmospheric vibe. The track expands with the sounds growing as the elements ooze from within, creating an epic melodic masterpiece as delays interact creating a dreamy smile inducing gem of a track that we are positive will create a serious fuss and will send clubbers wild.

Diaspora grinds in to action from the off, with its slightly tribal tinged percussion, brooding bass stabs and cool fx setting the mood, swiftly followed by creeping pads that lighten the vibe while adding an air of mystery, dropping its fierceness, but only temporarily, before we pound back in to action. Gated chords meet cool keys as we meander around the ups and downs of this monster. Another serious slab of dance floor devastation from Guy.

Two outstanding tracks that will no doubt be flying straight in to many a DJ's playlist at rapid speed.

Nearly twenty years on from his last solo sortie, Tommy Gillard reemerges as Curved Needle with “Rain Of Molten Iron” - a new six-tracker scoping out the confines between hi-octane body music and FX-riddled experimentation.

After spending most of the decade working in the studio with Oliver Ho alias Broken English Club as Zov Zov, the West London-based producer reignites the flame of trueschool horror electronics with five cuts heaving us into a furnace of post-apocalyptic machine talk by the scruff of the neck, complimented by a remix from Broken English Club.

Main Phase returns for a second full-length EP on Shall Not Fade's hugely successful sublabel, the bass-oriented Time Is Now. The Copenhagen native is fresh from an appearance on Danish leftfield label Petrola 80 and can otherwise be found heading ATW records with another Time Is Now regular, Interplanetary Criminal. He serves up a tasting menu of the most quintessential sounds in UKG across Buss It EP.

The title track is understated, sparse but tense using sparing Ragga vox that build to a crescendo, wobbling over into "Our Style" - expect space age FX drawn out over mutant inflections in another textbook eyes down cut. Cheeky bassline garage energy is brought in "Creepin", while teasing breaks and dirty south hip-hop in the vocals.

Looking to the infamous early years of garage on the B-side, "Freaky" channels those classic Ghost releases in its sub-heavy intent, spicy snare and catchy vocal hooks. The EP is closed out with the expansive, gut-wrenching wobbles of "Misdemeanour", accentuated with a highly intricate two-step rhythm.

Andrey and Stas aka Radial Gaze, one of the freshest production duos to emerge from Russia’s vibrant underground scene, are set to release their ‘Refined’ EP on April 23, 2021. Due out on Berlin-based independent label Thisbe Recordings, the project features three original tracks and two remixes. Drawing on Andrey’s background as a resident DJ at Skotny Dvor club and Stas’ background as a sound designer and both theatre and musical director, ‘Refined’ is a perfect representation of the dramatic club music the duo are known for.

All music improvised by Michael Wollny, Emile Parisien, Tim Lefebvre
and Christian Lillinger (except ‘Nostalgia for the Light’, written and
arranged by Michael Wollny).
The music we hear doesn’t fit into any category. We’re in uncharted
territory, so a good way to capture its essence might be to break it
down into its four component parts. First there’s Michael Wollny, here
for the very first time playing only on electronic keyboard instruments.
He creates a characterful world of retro-futuristic sounds that is very
much his own. We find the occasional nod to early Jean-Michel Jarre,
references to science fiction and horror movies and also vivid
memories of the sounds of avant-garde Krautrock: Can and Irmin
Schmidt and Klaus Schulze.
As for Tim Lefebvre, here is a musician who has plied his very great
craft with stars such as David Bowie, the Tedeschi Trucks Band, John
Mayer, Knower, Steely Dan, Elvis Costello and Wayne Krantz. Here
he is like a rock in a tempestuous sea. He propels the music forward
with a combination of bass and effects. He builds structures and
tames unruly elements. The way he lays down a groove is
overwhelming.
As a counterbalance we find the explosive yet highly sensitive playing
of drummer Christian Lillin-ger. He stacks layer upon layer of rhythms
and textures.
And the melodic lines of Emile Parisien on soprano saxophone
always have an astonishing springy inventiveness. Such is Parisien’s
latent energy, it seems as if at any moment he could suddenly
become airborne.
The players’ eager curiosity as to what the next turn, the next
impulse, the next push will be is palpable to the listener. One can
sense the tension between the urge to construct forms, lines,
grooves, harmonies, textures, versus the illicit joy of tearing such
fragile structures apart before they have even been heard. There are
beats and patterns from the 90s, 80s and 70s, all coalescing into
cinematic bacchanalia of sound. These four master improvisers and
composers all have the urge to rewrite the rules of their musical world
- and to do so in real time.
LP pressed on 180g vinyl with digital download code.

Scottish producer Gavin Sutherland revives his Other Lands alias with a collection of tracks that were crafted between 1997 and 2012, and were transferred straight from the original cassette.

"What Year Is It? Who Is The President?", is Sutherlands' first full offering with PULP. After multiple remixes for the label (under his Fudge Fingas alias), the release schedule for the Other Lands guise has picked up in the last few months. This resurgence of previously unreleased material will add to Sutherland's elaborate catalog, and confirm that even bits that never saw a release at the time, are sounding relevant and superbly produced.

"What Year Is It? Who Is The President?" (PULP13) starts with "The Caged Bird", which is a synth laden, lush sounding cut that is built around a playful bass sound and beautifully orchestrated chords. The drums are swinging as ever, and the hypnotic character of the lead is present throughout.

"Kaleidoscope" is a venture into the otherworldly. Deep splashes of synth and fx come together effortlessly to create an almost meditative state. The musicality of it all is remarkable, and hard to capture in a few words. The rhythm section is always the backbone, but the fx are equally as important. Fans of Sutherland's work will surely recognize and appreciate the ambiance that is set in Kaleidoscope.

The flipside starts with "It's Something Else". The main lead is indeed something refreshing. In a sense, it's reminiscent of a guitar, but it's clearly not that. The dance floor nature of everything else is supporting the wildness of the lead. Altogether this is something to space out to. On a dance floor, at home or perhaps even during a run.

The final track on the B-side is called "Mind Like A Steel Trap". This sample heavy, hazy sounding piece of beauty is blending soulful flutes, drums and the catchphrase of the song - no more mind games - together with an astonishing ease

Shapes of Rhythm welcomes Emanative to the label for his first vinyl project following contributions to its Isolation Compilation and an Awkward Corners EP both earlier in 2020. Known for his love of collaboration, Emanative connected remotely with Bex Burch during the global lockdown. Disrupt #4 is the result of a meeting of two percussive minds in the midst of a pandemic, and like all good things it started with a groove. Nick initially provided Bex with a hazy, electrified afrobeat sketch. What followed was a musical dialogue which quickly gained momentum. A punk-esque vocal mantra was added, reflecting the here and now of 2020 to drive the track forward. Bex's trademark Ghanaian Gyil xylophone is the conversation with the groove throughout the track. Hector Plimmer also joins the collaboration, seasoning the mix with synthesizers and fx.

Following his stunning Dislocation Songs LP, the label drafted in Awkward Corners AKA Paradise Bangkok's Chris Menist for a remix on the flip that heads towards the club (remember clubs?). Adding 808s, his own conga recordings, synth lines, a sprinkle of acid and a warped vocal treatment, this is classic Awkward Corners: pumped with feeling and rhythm. If Andrew Weatherall was still with us today he'd be digging this take on the a-side.

„The Things I Can't Take With Me“ ist die neueste Veröffentlichung der multidisziplinären Künstlerin und Singer-Songwriterin Yaya Bey. Die selbstproduzierte, sechs Tracks umfassende EP folgt auf ihr letztes Album, das intime und politische „Madison Tapes“ aus dem Jahr 2020, das von Pitchfork (7.7), FADER, Afropunk, Noisey und anderen Medien gelobt wurde. Dem gleichen Geist ihrer früheren Projekte folgend, sucht „The Things I Can't Take With Me“ nach den zutiefst persönlichen und erfrischend ehrlichen Wahrheiten des schwarzen Frauseins und der Liebe.

Geboren und aufgewachsen in Queens/ New York, betrachtet Bey sich selbst hauptsächlich als „East Coast girl“, da sie ihre prägenden Jahre als Erwachsene in der DMV-Region (Washington DC, Maryland & Virginia) verbrachte und dort kreativ tätig war. Es war der aus Wahington DC stammende Produzent Chucky Thompson (bekannt für seine Arbeit mit Notorious B.I.G. und Diddy), der Bey ermutigte, ihre eigenen Songs aufzunehmen, nachdem sie jahrelang für andere geschrieben und Spoken Word Poetry vorgetragen hatte. Wie ihr Vater, Old-School-Rap-Legende Grand Daddy I.U., machte Bey das Beste aus dem, was sie als autodidaktische Musikerin mit einer Vorliebe für Storytelling und einem Ohr für Sampling hatte.

The Black Bones story is born out of a shared obsession for crate digging, collecting, and the playing of weird and wonderful music. Their releases so far have manifested in a highly-sought series of seven psychedelic disco 12"s - picking up numerous Record of the Week plaudits on the way. This considered curation and skill for pulling together far-flung sounds fully informs their first original material. These four bold and adventurous club cuts are a thrilling mix of straight-up house sounds, new beat, industrial, dub, sleaze and all the other good shit that comes with low-lighting and a heavy sound system. Kicking off with the full throttle 120 bpm of 'ABTS' - the duo take you straight to the 'floor with one of the wildest rides we've heard in some time. 'Denied' pulls us in to darker territory - chest pummelling bass, ominous high-pitched warnings and a chuggy acid throw-down finding us once again lost in that 5am dance floor fog. Over on the flip and 'Punghi' combines a hypnotic groove, dubbed out FX, percussion and a tripped-out Eastern breakdown. One for the more adventurous DJs and dance floor! The EP is closed by 'Gabi' which sounds like minimal gone maximal with an insane industrial switch-up. Enough words! As always, Black Bones let the music do the talking and this ambitious debut can quickly find itself shelved alongside the records that have fuelled their lifelong obsession.

“Jazzrausch Bigband is making jazz sexy again” -
Bayerischer Rundfunk
The ensemble’s ingenious mix of techno and big
band jazz has proved to be just as accessible to
people listening to the band from the comfort of
their seats in a concert hall as it has to those
sweating it out on the dancefloor.
Since 2015 Jazzrausch Bigband have been in
residence at Harry Klein in Munich, a club
renowned for its house and techno acts as well as
for its stunning live visuals; this cooperation
between a techno club and a big band is a truly
unique one.
DownBeat magazine singled out not just the
band’s “high-voltage performances” and “party
atmosphere” but also the amount of
experimentation going on.
LP pressed on 180g vinyl.

Both tracks produced by Robin The Fog at The Sticky Shed, Penge during lockdown 2020. Side A features a recording of a wine glass. Side B is created entirely from closed input sounds of the tape machines themselves. One take, no edits, no overdubs, no artificial FX. Mastered by Steven McInerney. A.H.M.F. and long live the Wyrm.

Robin The Fog is a sound designer, radio producer, audio archivist, educator and occasional DJ based in London. His work falls under the broad term "radiophonics" and includes composition, sound installation, field recording and documentary. Best known as founder and chief strategist of "tape loop quintet" Howlround, he also produces work alongside DJ Food and Chris Weaver as The New Obsolescents and with Ken Hollings as The Howling. Originally described as a "second wave hauntologist", his current obsession is attempting to use closed-input feedback loops to create primitive techno, which is quite a long way from where he started. His biggest fear is being swallowed by a python, but living in South London he appreciates the contingency is a remote one.

Blessed by the Californian modern funk diva Moniquea, Amadeo 85 is back with a brand new 7". Moogy basses, heavy drum machines and FX from space are the mood of this double sider.

On A side, Moniquea transcends this rough beat with her classy style, an ode to the universal party, in the deep boogie funk spirit.
On B Side, this drunk Funk Boogie is a space travel produced under the influence of liters of Vinho Tinto, with the support of Bacchus himself.

When a synth master like Steve Moore joins forces with the legendary KPM, magic must materialise. And so it does with Analog Sensitivity: cinematic, enigmatic synthscapes to both haunt and heal.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. Steve’s music has found a home across labels like Future Times, Mexican Summer, LIES, Static Caravan, Relapse, Kompakt, Spectrum Spools, Death Waltz and Ghost Box, and much of his recent work has been scoring films like The Guest and Cub. Prolific indeed.

The story of Analog Sensitivity starts with those soundtracks, or more specifically the time in between them. Rather than being commissioned by KPM, this LP comes from music Steve was recording sporadically and tinkering with for over three years during the downtime between his film projects. There were no ideas about what it was nor a plan for how it would be released, or even if it was going to be released at all.

However, after Jon Tye invited him to play on the Ocean Moon project for KPM Steve realised that the hallowed library label might be the perfect home for what he had been working on. The people at KPM agreed. Finishing production in late 2019 in Albany, NY, he came up with the track sequencing and suddenly, he had an album: Analog Sensitivity.

The LP opens with the dystopian electronic minimalism of “Eldborg”, its dark synth bass unfolding to ominous synth pads, shadowy sustains and glistening arpeggios. “At The Edge Of Perception” brings an unsettling retro-future of edgy analogue leads and desolate FX. The sound of a robotic core tears through the sparse textures of the enigmatic “Rose Of Charon”. A chilling breeze blows through a persistent, hypnotic synth sequence on “Time Freeze”. Title track “Analog Sensitivity” is a sparkling transcendental synthscape of melody, drones and celestial synth. The brooding “Behind The Waterfall” winds down the first side, building subtle strings and a desolate sound beneath its haunting organ.

“Mirror Mountain” ushers in side two, its woozy bass and arpeggio unfolding to envelop the muffled, muted echos of its organic leads. "Syzygy" emerges you in bubbling sequences, airiness and ambient electric guitar tones. It’s followed by the cinematic minimalism of “Pentagram Of Venus” and its trickling FX. The wind swirls through the otherworldly “Of Dust Thou Art” kicking up clouds of unsettling, plodding synth sequences leading to the uneasy atmosphere of “Message From The Beast” which builds to the echo of the last refrain of some choral incantation. Closing track “Urge Surfing” is as cool a climax as you’d hope from something so brilliantly titled, riding along hushed waves of brooding electronics.

With the clue right there in the title, Analog Sensitivity is built up from the quieter aspects of the sound Steve has been exploring and evolving for over 20 years. It’s a layering of ambivalently dense and airy, muffled and echoing sounds from his collection of synthesizers and other electronic music hardware. And whilst some of Steve’s other work uses this vintage equipment to conjure the past, that wasn’t his intention here. Steve explains “I wanted Analog Sensitivity to feel atemporal, as though it could have been released any time over the past 30 or 40 years. While not specifically in the spirit of any particular album, I’m really into old KPM artists like Alan Hawkshaw and Brian Bennett”.