Beats Vinyl New Releases - News

Four years after wowing listeners with his surprise debut album, All One, Ferdi Schuster is back with a similarly inspired sequel. Taking his distinctive, freewheeling approach to its predecessor, Playing Life offers a set of inspired instrumentals full of soft-focus grooves, alluring musical motifs, subtle mood shifts and plenty of intricate musical details. In fact, such is the layered nature of the productions, you’ll still be noticing new things on your fifth or sixth listen. Those who know Schuster’s story and previous work for Claremont 56 won’t be at all surprised. Arguably the label’s best-kept secret, Schuster ended up on Paul ‘Mudd’ Murphy’s label in 2017 after speculatively submitting a demo. Murphy was blown away by the quality of the publicity-shy multi-instrumentalist’s work and asked him to work on an album; two years later, All One appeared in stores and the rest, as they say, is history.

Just as he did on his celebrated debut album, Schuster played every instrument, note, chord and riff on Playing Life, arranging and producing the whole thing at different points between 2020 and 2023. The results are undeniably spellbinding, with the talented artist arguably delivering an even more assured, attractive and entertaining set. For proof, check opener ‘Dream Quality’, a sumptuous affair in which immersive pads, jazzy guitars, twinkling keys and smooth bass rise above a dubby, minimalistic beat, the steel pan-infused gentle jog towards the dancefloor that is ‘A Step Further’, and the Balearic ambient jazz masterpiece that is ‘Due’. Or, for that matter, the lapping waves and deep, dubbed-out grooves of ‘Playing Life’, and the starry magnificence of ‘Light Minded’, where Ferdi offers a few nods to the great Pat Metheny over twinkling synths and sparse, spaced-out beat.

Everywhere you look across the album, you’ll find a softly spun, exquisitely executed highlight. There’s ‘Moving Forms’, whose instinctive beat pattern and sun-bright jazz guitars enrich the soul, the marimba-sporting sunset wonder of ‘Universal Dance’, the chunky dub disco shuffle of ‘Pulsing’ and the awe-inspiring brilliance of ‘Vastness’, a suitably star-gazing, effects-laden excursion that provides a fittingly impressive conclusion to an album dripping with emotion-rich sonic gold.

Edition of 50 lathe cuts, hand stamped, housed in custom inside-out numbered matt sleeves with yung Florian picture.

After an introspective period of small-run releases & self-released output, Florian Kupfer realizes a full-circle culmination of the kinetic, roughly refined yet stylistically diverse sensibilities he showcased on his seminal debut for L.I.E.S. and returns to the fold for a volley of raw, elusive DIY house on his new 12” single ‘About U’.
Landing on Hugo Capablanca’s Discos Capablanca label, Kupfer reasserts where he’s been, and conveys where he’s at, forging aqueous, hazy manoeuvres of crisp breaks, fragmentary R&B-inflected vocals, and heavily filtered FX on ‘About U’. Here, locked, cyclical scuffles of broad low-end and fizzing percussion emerge and disperse, reflecting the exhilaration and enervation of an adventurous late-night session, if soundtracked by Rezzett, Theo Parrish and some narcotized edit of Drake. An impactful reset from a truly original operator, ‘About U’ signals an emphatic new chapter in Kupfer’s trajectory.
Ridiculously limited edition.

GERARDO commits to his first episode of his own label. It is quite difficult to communicate your internal musical concepts and ideas in a way that someone understands them enough but Gerardo accomplish this once again with insane drum programming and catchy melodies for the 8 total tracks resulting in a super strong double EP, proudly

Islaja presents her new album ”Angel Tape”, her debut release on the new Helsinki-based label Other Power. Drawing inspiration from childhood epiphanies while listening to an alleged recording of angels singing, Islaja has crafted an album that stands out as a major work in her expansive and celebrated catalogue, which includes previous releases on labels such as Ecstatic Peace!, Fonal and Svart.


Islaja, aka Finnish artist Merja Kokkonen, describes her new album as a “counterwork” to her most recent albums, where the mode of composing was more song-based. This time around, she goes more in the direction of vast fields of sound where the human voice is a key ingredient of music that breaks free of strict stylistic guidelines and traditional song forms. Rough around the edges, atonal and otherworldly, "Angel Tape” is the result of a lifetime of inspiration from something beyond the immediate realm of our experience, an attempt to catch the elusive essence of musical otherness.


”As a child, I listened to the ’angel tape’ my mother played, and I never thought that the human voices I heard on it were angels singing. Instead, all the aural debris lying just beneath the surface caught my attention as I thought it was mysterious and something from a different world than ours, and so that was probably what was referred to as the ’angels’ so miraculously caught on tape”, Kokkonen explains. ”I think this was one thing that led me on this lifelong quest to find new sounds and forms in music.”



The tape she is referring to, a mid-80s church recording, was passed around in religious circles. Each time the tape was copied, it became slightly more distorted. It was believed that this recording of religious music had accidentally captured for the first time the voices of actual angels singing. The tape was rumoured to have originated in Kansas City and to have made its way to Finland.


Whereas Islaja has often thought of albums as being collections of recent songs presented together, ”Angel Tape” has a strong sense of conceptual coherence. The music comes from a place. That doesn’t mean that one must take a single path from one place to the next, as close listenings of the album reveal layers upon layers of not only sound but also of mood and meaning. From the human voice in its barest form, to the rising dense walls of sound moving and reshaping, ”Angel Tape” is a captivating album that unveils new contours with each repeated listening.

The second release from Flash Lair and from Melbourne producer Oozy Zoo, Crucial Spheres covers breakbeat electro metres, deep techno grooves, and slick acid licks.

These run of releases on ‘Existence Is Resistance’ comes from the Legendary Proto Garage Record Label ‘Same People’, and see’s Persian & Long time musical partner DJ Texsta, repressing some of their most pioneering UKG E.P.s.

Already in its title, Plume Girl’s debut thoroughly lets things go and takes them in – all at once. “In the End We Begin” is the first solo full-length from Sowmya Somanath, a Hindustani classical singer/composer and half of alt-pop duo Felt Out. Plume Girl’s music takes inspiration from the semi-regular musical form of the rāga (translated as ‘tinting’), invoking mood and atmosphere, each rāga thought to have its own distinct nature and personality, brought to life through improvisation. String swells and Somanath’s searching vocalisations envelop every track’s own blissful chamber. Exploring imagined binaries along the way — eastern vs. western, traditional vs. experimental, acoustic vs. electronic, Sowmya sees music as a curious dialogue between divine Self and an invisible reality. Beneath the illusion of a chromatic world, there remains a blissful oneness.

Plume Girl’s songs sit between ambient Hindustani music and emotionally-encumbered pop. In front of backdrops comprising sundrenched drones or glitches, sketched out beats, and criss-crossing glissandi or flutes, Somanath both murmurs intimately and spirals upwards into soaring choruses. The lyrics ponder innermost thoughts, never more literally than on the blissful emo folk closing track: ‘In my heart I know / what’s in my heart / I know what’s in my…’

“When I began writing this music, I was fresh off of an experience that completely twisted my reality,” explains Somanath. It was the end of a years-long relationship, and the blossoming of a long-buried love hidden in plain sight: “a best friend of a decade, my musical partner, someone who had always seen me completely…At once, I felt grief and loss. At once, excitement and love.”

While she was still a member of Nasmak, one of the leading bands of the Dutch ultra-movement, Truus de Groot started Plus Instruments in 1978 with herself as the sole member. When the project evolved, she found a wide range of rotating collaborators like Michel Waisvisz, Lee Ranaldo and James Sclavunos. Plus Instruments was about freedom and the live performances were largely improvised. The sound minimal but captivating. The music always came from within, but De Groot was also triggered by bands like Red Crayola, Suicide, DAF, Wire, Per Ubu, Devo and the No Wave scene in NY. She was always experimenting with primitive multi-track recording and whatever crappy gadgets she could find. Always looking for a gritty, dirty sound and bizarre overtones.

At a young age she travelled to New York and began to immerse herself in the nightlife of the city that never sleeps. Here she found true creativity, passion and expression. The club scene was alive but highly competitive, so this fearless Dutch girl would just knock on promoter’s doors to get gigs booked at places like CBGB’s, Peppermint Lounge, Underground and the Pyramid. De Groot eventually settled in the United States and never stopped experimenting with sound. In recent years she reinvented Plus Instruments and led the group into new territory.

The recordings for this LP were made by De Groot at home and the music is experimental, minimal, industrial but also playful, sounding nothing like most of the later material. 14 tracks in total of which 7 are taken from the elusive and impossible to find self-released debut cassette as ‘Truss Plus Instruments’ which was sparingly distributed by Nigel Jacklin and his legendary Alien Brains fanzine in 1980. The remaining 7 tracks are from the same period (1979-1980) and were carefully selected from the vast archive of De Groot. We are glad to present this anthology that serves as a long overdue testimony to the formative phase of a unique female pioneer of electronic music.

After years contributing to Italy’s heterogeneous and increasingly transnational music echosystem by curating his own dream & microsounds label Pampsychia, Reptilian Expo lands on Artetetra like an elegant jelly trainwreck hitting with a mix low-frequencies body-muzak filled with a cocktail of squeaks, wacky samples, manipulated vocal lines and a much-needed pinch of irony.

Cunti is a collection of sonic short stories, fantastic journeys into an unconscious world of archetypes and personal myths. Dives, searches, clashes and encounters with metaphorical creatures are the background to a process in which internal and external come across and merge indefinitely through introspection and idleness. The nine tracks, while shaking your bones and scrambling your internal organs with every kick and drum hit, are paradoxically imbued in the oozy inertia of everyday phlegm and internet-infused attention deficiency. A sluggish, stoned journey into the self, if you will.

SG is none other than Andrew Pekler returning to faitiche with an album of sentimental guitar escapism. For Lovers Only / Rain Suite features ten tracks made using only an electric guitar and a handful of effects pedals (plus some additional recordings of rain) and finds Pekler once again attempting to reconicile his tendencies towards kitsch, experimentation and minimalism.

What does Pekler's pseudonym SG stand for? Sentimental Guitar? Sound Gallery? Shy Guy? Sad Gnosis? Saudade Glamour? Soft Goth? We don't know, but we asked notorious Chicago romantic Sam Prekop for his take on the album – his reply:

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It’s a wonder where the rivers go and far, how fast or slow.

Just seconds to remember, who can forget, when you are lost.

I think to recount every step, in both hands, eyes open, the clouds unfold, one two three. Every other step, just as well.

Where the moss is soft, you know strong. How many hours, days? I could have been careful, did I forget?

Never mind. Waking up, in these arms, where the rivers go, slow. One two three, one two three.

"This is where you have been forever and will always be forever." Stuart Dempster, speaking about what it feels like to be in a cistern where time seems to stop.

Stuart Dempster created Underground Overlays From The Cistern Chapel in the same cistern where the legendary Deep Listening album was recorded. Reverberating with powerful, deep tones, this double LP is intended as a companion to the acclaimed Oliveros/Dempster/Panaiotis album Deep Listening.

Underground Overlays From The Cistern Chapel is one of the deepest drone albums ever recorded. Nine trombones, didjeridu and Tibetan bells fill the massive two million gallon cistern with dense sonic reverberations that are both haunting and healing.

Packaged in a heavy duty paper sleeve printed with metallic gold ink to match the Deep Listening design.

Banoffee Pies Records in its 10th year of operations welcomes UK based artist Syz to the label for the 22nd Original Series Release via their "Headspin" EP. Kicking off 2023 with a 4 track collection of shape shifting hybrid techno ear worms.

Distinctly playful compositions from an artist continually paving their own sonic path between drum heavy and broken beat UK techno. Focused and dynamic club music made for the sound system explored through always evolving, grime influenced post dubstep sounds and percussions. BPR x

Tapes is back! EM Records is very happy to bring you the latest from the artist known as Tapes, here with a 10-inch vinyl/download release that, with its good vibes, positivity and major-key delightfulness, will rescue you from any doldrums you are experiencing, whether personal, societal or cosmic. Both of the tracks are solo recordings from 2019, but they soar over the worries of the year, any year, with an uplifting rhythmic lilt, a positive tonality, non-annoyingly catchy melodies and some lovely sonic textures. There’s something here for fans of bass music, mid-80s-and-beyond electronic music, and toe-tapping good times. There’ s a sweet chord progression and background drift in the title track that are particularly pleasing, and the flipside has some very satisfying tape echo that will lovingly catapult you to the future past. The sun can shine anywhere, anywhen, so enjoy!

Zeitkratzer director Reinhold Friedl and his ensemble present new compositions, grounded on Domenico Scarlatti's piano sonata F-minor K.466. Commissioned by the dance company Rubato and dedicated to Mario Bertoncini (1932-2019).

Little is known about Domenico Scarlatti (1685-1757). His music is, so to speak, left to its own devices: free, cheeky, playful, sonorous, surprising. Harmonically strolling again and again into unforeseen regions, the ear leads, not the theory; and also the fingers get their right: playful and haptic it goes. Scarlatti explained, "since nature has given me ten fingers and my instrument provides employment for all, I see no reason why I should not use all ten of them."

Freedom, friction and listening pleasure instead of convention: "He knew quite well that he had disregarded all the rules of composition in his piano pieces, but asked whether his deviation from the rules offended the ear? He believes there is almost no other rule than that of not offending the only sense whose object is music - the ear."

Reinhold Friedl applied this principle and composed the music for a choreography by dance company Rubato. Dance music drawn from Scarlatti, who was so inspired by dance music. The material of the piano sonata F-minor K.466 is twisted anew in all its richness, shifted back and forth, declined, frozen, noisified, sound structures extracted, floating. Those who know the sonata, will more than smell it’s shadows. Dedicated to Mario Bertoncini (Gruppo di Improvvisazione Nuova Consonanza) who was particularly fond of K.466, on which all the music presented here is grounded.

"Wild flowers", Barbara Zubers had once called Scarlatti's music. Let them bloom.

'Nothing left but silence' is Erik K Skodvin’s third solo album for Sonic Pieces and his most quiet to date. Subtitled as "Musical improvisations and quiet collages from the subconscious”, Skodvin reduces his instruments to guitar, reverb and amp - and creates a skeleton of eight hypnotic ragas that meanders in an eternal loop between ephemeral and singular.

Only on the horizon it’s possible to sense that Skodvin has also touched the neoclassical terrain in earlier productions - on Nothing left but silence, however, he acts as a twilight player who is not afraid of the coldness of endless space and who knows how to subjugate the shadowiness of the visible world. Carried by the noise of the amp and the occasional click of the effects pedals, a monolithic, reduced blues emerges, whose mediumistic quality nevertheless reveals that Skodvin's music always comes from the body - and as such is always searching for space. A space that - in this case - blends the vastness of the Norwegian steppe with the brittleness of American wasteland (as if Deathprod and Loren Connors were one and the same person), creating a persistent state between deceleration and absence of presence - that leads Skodvin ever closer to the inner essence of sound.

Initially recorded at Saal 3, Funkhaus, Berlin by Nils Frahm in 2015, the album has itself been subjected to silence as a forgotten relic, re-found and now released in a time where it might connect more with the contemporary state of mind. Welcome to the entrance to the periphery.

the latest musical outing by one of Rotterdam’s most illustrious pairings in recent history. Marijn Verbiesen (Red Brut) and Michiel Claus (Lewsberg) musically reunite outside of their Sweat Tongue capacity in order to orchestrate a glimmering symphony of dreams-as-sounds in Of Feathers and Bones, their first full-length album as Goldblum. Poetic melodrama courses through these ten tracks, all ripe with an uncanny elegance that evokes the experience of sleepwalking in an abandoned film set where the glint and glamour of its dormant majesty still reverberate under the dust.

In spring 1994 Mouse on Mars contributed an exclusive piece to Sähkö Recordings’ ambient radio project, a one-week public radio program that was aired citywide in Helsinki, Finland. Andi Toma and Jan St. Werner recorded sounds in and around their studio in Düsseldorf Bilk to construct one continuous composition that spanned the course of one neighborhood walk. Midi-controlled synths, samplers, analogue effects, tape delays, effect pedals, guitars and a jew’s harp were juxtaposed with recordings captured during the walk. An additional microphone that pointed out of the studio window was occasionally dubbed into the mix. The resulting collage was broadcast just a few months before the group’s debut album Vulvaland came out and never aired again. 30 years into the band’s existence Andi Toma and Jan St. Werner revise the duo’s history by producing three LPs that would place the band’s discography under a slightly different light. Bilk marks the beginning of that investigation: a free-flowing assemblage of everything that vibrates and can be caught on tape. A 30 year old recording with subtle new edits and additions.

Recorded at the Academy of St. Martin in the Fields by Andi Toma and Jan St. Werner.
Artwork Soulis Moustakidis. Art Direction Rupert Smyth. Vinyl Master Cem Oral.

The Pitch is a quartet made up of Boris Baltschun, Koen Nutters, Michael Thieke and Morten Joh. Founded in Berlin in 2009, they play a hypnotic form of structured improvisation full of acoustic exploration and electronic intervention. On Neutral Star, The Pitch are joined by Australian guitarist/composer extraordinaire Julia Reidy for a record of star gazing electro-acoustic jazz.

Reidy's playing and compositional technique between Takoma-style fingerpicking and Glenn Branca'esque microtonality, perfectly complements the loose improvisational framework The Pitch is providing. Endless ≠ Limitless, a recent piece by Reidy and Joh, is transformed from a washed-out/obscured tape delay composition into a colorful, meandering ensemble piece with a swarming character - blooming with intrigue for the patient ear. The B-side strikes a more gentle tone: the 24-minute Neutral Star begins with a siren-like overtone whose drone-like flowing slowly morphs into a deterritorial modality with jazzy undertone. Accompanied by constant eruptions of vibraphone, clarinet, electronics and double bass punctuation – while permanently questioned by Reidy's drippingly pearly steel guitar work. Slowly evolving into new territories through the expansive instrumentation and keen listening between the players.

The fact that Neutral Star was recorded in one take (by Rabih Beaini in his Morphine Raum studio/venue) in front of a live audience and without overdubs is hard to believe, even for the trained ear. The recording appears to be too multilayered for a single snapshot, with its compositional structures constantly shifting and moving against themselves, counterintuitively and anti-cyclically. Reidy´s playing has been described as "unstable harmonic territory, and the collaboration with The Pitch interprets this concept brilliantly - adding further non-places to the territory. And the listener, however, is never left alone in the process of tectonic shifts - at least as long as their listening is attentive and contemplative at once.

This release will have you dancing and crying at the same time. On his debut album, Paris-based producer and founder of the "raw poetry" aesthetic Loyce Demellier - AKA DJ Physical - takes us on a fast-paced journey through techno, electro, breaks and more. Whilst the music's indisputable home is the club, Physical teases out moments of playfulness and sentimentality amongst hard-hitting electronics.

"Silver Lake" LP resides on the colder, more industrial side of Demellier's sonic spectrum, following on from his latest release on London imprint 10 PILLS MATE which saw him depart from the more lofi quality of his previous releases in favour of a raw, club-focused sound. On the A-side, Demellier situates the release within the context of old warehouse raves, with euphoric acid melodies and a 140BPM propulsion ("Uranium"): and high-pitched synth stabs that ascend from darkness ("Gold Mines").

The B-side maintains the pace, but this time it's about electro and breaks. On "Overshoot", reverberating cymbals add another layer of depth to Amen break interludes whilst "Lawbreaker" harnesses a cheekier tone, offering respite from the previous tracks' venom. This air of playfulness sticks around on "Lunatic State" helped by MPC drum claps and a ludic electro melody, before fellow Parisian Ika Sile steps up for "Early Sprinter" and "Bootybounce": the former offering a slicker take on acid techno and the latter: rave music at its absolute with piano stabs and sleazy vocal chops. Silver Lake LP drops 22nd July 2022 via Lost Palms

LTD to 100 copies - Long Play 20 minutes per side

2 Live sets from 69 DB, both played in january 2016.

One side gros Dharma Techno, a cool techno Dub tune in the best mood of 69DB...
B side is more a surprise : beautyfull ambient texture for mind travelling.

100 Printed Sleeve - Blue, Yellow, and Green... Various colors for more pleasures :)

The album opener, “Fainted Fog,” reintroduces this fuller, panoramic version of Helios. Woozy synths give way to a propulsive drum pattern as the track’s characteristics populate in the haze. A piano plays between the beat, and another synth solos overtop, ascending towards the peak with an exhale of live kicks and looping guitar. For every bold moment on Espera, there are more muted, counter-balancing stretches; “Intertwine” offers one of the most meditative. Strums mingle with keys in the front half before the beat returns to deliver a hypnotic nod.

Kenniff sees each song as integral to the whole — “if you took one out, it would be like tearing a page from a book,” he says — but still functional independently, like a series of self-contained epics. “All The While” best represents this intention; a song in three equal parts constructed on a resonant drum sequence. Shimmering synth notes surface first, then pastoral guitar and piano flutters, converging at the end to evaporate into the ether.

DJML & Jerod S. Rivera debut Later Version project with ‘Swim Domain’ EP on Third Place

Later Version is made up of Oakland-based artists Dan Letson and Jerod S. Rivera, whose debut EP lands on London-based Third Place this April.

Across the 12”, the duo’s natural flair for hi-res IDM-tinged electronica is on full display, with four colourful and playful originals accompanied by a stellar (digital only) remix from Jacktone co-owner, Dark Entries and Tartelet Records affiliate, and Beats Unlimited member Doc Sleep.

Refreshers is a sudonym of London's Luke Blair, also known as Lukid and one half of Rezzett.

All aboard! Stones Taro delivers the goods for the second instalment of the Third Place Dance Discs. The 12" also comes with multiple locked grooves containing elements from each track.

Warehouse Find!

A Ron Wells classic intended for release in 2020 and delayed for various reasons including moving factory and our original stampers getting recycled.

This release is sourced from mint vinyl as the original masters are long gone, we have carefully restored and remastered this classic release while retaining all the character of the original. Remastering is by Bob Macc @ Subvert Central Mastering. You can be assured the tracks sound fantastic but do not suffer from the Loudness Wars while still holding their own when mixed with modern productions.

With so many stone-cold killers in the back catalogue, this next instalment in Bad Taste's Bad Company UK remix series was always going to be attention-grabbing. After all, Prolix and Delta Heavy's reworks of BCUK classics 'Oxygen' and 'Dogs on the Moon' kicked the series off in explosive fashion and we all knew the follow up would be just as umissable.

2022 Repress

Detroit's Filthiest exposes the falsehoods of society via an electro-funk expedition on wax

Dutch multi-instrumentalist Felbm returns with the conceptual album "cycli infini" : a 38-minute composition of metamorphosing tape loops, musical patterns and instrumental sketches. Further exploring the concept is the vinyl release which features the track spread over both sides and cut to the end of each locked groove - creating an essentially never-ending piece that challenges the idea of the traditional listening process. The idea came to fruition by way of a lifelong interest and growing awareness of the cyclical nature of the world around him - be it through observing nature, or the mathematical and mind-bending works of Dutch artist MC Escher, or minimalist composers such as Erik Satie, Laraaji and Melaine Dalibert.

"The openness of Laraaji"s and Satie"s music have also been an influence to create a certain softness and feeling of comfort, as I like this piece to be a place you want to revisit", says Felbm, real name Eelco Topper. While Topper"s previous releases on Soundway Records comprised series of short, individual sketches, on cycli infini the tapestry is sewn seamlessly together using a step-like progression through the circle of fifths, which as the name suggests, brings the listener back to the musical key and soundscape at which they started. Should the full track be on repeat, it begins anew without being noticed. The piece began life with a layer of drone loops using tapes and delay pedals, over which acoustic instruments such as flute, saxophone and bass trumpet would playfully but gently interpret a melody - toying with jazz, ambient, fourth world and percussive sounds. As the music evolves through the key progression, organic elements such as birdsong and wind chimes ground the piece in nature. Says Topper: "the never-ending metamorphosis of matter has always fascinated me, the idea that nothing ever really disappears and everything has already been here... just in different shapes."

The Blue Soul is Juergen Vonbank's second solo album after "Trial & Eros" from 2018. It deals with the relationship to the color blue, the conventional and individual-personal associations with it, as well as the diffuse feeling that this color is able to convey. Digital and analog experiments in electronics, club music and dream pop.