Beats Vinyl New Releases - News

Music From Memory's fourth release sees the Amsterdam based label taking an exciting sidestep with the release of 'Clouds', an album of contemporary music recorded in spring 2014. 'Clouds' is the debut album of Gaussian Curve, a collaboration between Italian ambient pioneer Gigi Masin, Land Of Light's Jonny Nash and Marco Sterk (also know as Young Marco).

Each of them established in their own rights, the three musicians from Italy, UK and the Netherlands, came together during a weekend long recording session in April of this year.Without preconceived ideas and developed around often purely intuitive improvised jams, the eight tracks on the album are all 'one take' live recordings. With Gigi Masin on Rhodes and piano, Jonny Nash on guitar, melodica, synths and trumpet and Marco Sterk on synths, rhythmic structures and production duties, the three of them succeed in developing a musical language all of their own.

Recorded in the heart of Amsterdam's Red Light district, the album reflects the unusually warm Spring and the buzz from the open windows that filled the derelict downtown studio space during that particular weekend. Whilst on the more introvert late night compositions the music quietly soars, reflecting the brooding melancholy of an evening in that particular part of the city. With a heartfelt simplicity 'Clouds' is a record of an inspired meeting of unique souls and unique surroundings.

Obsessive tekno/grime experiment from London's lostdomain producer Leeway following the great great Krevet EP. Very compatible with ~160 BPM hardtek/trance. Grainy desaturated claustrophobic sound progressing to full, crisp and dreamy with alien salival textures...

Whole album varies on two or three circling themes. Super zoney and subdued and spiritual but then jumps right out of the speakers with violence.

First release in 5 years from US-born, Lisbon-based musician. Dark, moody, and heavy dance and downtempo. Gatefold double LP with full color sleeve

The second album from Finnish experimental band featuring members of the legendary Circle.
LIMITED EDITION TRANSPARENT PURPLE MARBLE LP. HOUSED IN A STUNNING FULL COLOUR SLEEVE WITH POLYLINED INNER BAG AND DOWNLOAD CODE. NON-RETURNABLE.

Mahti are a Finnish four-piece group presenting a unique mixture of ambient-rock, electronic music and traditional Finnish-Karelian music.
Lengthy semi-improvisational pieces are built on top of complex, hypnotic grooves which are layered with opaque guitars and strangely soothing noise elements. In the heart of it all there's kantele, an ancient Finnish string instrument played by Hannu Saha, who has studied Finnish folk music in theory and practice for nearly five decades. The other players are Jussi Lehtisalo and Tomi Leppänen, who also form the rhythmic core of avant-rock group Circle, and psychiatrist Teemu Elo. Strange dreams guaranteed!
“These ancient musicians played their ‘mahti’… and the sound they produced was called ‘musiikki’”

Four years after his debut on the Brooklyn label Wolf + Lamb, and the much lauded follow up 'Time for Us', whose glacial slow-jam take on house sent journalists scrambling for adjectives, the 20 year old New Yorker by way of Chile returns to Circus Company with Space is Only Noise, an uncompromising manifesto on traces of the past, love lost, and specters of the future.

A name already known within the Romanian minimal lovers; Sepp is visiting Praetorium imprint for an adventure in time and space under Seppsilvestri alias. The Searching LP follows Crihan’s opening album discussed earlier this year.

His latest album has been announced on Praetorium, making it the second outing for the conceptual label. As he spreads the LP over 6 tracks, a clear deviation from a familiar Sepp sound can be discerned as early as Beyond the Portal. He transcends an outer space exploration by the use of alienated sound patterns with every piece being another part of the expedition itself.

As the traveler crosses Beyond The Portal and gets Ready For Landing, A New Land is found, and one can start Searching The Area. A new life form is being found and they start Knowing Eachother, concluding to We’ll Live Together.

Not only this album is filled with atmospheric layers, but it also takes one’s mind at ease of traveling in his own chair. Praetorium is delivering stories to your ear-step and by doing so, a whole new gradient of sound can be contemplated while Sepp leaves no room for hesitation.

Maxime Denuc is an electronic music composer based in Brussels, Belgium. He co-founded Plapla Pinky, a duo noted for their atypical approach to club music, somewhere between rave, baroque and contemporary music. They released several records and were invited to perform at clubs and festivals such as Sónar (ES), Villette Sonique (FR), Club Metro Kyoto (JP), Les Siestes Electroniques (FR) or TodaysArt (NL). As a solo artist, Maxime Denuc covers a broad musical spectrum: Solarium (Vlek, 2020) is an organ-centric venture that relies on the emotional potency of sunrise to spawn an experience that is both musical and social, while NL (Zomerliedjes, Choral, 2016) strives to translate North Sea landscapes into noise. In addition to these activities, he works with performing arts and also devotes himself to research. He graduated in 2019 with a master’s degree from EHESS Paris in “Theories and Practices of Language and Arts”, with a major in music. In 2020, he started a PHD research under the supervision of the musicologist Esteban Buch, seeking to open a reflection on concert forms which could erase the borders between musical genres and audiences.

Adam Curtain & Ste Roberts team up for their new project "Adam & Steve".

Bowling out of Offenbach with a swing in his step, Dogpatrol returns for round three on Sneaker Social packing another four-strong payload of mutant rave clout. If you caught the previous missives then you should have some idea of where he's coming from, getting freaky with rave signifiers and laying down ear-snagging swerves to juice up the dance good and proper.

On this latest release we dip-dive into the grime-licked garage-tech shuffle of 'Non PGR' only for the script to get flipped at the mid-section in favour of diced up Think breaks. The pressure doesn't ease once Nasty King Kurl comes on board for a rolling remix strapped to a disgustingly massive kick drum impulse.

'Sassafras' takes a leaner approach to bleepy breakbeat contortions on the B side, holding down the arrangement and letting the track rip when everyone's wound up and hungry. NKK returns again to partner up with our resident Dog for the collab joint 'Creepin', chopping out the RnB samples and whipping up square wave synth flurries shouting out that overlooked substrata of dubstep - the Purple sound. It's a cheeky hint at the deep-level affinity for all rave gear which powers this EP, another sure step on from your favourite canine soundsystem practitioner.

Casting a self-reflexive lens over his roots via the medium of crushing, future-rushing soundsystem sonics, Low End Activist returns to Sneaker Social Club with a full-length of monumental proportions.

When the Low End Activism 12” ignited on Sneaker in 2019, it paid tribute to the Blackbird Leys estate in Oxford, UK, where LEA originates from. In the shadow of social inequality and strengthened by the unity of the multi-ethnic community, Blackbird Leys still imposes a powerful influence on LEA’s work, even as he’s stepped out onto Seagrave for last year’s Game Theory album and notched up the first couple of releases on his own self-titled label.

On this new album, Hostile Utopia sums up the conflicting emotions attached to memories of home – how it’s possible to feel nostalgic for the griminess of urban and suburban Britain, its ordinary tales of bitterness and frustration, but also its intrinsic passion and solidarity. At a time when social division is actively engineered by Machiavellian forces, real conviviality at street level feels like an impossible dream.

LEA communicates these tensions through a style which is becoming his signature – dynamic bass torsion and chiseled, fractalised rhythms slugging around the 130 mark. It’s moody like a UK-themed record ought to be, but it’s not morose. There’s fierceness in every snap and rumble, as the legacies of hardcore, jungle, dubstep and grime pour into the casing prior to the gunpowder lighting.

On previous LEA releases, the MC roll call has pointed to some of the most vital voices touching the mic in the present day. Flowdan, Sikka Rymes and Trim all had something different to impart over the riddims, and now Hostile Utopia expands on that with the most extensive show of lyrical strength yet. Mez lights up the woozy, abstract grime swerve of ‘Mercenary’ in a musical style. Emz brings a ruthlessly sharp verbal steez to ‘GetGet’, Killa P gets busy toasting over ‘DFRNT STYLE’ and ‘Superhighway’ carries the dexterous hip-hop flow of Cadence Weapon.

In between those standout tracks, LEA expresses just as much in the production. Tracks brimming with stories to impart, laden with symbols masquerading as samples and draped in aural garb that firmly places Hostile Utopia in a place, a mood, that could only belong to the UK. It’s a hybrid sound just like the society it sprang from, and therein lies its power.

Blawan - “sick!”
Bruce - "ah yeh fkn nawty bizness as per from LEA. bigups Jamie u absolute don!"
Mumdance - "Enjoyed all of these, respect"
Clouds - "christ man unreal"
Barker - “Awesome tracks.. look forward to give a proper listen but sounds v fresh indeed..
Thanks!"
Laksa - "killer grime n bass showcase"
Hodge - "killer"
Judaah (BFDM) - "dope tunes"
Violet - "dope dope dope incred thanks"

Originally released in 1993 on DJ Phantasy’s Liquid Wax label, it has now been repressed in conjunction with Vinyl Fanatiks on coloured vinyl.

Ment 4 Bass is a duo comprising of DJ Phantasy and DJ Lee, two legends of the game, linked together by Jack Smooth, who at the time worked for Basement Records, where Lee worked behind the counter and Phantasy produced in the studio.

This record, as with most of the Liquid Wax backcat, is sought after on original press so we are delighted to be able to get this repress out to you in a high quality gloss Liquid Wax housebag and white inner sleeve. Released on either red, white or blue 180g heavyweight vinyl. LIMITED PRESSING.

Repressed!

Fresh from his release on Clone's legendary Jack For Daze imprint. Oli Furness drops 4 ghetto houz bombs on UTTU's new Dance Trax imprint. Nothing but hard azz DJ Tools for club use only.

Home listening courtesy of DJ Swagger & Kreg Tranz who both turn in breakbeat infused house remixes.

S.O.N.S first album, The Escape, because we all need to escape in our lives at some point pressed on non-colored, non-180gr vinyl, 2 x 12"

An O.S.T for a movie which does not exist... the story of Anna and her escape from Earth... to planet Seylanide

Including the non billboard-chart-topping singles Identity (ft. Sun) & Eternity (ft. OCB)

And yes, this time, there are deep pads, emotional landscapes, melodic horizons, mysterious moods, psychedelic soundscapes...

Also included, an order form to order some mysterious bonus records

Meet Sizike and DATA- the most important bands of early 80's Belgrade electronic scene! This album is an official reissue of 6 songs from ultra rare album Sizike- U Zemlji Cuda LP from 1985 and an official edition of six never released songs of the same crew known as DATA from 1981-1984. A lot of TR-808, Roland MC-4 sounds, 80' vintage synths, Vocoders, noise effects and plenty of fantastic oddball disco and synth pop all along it. Find out why these material found its place in sets of leading DJs of the genre.

The first fruits of The Upbeats' groundbreaking new project have arrived. Completely crowd-funded by the fans, the No Sleep 'Till venture sees the duo travelling to different countries to collaborate with producers face to face, taking inspiration from new found lands to bring a hugely fresh take on music production.

2LP-Repress des Klassikers von 1996. 'Endtroducing...' ist das Genre-prägende Debütalbum von DJ Shadow und schrieb Geschichte als erstes Album, dessen Musik ausschließlich aus Samples bestand. Hip-Hop-Beats treffen auf Drum and Bass, Soul, House und Ambient Sounds: Ein Trip durch Traum und Zeit - wie eine kubistische Stil-Collage.

repressed !

26 years after its initial release, In The Lab EP by Language receives a reissue via Few & Far Between, a new imprint out of Bristol. Founder of Few & Far Between, Sam Hall, makes the 1992 deep house record the figurehead of his new label, setting the scene for the forthcoming original releases and further reissues in 2018 and beyond.

Remastered and pressed from the original DATs dug out by Language members Alex Swift and Mark Lewis, In The Lab receives a crisp new lease of life with a fresh pressing. Swift and Lewis have been working closely with Few & Far Between throughout the entire process, digging out the treasure trove of quarter-century old DATs that were knocking around in their respective homes. Shocked by the sudden interest of music they made 26 years ago, they have both enthusiastically jumped on board for this reissue.

In the early 90s Swift and Lewis crafted In The Lab from the deep house sounds coming out of NYC that they were picking up in Bristol's record stores. For kids coming up in 90s South West, the sounds of New York in 1992 formed unverifiable ideas about what club spaces would have looked and sounded like. In The Lab is the culmination of these fantasies, embellished with some distinctive 'UK' broken beat tropes that were also flowing through Bristol's music scene at the time (and still are).

Few & Far Between has made In The Lab the blueprint for its first year of releases. As Language sought to recreate the influential sounds from a far off place, so too do the signees of Few & Far Between; making references to genres nearly three decades old, in an attempt to bring them into the contemporary. For its time, In The Lab is up there with the best produced deep house records of its year and, like the best of them, made on machines by kids attempting to imitate but instead coming up with something that unique and singular.

After the 1974 release of The End…the magnetic and controversial Warhol muse went on a fruitful partnership with French director Philippe Garrel, for almost seven films. Back in New York in 1979 she started to perform again live, appearing firstly at the CBGB with John Cale and musical partner Lutz Ulbrich (former guitarist of Agitation Free and Ash Ra Tempel)… Back in France, she met young and talented Corsican bassist Philippe Quilichini who produced her comeback, Drama of Exile, in 1981. The album was released twice, in two different versions. Hereby we present the second, appearing in 1983, after a legal controversy was settled with Aura Records that released the first issue. While the first press was a 9-track offering, this second issue excludes “Purple Lips” but adds the tracks “Saeta” and “Vegas” released on a 7″ single in 1981. For this album, Nico recorded covers of the Velvet Underground’s “I’m Waiting for the Man” and David Bowie’s “Heroes”.

Rule of Thirds is the debut album from Nine Windows, a collaborative project between Kid Drama & DJ Trace.

The album pulls inspiration from the golden era of atmospheric jungle with the focus on labels like Good Looking, Deejay Recordings and Lucky Spin.

Expect deep nostalgia and euphoria as the pads wash over you and breaks skitter over subsonic 808 basslines as these two veterans take you on a journey into 90s bliss.

To top it off there are features with the Pioneer of the new Jungle movement - Tim Reaper and the legendary Skream making an appearance on the album.

So sit back, reminisce and listen to the sounds of Nine Windows.

Dread Recordings have made another return with a fiery new release from Dread regulars Ray Keith and Dark Soldier. The vibrant joint consists of two unmissable tracks dubbed ‘Chopper’ and ‘Back To Me’. Opening with a lively VIP remixfrom Dilligent Fingers, “Chopper” encompasses a lively atmosphere upon its rapid bassline and fluctuating drum patterns. Each element fuses together to manufacture a stylish VIP mix perfectly produced to bless up the dancefloor.

Following on from the opener, the two-parter fades into a lively production courtesy of Dark Soldier. Opening with a sampled version of the iconic riff from Nirvana “Smells Like Teen Spirit” the track explodes into a controlled drop incorporating nostalgic jungle-esque soundscapes and a harmonic vocal. Both tracks hold their own as memorable productions. Each offering flexes the prowess of both producers seamlessly; adding further layers to their credible discographies

Recorded in correspondence throughout a calamitous and uncertain 2020, “Eye of the Sea" is a collaborative record made by Tom James Scott of the United Kingdom and Svitlana Nianio of Ukraine. Active since the late 1980s, Nianio has released a treasure trove of diverse and beguiling music under her own name, as a member of the legendary Ukrainian experimental unit Cukor Bila Smerť, and in collaboration with the late musician and instrument maker Oleksandr Yurchenko. For his part, Scott has steadily published solo recordings since the mid aughts on labels such as Bo’Weavil, Students of Decay, and Where to Now?, and worked often in collaboration with kindred spirits like Andrew Chalk and Timo Van Lujik.

“Eye of the Sea” began as a series of intimate, muted piano sketches put to tape by Scott, which Nianio embellished and re-contextualized with voice and instrumentation before returning them to Scott for further overdubbing, editing, and mixing. Listening to these recordings, I’m struck most by their patience, frailty, and beauty. Soft piano lines unspool alongside Nianio’s weightless voice on tracks such as “Slowly Turns the Spring,” which achieves a richly devotional air, and “Lotus,” a piece that all but halts the passage of time as it slowly blooms into expression. But despite their elusive, gauzy palette, there is a startling directness to these recordings that feels unique in the oeuvres of both musicians. Much like Nianio’s wonderful “Lisova Kolekciya,” (reissued by Scott on Skire in 2017) there is the sense that this music, particularly the vocal arrangements, is firmly rooted in some hermetic, primordial tradition. Ultimately, “Eye of the Sea” is a work of romantic, phantasmagoric beauty shot through with morning light; one which draws deeply on 20th century classical, chamber and liturgical musics, and ambient minimalism to arrive at a distinctive voice of its own. - Alex Cobb (Students of Decay/Soda Gong)

Global Underground ist stolz darauf, die Rückkehr der kultigen Afterhours-Reihe anzukündigen, dem Soundtrack zur Party nach der Party, mit Musik von Kiasmos, Dominik Eulberg, Patrice Bäumel, Frankey & Sandrino, Dusky, Stephan Bodzin & Marc Romboy und
vielen mehr...

More sought-after bumpin business from the 24hr Experience vaults. This time the spotlight turns to the shuffling sweetness of 1995’s Test Press EP. Four expertly executed UKG classics remastered from the original DAT’s ready to be rewound once again.

The long-awaited debut LP from Romanian duo Khidja is finally coming via Malka Tuti Records.

The album ‘Transmission’ will be divided into two separate releases - Part 1 & Part 2. Part 1, presented here, will be released on June 16th, while Part 2 will be released in the 2nd half of September 2023. The album, which contains 10 new tracks from the duo (5 on each part) was written and produced by Khidja over the last several years.It was mastered by Enrico Mercaldi and distributed world wide by One Eye Witness, with a fresh fresh artwork by Angus Plunkett & Morey Talmor @ &talmor Part 1 consisted of 5 gems showcasing the diversity in the Romanian duo’s production - from shuffle to slow-mow, through chugging disco-not-disco to 4th world and beyond.

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of air and light; infectious, melodic and off-the-cuff.

red marbled vinyl

Cormac first became aware of Tjor in 2019 while on tour in Brazil. “Azuli” fast became a staple in his sets that
year.
An avid digger and record collector, Tjor has been mixing since 2010. He his noted for his outstanding sets at
the infamous ODD Parties in Brazil where he glides between techno, synthwave and italo influences

Baby with a Halo is the newest record by Montreal based artist Ura. The songs on here feel like little organisms. While familiar genre references may shadow the pieces, from the faint ash of reminiscence comes something tactile and singular to the person who sat with the sounds and felt how they might coexist. Everything is rhythmic, the textures arrive, disappear and respond to each other in ways that could make you forget there was someone behind the controls all along. The result is full of love and ambiguity ~ choose ur own journey.

Hailing from Boeatia, Greece shadow operator Audioplagio
presents a previously unseen collection of tracks recorded between 2014 and 2016

Embedded into the tape underworld while nodding to dubbed out experiments. Boeatian Chants presents 12 tracks in the DIY tradition blending opiated atmospheres with palpitating drums.

Burial finishes 2022 (digitally) with a follow up to ‘ANTIDAWN’, the sublime three-track EP 'Streetlands'.

Crème de la Deutz are a desire freeway and palm lodging. Mousy trees yearning for shell stars. During the release phase Crème de la Deutz will show an exhibition at Matjö, Cologne as well as perform at Kunsthalle Düsseldorf / Salon des Amateurs and at Temporary Gallery, Cologne on the occasion of Düsseldorf Cologne Open Gallery Weekend.

When Underdog Recordings started back in 1993, the first 2 releases, Mad Dog 1 & 2 were what would now be considered as hardcore jungle techno.

From UDR003 onwards the hardcore techno elements were abandoned as the scene and label evolved into straight up jungle and drum & bass. 29 years later, DJ Jedi's first outing on Underdog Recordings is a very welcome return to our Hardcore Jungle Techno roots as he delivers "Prophecy E.P". on the label.

The Prophecy and The Cube take us on a journey through the Jungle Techno and then on the flip "Dance with The Speaker" and "Can't Stop the Feeling" we go even further back in time to the more '92, heavy amen sound. 4 brand new tracks from the Old Skool Don that is Dj Jedi

Pinecone Moonshine's latest dnb album spotlights Greenleaf. Greenleaf's musical roots from New Orleans influence the rhythm, creating a live drummer feel out of programmed breaks.

And mixing different drum kits as if multiple drummers are in the same studio. Science-fiction, funk, and soul set the atmosphere for drum and bass ranging in styles from drumfunk to techstep.

I could smell the curves of the river beyond the dusk and I saw the last light supine and tranquil upon tide-flats like pieces of broken mirror, then beyond them lights began in the pale clear air, trembling a little like butterflies hovering a long way off. -The Sound and the Fury, William Faulkner

This is the third and final instalment of Jeremiah M. Carter’s album triptych, »Vessels«. Following »Rejoice« and »Speak You Also«, all three album’s where conceived within a 6 month period during ferociously exalting creative sessions.

The Emotional turmoil of the early pandemic is as present on »Vessels« as it is in the other two albums, yet the final instalment showcases as more distinctive sense of focus, where the earlier albums saw Jeremiah expel a state of uncertainty and trepidation into an intense, almost spiritual form of musical cleansing, Vessels still bears those same hallmarks, yet comes across with an air of refinement and finality.

Spanning six pieces, each work feels like an integral part of the albums overarching narrative, fervently nestled amid divinity and humility. By its final piece, which also clocks in as the longest in the entire triptych, we are treated to one of Jeremiah’s finest moments, and for a few seconds, it all comes together for one last swansong, forming a sonic distillation of elation and grief, desire and passion. – It’s all here.