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Master of synthesis Fabio Monesi joins Craigie Knowes for a crazily varied 12". Vintage pads, electronic basslines, 4x4 patterns, broken beats, Italo, Electro, Techno, House, whatever it is - it is excellent.

After we carried Ice Rave back in 2019, Sneaker Social picks up more coded sequences from Filter Dread’s outpost and transmutes them to wax for the good of the dance.

From obfuscated tapes of post-rave skits to slick and grimey bangers, there’s something slippery about the way Filter Dread operates, and it’s led to a highly individual discography that spans 10 years and labels like Ramp, Unknown To The Unknown, Fresh 86 and No Corner. His sound has a stark immediacy that revolves around sampling – just watch him work a live set on his Digitakt and you’ll understand everything. Through simple approaches comes the flexibility to glide between styles, displaying a virtuoso affinity for grime, jungle, dancehall and plenty more, with the means to put his own stamp on everything he touches.

On this new 12” we get six new slabs which slip between rave touchstones with poise, marrying up garish square wave womp with something akin to electro, slipping down into a more overtly grime-licked swerve, nodding to the early sublow days on ‘Asid 88’ and generally doing mad things with gargantuan bass and tuff, deadeye drums, It’s moody in a truly UK, spliff-friendly tradition, but it’s also plenty playful, with enough freakiness to get limbs loosened and a little heat up inside the place.

Deep Heads in association with Dubstar records are proud to present the 2021 Remaster, Vinyl edition special, of the seminal album ‘My Sound’ by Dubstep legend Kromestar.

Originally released in 2009, with high critical acclaim, the record is no doubt one of Kromestar’s most celebrated and recognised albums he’s ever created. An absolutely timeless collection of music, the album was groundbreaking at the time and still holds up as a quality album from start to finish in 2021.

Plate 1 from Kromestar's remastered My Sound LP on Deep Heads.

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Deep Heads in association with Dubstar records are proud to present the 2021 Remaster, Vinyl edition special, of the seminal album ‘My Sound’ by Dubstep legend Kromestar.

Originally released in 2009, with high critical acclaim, the record is no doubt one of Kromestar’s most celebrated and recognised albums he’s ever created. An absolutely timeless collection of music, the album was groundbreaking at the time and still holds up as a quality album from start to finish in 2021.

Plate 3 from Kromestar's remastered My Sound LP on Deep Heads.

...

Deep Heads in association with Dubstar records are proud to present the 2021 Remaster, Vinyl edition special, of the seminal album ‘My Sound’ by Dubstep legend Kromestar.

Originally released in 2009, with high critical acclaim, the record is no doubt one of Kromestar’s most celebrated and recognised albums he’s ever created. An absolutely timeless collection of music, the album was groundbreaking at the time and still holds up as a quality album from start to finish in 2021.

"Lloyd Stellar X The Droid - Rise of theAMachines is an exciting debut collaboration between Erik Griffioen & Ben Evans.AAn impressive maxi EP, loaded with cutting edge electro brimmingAwith musicality, sound design and expert production.A

Kicking off the release comes theAtitle track 'Rise Of The Machines', this quirky yet nuanced excursion sets the pace, allowing it's nifty ricocheting sequences, slick 808s, and tripped out ear candy to hit the clubs. 'Prisoners features a wiggly bass led jam, plastered with synths and finished with a dash of vocoded vocals. TheAduos ability to illustrate a dense sonic picture is evident once again on 'Cell Block' as intricate razor sharp drum programming holds the ship steady while ominous synths let the head wander before rich melancholic pads blast a sense of perspective and emotive depth.A
A
Onto the flip side - 'Room And Pillar'Agrabs the bull by the horns with a tough and aggressive bass line driven banger. Shrieking, twisted synth lines and FX are shattered across the track, keeping tension levels peaking, while TR808 rhythms cut through with military precision. Contrasting A'The Neutral Zone' sucks us into a deep atmospheric orbit of blissful yet inquisitive FM synthesis, distant emotive pads, fortified by warm stately bass tones. ARounding off the EP 'Coming Home' exhibits electro minimalism at its finest. An entangled, ever evolving musical conversation between bass and upper register synths leads, filled with a sense of hope and optimism, assisted by meticulous programmed electro drums, reminiscent of the best of Schatraxx.A

GHETTO TRAXX is back again.

Sorry for the delay, but working life has hit us harder than we thought.

Finally GTR02 - 'Return of the Sexmachine' is getting really close.

Same as the debut a year ago, it is packed with a variety of sounds from friends of the ghetto.

This time featuring 4 Tracks by Skuum, Toni Moralez, DJ Frankie and Mchy i Porosty. Prepare for machine sex (and love) and get ready again for maximum rave bangerz which will get you back to the toilet.

A glass half-full. The World I Want Would Be Celestial, Wet is the first full-length release from record label, Absorb. The eagerly awaited compilation features acclaimed and lesser-known artists, presenting thirteen works made between 2020 and 2021. Classical re-presentations, squealing electronics and other "wait-for-it" moments are pieced together by label head, Kavil and the ethereal work of painter, Matthew Asling. The result is something windy and heady. A feeling that is drifting. Crucially, the double LP serves as a timestamp of a very special chapter of contemporary experimental music being made in Naarm (Melbourne) and its surrounds. Taken in, soaked up, gleaming.

Greek wizard Echonomist arrives on TAU with the ‘Modern Wonder’ EP, featuring three original cuts and a remix from Ditian. Echonomist has been deep in the game for a long while and it’s safe to say he is Greece’s top DJ and producer of our times. He is an all-rounder whocan DJ, produce and perform live with confidence and panache. After his exciting contribution to Dixon’s Transmoderna release alongside tracks by Ame, Trikk and others, ‘Modern Wonder’ sees Echonomist‘s debut with the TAU family.
Opening with ‘Eyes, the EP gets off to a dramatic start as moody synth lines and a driving bassline take us into the new wave zone. Echonomist demonstrates his flair for arrangement here, with a carefully arranged track that could almost have been performed by a band. The atmosphere is gloomy and emotive, taking us for a ride into the night as flickering neon reflects off the rain covered streets in a sleazy part of town.
The title track is next, raising the energy levels somewhat with punchy beats and a searing atmosphere. Female singer Iokatsi delivers a brief vocal over the breakdown before the track continues with its melancholy yet heartfelt narrative.
‘The Touch’ follows, taking us further into realms of synth heaven. The main riff is gnarly, with electro-fied beats and a simple yet catchy rhythm.
Echonomist adds a perfectly placed synth way up high to complement the low end, creating uplifting moments that juxtapose the gruff bassline.
Finally Ditian’s ‘Snake’ remix of ‘Modern Wonder’ closes the EP. This a deep, dubby rework with heavy emphasis on the bass to begin with. Ditian takes the main vocal and chops it into pieces, using “You’re trapped” to increase the tense, chilling atmosphere. Detuned piano keys add to the macabre feeling as Ditian rolls out a nasty, haunting rework.

This release sees two fresh originals from Gareth. The exceptional peak-time title track Night Breed comes with extraordinary energy from it's cut through tubular lead and rolling drums. Tronic State works with an untethered off beat kick backed by metallic synthesis and immersive undertones. Remix work sees exceptional Spanish precision engineering from leading exponent of underground Techno Oscar Mulero alongside a full raw to the core, amen drum re-work from rising UK artist Swarmm.

Limited edition bespoke blue and white marble vinyl. Buy on sight!

Collins Dictionary Example sentence: „Other ocular signs include involuntary rhythmic movement of the eyeball.“ Someone in the editorial department wasn‘t paying attention and involuntarily spoke a deeply buried truth: The movement from the eye to rhythm and from there to sound is sometimes a small, puny one.

Now Infuso Giallo provides the proof at the same time and implements his live show for last year‘s debut album „Ocular Soda“ as an audio-visual show, as intertwined senses. Visible sound, audible images. Such ideas only last when they are put to the test and scrutinised by several experts.

The duo Globus, which consists of 2/5 of the post-hardcore band PTTRNS, examines the synth hook of the second part of the double-opener „Every Waking Hour Pt.2“ by playing it, varying it, letting it sway.

In contrast, Anatolian Weapons from Athens can‘t help but immerse the ambient, Soft Machine-production-like first minutes of „Every Waking Hour Pt.1“ in a sinister black light. Staggering into a basement club filled with nocturnal shadow people and indulge in carousing. Cautiously at first, then more and more determinedly.

From Hamburg and Berlin, the „Mole Gaze“ gets a special treatment. The trio Love-Songs drags the number off to Hamburg harbour, packs it onto a steamer, deep into the bow and lets it operate the sonar there. Conrad Schnitzler would have been delighted.
Infuso Giallo, meanwhile, realises that there is nothing more boring than standing still, so he revamps „Hello World“ and gives it a rear spoiler that keeps this number in lane even at club speed.
Speaking of „keeping in lane“: Niklas Wandt, the magician, doesn‘t even try such tricks. He simply throws an acid bolt on the closer „Ocular Soda“ and waits to see what happens. Alongside breakbeats from nowhere, Albert Hoffmann himself appears on a bicycle.
„Ocular Soda Remixes“ is the first tape on the Kame House label, so there‘s only one thing to do: open your eyes and listen!

Detroit Electronic Quarterly serves up the latest volume of tracks in their ongoing series and it is another crucial one that starts with a particularly potent spoken word. Nandi's 'Detroit Tells Its Techno Story' speaks about how the genre is often referenced by huge stars of the music world but never itself gets much credit. After that A7MC drops a nice raw hip hop beat and Shawscape Renegade offers some slippery analogue electro to make your ass wiggle. The ever underrated Eddie Fowlkes also contributes a vibe-y and dynamic deep house cut amongst other great tunes from Luke & Jeff Hess and ADMN which all show the varied and vital nature of the Motor City's output.

Repress !

Constant Sound sublabel Instinct comes correct with some ruff n' tuff steppers from 0113, a shadowy alias that channels pure speed garage energy into a record of pure firepower. There's no messing with lead track "Inside", all nasty bass and frantic swing with more rudeboy swagger than a souped up Vauxhall Nova. "Steppa" darts around a crooked 2-step flex to die for, embellished with eerie atmospherics to darken up the dance. "Rouge Fader" brings some heavyweight 4x4 bump n' flex, and "Break" keeps the pressure up to make this a four-deep dancehall wrecker of the highest caliber.

“F. Free & H. Hand take control of HOTONES001, with a reissue of a not just rare but colossally fabled record that only ever made it to test press in 1995. Ten copies were produced of this three-track excursion into the analogue heavy echelons of a deranged technosphere.

‘Headwash’ shudders through your body like electricity, off-kilter bleeps miraculously balancing the composition, while a menacing bassline inflates your lower body, and some. ‘After All’ drops the pace, employing the iconic Ensoniq DP-4 to create moist, meandering patterns that epitomise the 90s hedonistic German subculture in which the record was developed. The record’s finale, ‘J.S.B #2’ is the most ruckus cut of the lot, playing with heavy leads, synesthesia inducing scenes of strobe lights are inevitable - pair the two, and you have outright carnage.

This is music for smoked out, fast and long raves. Do not sleep.”

Rotterdam producer Mata Disk debuts on Nous'klaer with Surrounder. A 4-track EP with Mata Disk finding his influences early on as his parents exposed him to 90s electro. For the listener, Surrounder is a rhythmic bath that bounces forward at an antelope's pace. Accompanied by modular melodies which ebb and flow like water over a proverbial shallow riverbed of wires and cables. Surrounder lives up to its name and origins with all the excitability and all-encompassing experience of being young and shown a whole new world.

Vol. 4 of Pandemix Live Jams is kicking of with „Tides“, a broken beat homage to the early 90s. Deep swelling chords, a subby bassline and soulful vocal snippets come together to create a unique retro-futuristic melange. A2 „Freedom From The Mask“ deals with the deprivations caused by the pandemic. Another moody broken beat track with a tinge of Indie vibes enhanced by the return of some guitar. A programmatic center piece of the Pandemix series. The rst
track on Side B „The Golden Pudelizer“ featuring Rüftata110 is a more uplifting and happy tune. Ralf Köster aka Rüftata110 sets the tone by describing his job on a regular MFOC Sunday at the famous Golden Pudel in Hamburg. „I play music, do the door and the bar“. The sample is used courtesy of Benjamin Brunn. References form Global
Communications, to guitar infused Disco, Soul and 80s Boogie’s big singalong basslines are present. B2 „noqqiN“ is somewhat of a bonus track, as it was not part of the original series of Move D’s Pandemix Live Jams. It rounds off this colorful and hard to categorize 12“ with a downtempo Electronic Funk stomper. Overall, Pandemix Live Jams Vol. 4 is a journey into more Lefteld material. The Common factor
is David’s unique signature sound dened by a softer and more melancholic, yet funky, psychedelic and elegant approach to music which he draws from all kinds of personal inuences and his long DJ life.

"Jurassic Shift remains a creative peak." Classic RockOne of the most influential
bands to emerge from the UK's festival scene, the Ozrics layer ambient & ethereal
landscapes with freeform dub trips, incredible rave grooves & psychedelic
progressive rock. It's an open exploration of music & the soul.
For over 30 years, the Ozrics have experienced the vicissitudes of the rock & roll
life. The band has flourished through several line- up changes, spawned several
side projects, created their own record label, scored a hit record & sold over a
million albums world- wide. And yet, the basic motivation behind the band's
existence has never wavered.
Their signature blend of hippy aesthetics & raver electronics with spiraling guitars,
textured waves of keyboard & midi samplers & super- groovy bass & drum
rhythms continue to delight fans across the world to this day.
'Jurassic Shift' was the fourth proper release from the band & the first album to
be recorded in their own studio The Mill. The album reached #11 in the UK
national chart when it was released in 1993.
This version of 'Jurassic Shift' features the 2020 remastering by frontman Ed
Wynne

Whether it’s bouncy UK garage styled beats, deep dubstep excursions, skippy house, trip hop or even footwork stylings, his vision is set firmly on creating music which takes the sounds of genres like dub, downtempo, dub-techno and early dubstep in different directions but together and cohesively.

The echoes of Stillhead’s previous alias DFRNT seem to get louder here as he takes another foray into the world of deep electronic music.

Since his days of releasing deep post-dubstep as DFRNT, Alex Cowles has been crafting his sound in multiple genres and since 2014, his Stillhead moniker has carried that torch over 4 albums and a number of EPs. His newest album “Restraint And Reverb” will be landing on 12th August on double heavyweight coloured vinyl. Released on his own Brightest Dark Place label the full 12-track album will be available in both physical format and digitally.

Four cuts of four to the floor garage music from Enrico Dragoni, Snolan, Gavin Dista, and U Know The Drill.

The third release of the Rubezh Records is dedicated to the early work of the Russian female pop group Blestyashchiye. The record includes remixes and edits versions of tracks from the first album released in 1997.

The notorious Glasgow producer, Fear-E is back on Hilltown Disco, after originally appearing on the Dundee imprint in 2019, this time with 4 tracks of techno-infused electro, plus a dance-floor geared remix on the A-side from one of the original Hilltown Disco collectives, J Wax. Fear-E runs wild, broadcasting apocalyptical electro sounds, creating a seriously heavy-duty record to soundtrack the end of society in worlds not too dissimilar to earth. Punchy kicks, disturbing vocals from the mystical Mike James, and venomous sirens create a fresh take on the sound. No nonsense electro. It's all in the game yo!

The latest offering from 12th Isle collects a variety of recordings from Vasily Stepanov and Vlad Dobrovolski as part of their on-going S A D project (Udacha/Muscut). As part of their process, S A D sample and distort old de-magnetised tapes, constantly adding to and reworking their own sound-world. Layers of kosmiche synthesisers, off-kilter woodblock percussion and lysergic field recordings interplay with dense ambient textures in a true collage-style approach to music making. Across the nine tracks, multiple collaborations and aliases coalesce to present a thorough look at both artists approach to communicating the world around them. Drawing influence from nature and the outdoor concerts of Vladislav’s band Kurvenschreiber as well as late night free jazz shows and a similar ‘hauntological’ approach seen in Dobrovolski’s recent ‘Playbacks for Dreaming’, the pair express a unique genre-traversing attitude. More from the 12th Isle due very soon!

Tek 9 Vintage. This LP will feature some VIPs, unreleased, and a remix from Tom and Jerry between 1992 – 1996. Original black vinyl Artwork by Malx George. Mastered by Beau Thomas.

Double LP documenting a realtime collaboration between Terrence Dixon (Metroplex/Tresor/Rush Hour) and Jordan GCZ (Off Minor/Minimal Detroit/Rush Hour). Finally the full results of these special sessions see the light of day (a ltd edition 12" of exclusive tracks owas released in 2020).
BIG TIP!

"In September 2019, Motor City techno legend Terrence Dixon made a rare trip to Europe. He was introduced to Jordan Czamanski AKA Jordan GCZ, a serial collaborator and electronic music improviser best known for his work as part of Juju & Jordash and, alongside David Moufang and Gal “Juju” Aner, as Magic Mountain High.

The pair hit it off immediately, so Czamanski powered up his studio and the pair began to jam. Over the following five days, the pair improvised extensively, stopping only periodically to drink coffee and discuss music, life and much more besides. While in the studio, they barely uttered a word to each other, instead responding almost psychically to the rhythms, grooves, riffs and musical motifs the other was spinning into the mix.

The results of these surprisingly magical 2019 studio sessions are showcased on Keep In Mind, I’m Out of My Mind, the pair’s first joint album and Dixon’s most significant musical collaboration since the Detroiter’s 2018 hook-up with German techno and ambient veteran Thomas Fehlmann.

In keeping with the project’s improvised roots, the six-track set is notable for its immediacy, pleasing looseness – it was mostly created using outboard equipment including synthesizers, drum machines and effects units – and sonic fluidity. It offers a neat, symmetrical blend of the two producers’ trademark styles, with Czamanski’s attractive chords, melodies and jazz-flecked motifs rising above hypnotic, cymbal-heavy rhythms that have long been the hallmark of Detroit’s sci-fi-fuelled techno sound.

This unique and appealing, dancefloor-focused sound ripples through album opener ‘Fretless’, an ultra-deep chunk of heady liquid techno, and the breathless bustle of ‘Operation Delete’, where bubbly synthesizer motifs, cascading ambient electronics and urgent bass cluster around a killer broken techno groove.

It’s there, too, throughout the surging, deliciously percussive ‘Space Chime’, an alien-sounding concoction that sounds like it was beamed down from some distant galaxy, the warming-but-intoxicating minor key swirl of ‘Axis Mundi’ – a two-part slab of techno psychedelia full of trippy electronics, dystopian jazz riffs and intergalactic intent – and the pitched-down, mind-altering oddness of closing cut ‘Above Ground’, when the pair goes all-out in pursuit of leftfield techno perfection.

Created from scratch in a few days by two of electronic music’s most accomplished improvisers, Keep In Mind, I’m Out of My Mind is an exemplary meeting of musical minds and sonic sensibilities."

Matt Annis

Comes with insert with photographs by Atelier Fantasma (Jop Verberne).

Am Kinem (previously known as Funkycan) presents a recollection of hand-picked works produced over the last ten years.
'Mavi Soul' is the third LP from Ava. and will follow on from its successful predecessors 'Mr Pink, what have you been smokin' and 'Love Based Music'.
Under his 'Funkycan' moniker, Am Kinem released his first solo EP in 2011 through Ava., combining House, Hip Hop, Techno and Electronica in a vastly eclectic and individual style, a style that is ever present through 'Mavi Soul'. Recorded partly at the infamous Studio H1-3, part of the biggest broadcasting center of former east Germany, 'Mavi Soul' calls on some of the Ava. extended family to create remixes of Kinem's originals, further broadening the musical breadth covered already by the originals.

German Hip-hop veterans Retrogott and Hulk Hodn and techno craftsman Harmonious Thelonious all contribute with remixes of Kinem's originals. Retrogott and Hulk Hodn are both an essential part of the german Hip Hop scene and have both made huge impact by releasing strings of well known Albums and EPs on labels such as ENTBS.
Harmonious Thelonious established his unique vision of Ethno grooves on the label Diskant and distilles the Techno out of the Track 'Metroidame'.

Club Glow powerhouse and all-round Bristol bass-bin baiting badman Borai returns to his Higher Level label with three new drops of elevated breakbeat science. As well as his work alongside Denham Audio, L Major and Mani Festo in Club Glow, Borai has been busy landing uptempo slammers on Hardcore Energy, Vivid, E-Beamz and Infiltrate in the past couple of years, and he returns to home turf in peak shape.

The A side lights up with the dizzying break-juggling ruffness of 'Lights On', a surefire call to squeeze the last juice from the party, while 'Bobbi' opens the B side treading an artful line between deep and depraved as immersive tones face off against taut, driving rhythms. 'Sargasso Sea' smooths the proceedings out good and proper in true B2 style with a pitched-down slice of soul-charged broken beat that smacks where it counts, Borai's established instinct for forward-facing melody shining through in the interplay between 90s keys, diva vocal samples and illustrious pads.

Jacob Long’s third Earthen Sea outing for Kranky, Ghost Poems, further refines his fragile, fractured palette into fluttering arrhythmias of dust, percussion, and yearning.
Composed during the first wave of lockdowns in New York, the pieces took shape patiently from samples of piano, texture, and domestic sounds (sink splashing, room tone, clinking objects), filtered through live FX to imbue them with an intuitive, immaterial feel. Wisps of melody splinter, shimmer, and refract, like light on water; pulses accrue and dissipate, as if mapping shifting sands. Throughout, there’s a sense of matter made animate, of absences felt.
Long cites notions of “the studio as a dub instrument” and the melancholy of “7th chords on a fake Rhodes patch” as central elements in his process, transforming raw materials into rare thresholds of symbiosis and hypnosis. This is music for night skies in hollowed out cities, for views across rivers towards unknown shores: restless, placeless, and profound.
track listing:1. Shiny Nowhere 2. Stolen Time 3. Felt Absence 4. Oblique Ruins 5. Snowy Water 6. Rough Air 7. Slate Horizon 8. Ochre Sky 9. Fossil Painting 10. Deep Sky
press quotes for previous album Grass and Trees:
“Jacob Long’s vaporous, lo-fi ambient tracks feel like snapshots of stillness made of moving parts.” Pitchfork
“As light as a warm breeze on skin, Earthen Sea’s latest album for Kranky showcases Jacob Long’s natural sensitivity for low-key, enchanting electronic sound craft.” Boomkat
“It’s exciting to hear such a significant change in his sound without sacrificing a personal touch and sonic character.” Igloo

This album is disc I "Early Works" of the 5 LP / 5 CD box set "Electroacoustic Works" that celebrates the 100th anniversary of IANNIS XENAKIS (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER and finally reveal their full sonic range and dynamics.

This album is disc II "Les Polytopes I" of the 5 LP / 5 CD box set "Electroacoustic Works" that celebrates the 100th anniversary of IANNIS XENAKIS (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER and finally reveal their full sonic range and dynamics.

This album is disc V "Late Works" of the 5 LP box set "Electroacoustic Works" that celebrates the 100th anniversary of IANNIS XENAKIS (on May 29th, 2022), one of the most influential 20th century avantgarde composers. All tracks have been newly mixed by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER and finally reveal their full sonic range and dynamics.

To confuse parts for the whole is inevitable with Palm. Drummer Hugo Stanley, bassist Gerasimos Livitsanos and guitarists/vocalists/high school sweethearts Eve Alpert and Kasra Kurt started making music together as teenagers, and spent much of their twenties in the kind of proximity unusual for adults, outside of touring bands and the International Space Station. For a number of years the band consumed the lives of its members to a point of exhaustion: “To be honest I think we got a little burnt out. There were times where it wasn’t clear if we’d make another record,” says Alpert. It was only after multiple freak injuries followed by a pandemic, forced a pause - from touring but also from writing, rehearsing, even seeing each other- that the four were able to regroup and see a way forward again.

On their latest effort, Nicks and Grazes, Palm embrace discordance to dazzling effect. “We wanted to reconcile two potentially opposing aesthetics,” Kurt says. “To capture the spontaneous, free energy of our live shows while integrating elements from the traditionally gridded palette of electronic music.” In order to avoid what Kurt refers to as “Palm goes electro,” the musicians spent years educating themselves on the ins and outs of production by learning Ableton while also experimenting with “the percussive, textural, and gestural potential” of their instruments. To this end, the band continued the age-old tradition of instrument-preparation, augmenting guitars with drumsticks, metal rods and, at the suggestion of Charles Bullen (This Heat, Lifetones), coiling rubber-coated gardening wire around the strings. The unruliness of the prepared guitar on songs like “Mirror Mirror” and “Eager Copy” contrasts with the steadfast reproducibility of the album’s electronic elements.

While Palm cite Japanese pop music, dub, and footwork as influences on this album’s sonic palette, they found themselves returning time and again to the artists who inspired them to start the group over a decade ago. “When we were first starting out as a band, we bonded over an appreciation of heavy, aggressive, noisy music,” Alpert reflects. “We wrote parts that were just straight-up metal.” Kurt adds, “I found myself rediscovering and re–falling in love with the visceral, jagged quality of guitars in the music of Glenn Branca, The Fall, Beefheart, and Sonic Youth, all important early Palm influences.” Returning to the fundamentals gave Palm a strong foundation upon which they could experiment freely, resulting in their most ambitious and revelatory album to date.

Opfern is the result of hours of music ferried via dropbox to Concrete Cabin in the winter of 2021 by Calum Mcleod, mainly known for his work as one half of the techno duo Clouds, but presenting here his first solo work as Power Inc. Released as a double cassette & digital album, Opfern explores amorphous drift over nine long-form tracks that evolve & devolve in a slow state of flux, with sound sources and samples smudged to the point of degradation and abstraction, revealing a compelling and affecting mix of digital artefacts, psychoacoustics, plaintive melodies & fizzing soundscapes.

2xCS with double risograph printed three-panel j-card. Limited to 100 copies. Run time: 77.71

W&P by Calum Macleod
Artwork by Al White & Calum Macleod

As the premier release on new Jungle & Breakbeat label Bukva Sound we find the amazing Response & Buda, northerners that gather to give us a four track EP with ravey, deep & subliminal vibes.

The title track, Illusions a 160 4x4 bomb that feature the tremendous voice of Lara Lee. Known from Response & Pliskins "Stolen Keys" release on legendary label Rupture London.

Purple Vinyl

Concentric Records present this special edition EP by the Berlin-based duo YHDESSA - composed of Dutch-Italian composer and poly- instrumentalist Grand River and Sardinian electronic music experimentalist Enrica Falqui.

Entitled Along The Simple Line, the 5-track EP is a unique sonic journey that merges in pure form the distinct worlds of the two composers, exposing a warm and delicate essence. Perfectly punctuated, and in a pace of its own, the album gently and precisely unfolds through touching musical spaces, dramatic textures, entrancing rhythms and unexpected vocal lines, revealing a wonderful depth. The result is so perfectly uniting as if woven by the same two hands.

Yhdessa is a collaborative project made up of Grand River and Enrica Falqui which was conceptualised in 2017 while the duo shared a music studio and were living as a couple in Berlin. Their first piece, released in 2018 on the label One Instrument Records, was named after the Vermona E-Piano and is composed entirely using the analogue synthesizer that was built in 1978. Following this came their lingering soundscape Waldorf Micro Q featured on the record “One Instrument Volume 01” as well as an impelling remix of Dunes by Jiska Huizing and Rudi Valdersnes.

Aimée Portioli is a Berlin-based Dutch-Italian composer and sound designer who records and performs as Grand River. The name Grand River evokes nature, scale, and movement, all key forces in Portioli’s work. Her first release as Grand River was the resolute 2017 Crescente EP, which includes Flies, a composition named by XLR8R as one of the best tracks of that year. She followed this with her melodious debut album Pineapple (Spazio Disponibile, 2018), which garnered praise from The Quietus, amongst others. The moving and dynamic subsequent album, Blink A Few Times To Clear Your Eyes (Editions Mego, 2020) was lauded by Resident Advisor and The Verge, and was elected among the best albums of 2020 by Inverted Audio. Separately, Grand River’s work has appeared on compilations by Ghostly International, Tresor, Longform Editions and has composed an official remix for Tangerine Dream.

Enrica Falqui is a Sardinian music producer and DJ currently based in Berlin. With artistic versatility as one of her defining traits: she comfortably traverses between the dimensions of electronic music. For over a decade she has dedicated herself to the study of sound and the relentless excavation of lesser-known music, which has earned her bookings all over the world and commissions for her productions from some of the most respected labels including Marignal Returns which released Plexus, a mini-album of cool, divergent compositions. Enrica is also part of the coveted duo, ERIS, whose debut and sophomore EPs, Moments and Champions League, found their home on the illustrious Cabaret Recordings. The releases entwine the forceful with the ethereal and create an original, future-facing and club-orientated sound. Moloko, a drum-focussed track laced with weaving synths, was considered by Resident Advisor as one of the best tracks of 2019.

Aimée and Enrica’s musical union through Yhdessa, is one of colour and warmth. It expresses an experimental electro-ambient side of the two composers, to form a style that is meditative, other-worldly and at times introspective. Although, the two are now, no longer romantically engaged, they maintain a passionate friendship to match this profound musical partnership.

The Boogie Times label is back with 4 cuts from a very elusive artist.

There has been much speculation over the years as to the identity behind the Disciples Of The Watch moniker. Sharp eared listeners have attributed the sound of the breakbeats to one artist, while others are as convinced their deductions from the sound of a bassline can attribute the production to someone else.

Perhaps it’s who they think? Maybe it’s not? Possibly it’s a collective of artists?

All we can say is that Disciples Of The Watch make great music!

Back in 1992 the Dance In Peace EP received an incredibly limited white label run and was only available from a handful of specialist record shops. The scarcity of this release means that it has now reached near mythical status and has seen it selling for as much as £200 on the second-hand vinyl market.

This EP is now getting the very long overdue full release that it deserves, with all tracks expertly remastered & cut to heavyweight black vinyl.

With very limited stock being pressed we’d urge anyone wanting to own the amazing musical journey by the elusive Disciples Of The Watch to get orders in as soon as it goes on sale!!

Fausten is a collaboration between Julian Caraz aka Monster-X (Opal Tapes, Murder Channel) and Derek Szeto aka Stormfield (Combat Recordings), and is an exploration into the darker, gorier realms of their collective psyche. Prolific with their solo projects, Fausten is a rare collaborative treat and "Mercenary" is their first joint-release in years; their first appearance on Acroplane where their sound is very much at home. Joining the fray on remix duties is the formidable Fret aka Mick Harris (Scorn//ex-Napalm Death).

The EP opens with a disturbed, pulsating slow march in the guise of "Phosphorus", where pensive, cut-up hip hop vocals punctuate the prowling rhythm and menacing bass. This is followed by "Cathedral", a dark ambient interlude that lingers for a couple of minutes, delivering us to the powerful "Jour de Gloire". Industrial scenes manifest here, culminating around a malevolent bass snarl that is somewhat of a signature for Fausten.

The title track "Mercenary" lurks on the B-side, armed with what seems like a Jan Svankmeier scene in the far future - granular wails of tortured AI beings, gritty textures, and rocked by deep, plunging sub bass, likely to please fans of Scorn and Autechre.

To beef up an already-powerful package, Fausten called upon their longtime hero and musical inspiration Mick Harris for remix duties. Instead of reworking one track, the grindcore maestro asked for the project stems and turned his hand to a surgical reconstruction of the whole EP, condensed into one remix. This is relentless broken techno as you would expect from the Mongoose, alive with clattering percussion and rock-solid elephant-track style kickdrums, building a strong, lively narrative purely from rhythmic architecture, in which breathe his seething, venomous atmospheres.

Razor-sharp drum 'n' bass, cutting-edge jungle, glitchy synths and extraterrestrial machine sounds.

Offering unbelievable exhibits of their dexterity in brewing futuristic jungle and razor-sharp drum ‘n’ bass, Kamikaze Space Programme and Cocktail Party Effect step in with four meticulously designed mind-bending tracks.

Spiced up with a devastating array of extraterrestrial machine sounds and wicked sinister ambience, Food for Thought is for all those who continue to feed their minds with criticisms, refusing to adhere to a system that wants us technological adults but spiritual and emotional infants.

“...But you survived!” Cit.

"Full recording of one of the most engaging and beguiling Late Junction live sessions we’ve ever heard - the one off first meeting between Korean multi-instrumentalist Park Jiha and writer and performer Roy Claire Potter.
It’s an unlikely pairing which works from the first breath. Park Jiha plays the saenghwang, a Korean mouth organ which she blows in long multiphonics to set pace for Potter’s words. They unfurl a scene slowly in front of you, rich and focused, shifting your field of vision and drawing you in, elsewhere. It’s impossible not to follow, not to look for where they point. When the piri sounds for a flooded town on the B side, the water flows between your own feet; Potter’s words a sometimes frightening hörspiel in scouse.

Though the details are fine, the space each artist gives one another and their instruments, their language, is given to the listener in turn. A careful melody picks out a route for words with no fixed meaning, a body with no fixed direction, and we are invited to listen and see a kind of music made visible in its inference. A truly very special record we are very proud to share.
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Influenced by linguistics and performance theory, Roy Claire Potter makes performance, text, drawing, installation and film, and oen collaborates with musicians and sound artists to make audio for music festivals and radio. Across the wide range of their practice, Roy tells stories built from fragmented, intense images that depict moving bodies or domestic scenes and architectural settings. Roy’s interest in subtext and narrative sequencing is felt in the way they use fast-paced talking or reading speeds, and restricted or partial views of space. Complicated social or group dynamics, and the aftermath of violent events are common themes in Roy’s work and are usually treated with a dark, sometimes wilful humour.

Park Jiha creates exploratory music rooted in traditional Korean instrumental performance. To this session she brings three instruments: a Korean hammered dulcimer called a yanggeum, a saenghwang which is an instrument made of 24 slender bamboo pipes attached to a bowl and played like a harmonica and a double-reed bamboo flute called a piri, which sounds similar to an oboe.
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Recorded and mixed on: 30 January 2020 by Rob Winter, Pete Smith and Andy Rushton at Maida Vale Studios, London for “Late Junction - Roy Claire Potter and Park Jiha in session”. Produced by Rebecca Gaskell, Katie Callin and Alannah Chance at Reduced Listening for BBC Radio 3."