Beats Vinyl New Releases - News

Limited hand stamped copies..

2021 REPRESS! Robotic, atmosferic, dark electrotechno as we have come to expect from The Exaltics. Reminiscent of old B12, Transmat and Dopplereffekt releases.

Dubcore and Stoopid Plastics joined again to drop this anniversary release of the 2002 released Istari Lasterfahrer EP Inner City Fear. Brings back the original tune by Istari Lasterfahrer on plate again as requested. As long as treated by Terrorrythmus, We Rob Rave and FFF as a remixed version for updated breakbeat and dub science.

Hannah Zhalih Mickunas is a multidisciplinary artist currently living on the Northern California coast. After a first album recorded for eilean rec. in 2018, she comes back 3 years later on LAAPS with her second LP, "They Call".

All songs, voices and instruments by Hannah Zhalih Mickunas. Recorded between 2013 and 2021.

Beats/electronic by:
Michael J Collins on "Shadows from the sky", "Water", "Blue Dust"
Jake Holmen on "Like a Wave", "Seventeen", "Trouble"

Beth Navah co-wrote "Visions of Clay" and "Crying like a Lamp"

audioMER. is honoured to announce the release of a new LP; Make Visible the Ghosts with music by Aki Onda (US/JP) and artwork by Paul Clipson (US). This album is the follow-up of Aki Onda’s Cinemage project Lost City—with Loren Connors and Alan Licht—released on audioMER. in 2015.

On Make Visible the Ghosts, New York-based musician Aki Onda composed the soundtrack for the images of the San Francisco experimental filmmaker Paul Clipson, who suddenly passed away on February 3, 2018.

In 2009, Clipson and Onda met at the Amsterdam Schiphol Airport for the first time and shared a ride to the International Film Festival Rotterdam, where they presented audio-visual works in the same bill. Since then, the two artists – known for their highly personal approach with Super 8, 16mm, cassette Walkman and radio – maintained a close friendship over the next nine years. Their works deal with memory, time, space, and those reflections, and they had a lot to share.

Onda and Clipson completed their collaboration work Make Visible The Ghosts—a combination of vinyl LP of Onda’s music and large-size collage artwork by Clipson—a few months before Clipson’s departure from life. The work is composed of the materials they used for their performance in New York in 2012 and developed over the three years from 2015 to 2017. Onda notes:

“The loss of Paul has left a huge hole in our mind including his friends and collaborators. Paul is no longer here, and this is a chance to remember him and his images that extended and expanded our perception of how the world can be seen and heard.”

Gen Ludd are Glasgow-based Rich McMaster (Golden Teacher, Modern Institute) and Tom Marshallsay, both of whom are a big part of the extended Rubadub family. Their music perfectly embodies the Rubadub ethos of music for heads and feet.

After months of negotiations with our minister of finance Hillington West Snr, TAFKNAGL (That artists formerly known as General Ludd) return with four precise cuts of pure rhythm and motion.

These tracks are a message to the Ramona-toting, gymnasium-powered international dance deejay. Please be bold enough to play them... you'll make the world a better place. We'll give you free WAVS too.

Healing Force Project intertwines jazz and electronics to form something truly psychedelic and unique.

Stored in a basement since 2016 and previously pressed on few acetates only. Acid-electro-dub fused in pure Itinerant Dub style.

Koehler… he has all that stuff… like the cover: He drew the dragon on the back some years ago. Those sounds… somewhat brutal, even dirty, with mean resonances cutting… The rhythms, unfolded with unflinching relentlessness, bashing the same spot over and over and over, that shrouding shimmer of fantastic otherworldliness… it has strange effects, it becomes so tactile…

LuckyMe is very proud to present Vignettes. The triumphant return of Mike Slott.

Mike Slott’s last release with LuckyMe was just over 10 years ago. The Lucky 9Teen EP was seen as one of the most seminal releases in the post-Dilla age of instrumental beat led music that took hiphop as its cue then threw out the rule book. Slott in particular brought a delicate touch and unique quiver of samples and production techniques to the table. From his Heralds of Change project with Hudson Mohawke to his split releases with Martyn 3024 and Dabrye - Slott was very much seen as part of this new beat generation sitting alongside Flying Lotus, the late Ras G and others bringing his unique blend of futurism alongside a respect and free-spirited appreciation of the jazz age. Since those early releases Mike has continuously released music including his meditative Mirror Mirror project and Lesser Pieces - his energetic vocal led collaboration with Diane Badie.

Vignettes was first realised as a performance piece at the Edinburgh International Festival in 2011 as Slott provided a live re-scoring of The Return (2003), the debut film by Russian director Andrei Zvyagintsev. Stripping the music of its original intention it becomes an incredibly gorgeous,emotive,shimmering body of work. To describe something as an imagined soundtrack seems cliched but Slott manages to create an entire world to fall into.

Grains is the debut album by Numinos on Mille Plateaux. The Cologne-based producer, DJ, author and lecturer has been writing the tech-reviews in "Groove" for many years, tests equipment for various specialist magazines and teaches at the Institute for Pop Music (IFPOM) and Institute for Computer Music and Electronic Media (ICEM) of the Folkwang University.In his current creative phase, he conceptually deals with the topic of "granular synthesis".
A "grain" is thus, to a certain extent, a tiny spectral snapshot from a larger musical context - an infinitely expandable, flowing intermediate state. This is also where the connection to the cover motif is found that shows the negative of a photograph of a wild field and has been taken Bernd Adamek-Schyma: The negative as an eternal intermediate state between the motif and the developed image. And despite the fact that "Numinos" has a fully equipped studio with a wide range of instruments, the 20 Euro iPad app "Borderlands Granular" turned out to be the creative catalyst that enabled the trained pianist to implement his sound ideas with direct haptic influence.The app gives the Cologne-based sound artist the opportunity to extract tiny fragments from the sample based on their specific tonality, to recontextualize them and thus work out structures that are not audible at the original tempo.
The results are polyrhythmic sound scenes that appear harsh, artificial and strange in a moment, only to transform into contemplative, warm and familiar frequency stratification minutes later. Numinos deceives the listener in many ways. Above all with the supposed rhythm that does not exist. Because in fact almost all granular clusters within the pieces run in completely asynchronous loops. The addition of a simple kick drum then forces the brain to suddenly hear apparent triplets, quintoles or dotted eighths in these mathematically completely chaotic structures, which are purely fallacy.

Edition of 275, with poster insert in polybag & hand-stamped centre labels. "Sombre hits from Young Echo's O$VMV$M" Mastered and cut by Lewis at Stardelta. Artwork by O$VMV$M.

Grand St., the upcoming release on NYC's Maddjazz Recordings, is a 7-track EP from the duo Pharma - the musical group of long time friends, Sam Katz & Milo McBride. While they’ve spent the past years operating in different musical landscapes, Pharma is their most recent collaboration and features guest performances by rising stars, anaïs + Wati Heru.

At its heart, Grand St. is pop music, but performed through a dusty lens of bittersweet melancholy. The release is offered both in digital formats on all platforms and as a limited 12" Vinyl (100 copies only). The artwork + design was done in collaboration with Phil Wong and Lucas Mascatello.

Formerly a musician, cinematographer and lighting designer with The Residents and a student of “Blue” Gene Tyranny, Philip Perkins issued this astounding release on his own Fun Music label in 1983.

Perkins often worked in topographical realms, crafting environment-enriching soundscapes, albeit on a micro level.
Taking cues from minimalism, environmental field recordings and home-baked ceremonial mantras, King Of The World is a meditation on the lives of three ancient kings who believed themselves to be the ruler of all mankind.

The post-Hassell currents of Fourth World music unavoidably come to mind. King Of The World sits comfortably amongst the backwards-referencing style of more recent producers - but Perkins was a contemporary of the famed trumpeter and he alchemises a DIY spirit and sound art aesthetic into his own unique province of Magic Realism. Off-centre loops of African hand percussion are overlaid with a palette of water trickles, bird calls and mutant Casio synthesizer forming deceptively simple rhythmic and textural collages, always at a level just above subliminal.

Remastered in Brooklyn by Josh Bonati and with new sleeve artwork by the internationally acclaimed book designer Luke Bird.

Moments of unbridled creation often manifest themselves in rather eccentric ways. Be it a sudden eureka moment, where the internal light-bulb flickers on sharply, or the seamless state of flow that appears when writer and pen are in-tune. But what about electronic musicians and that of the equipment around them? In Robert Babicz’s instance, the very sounds produced by this relationship morph into shapes and colours; sonic frequencies become visible objects due to the rare phenomenon, and indeed gift, of synesthesia.

Evidenced by Robert Babicz ’s eighth album, Utopia , this inherent creative process has resulted in a body of work that embodies his own personal experiences, forming a life soundtrack to epitomise moments of both elation and hardship. Memories enjoyed contrast with those endured, interwoven in a tapestry of musical expression that encapsulates a human story we can all relate to. Set for release on Marc Romboy’s Systematic, a label of which the Polish-born artist is more than familiar with given his two previous ‘Butterfly’ LPs, the album touches upon some of society's fundamental challenges, most notable of which is our search for the ideal world. Perhaps most strikingly is Robert’s assertion that the ‘Utopia’ we seek is not in fact a destination; rather it is a journey, one in which we must introspectively assess the notion that to find “ a better world to live in, we must create it each day ourselves.

Each track therefore is a reflection of such a discovery, acting as an auditory representation of Robert’s personal tale and typifying the evolution that naturally ensues. In this instance the symbolic nature of the butterfly, showcased in the album’s cover artwork, represents this transformatory experience. The voyage soon begins with Childhood , an ambient introductory piece that blissfully sets the tone of the release with emotive keys and warm, ethereal pads. Heartstone soon takes the helm, as progressive synths converge on a rhythmic kick-hat backbone, before the instrument-dotted Heroes opens with a stunning guitar-riff lead and resonant snare patterns.

The subdued tones of Hotel Kalimba soon grace us, a beautiful interluding track that works to rise and fall simultaneously, paving the way for a reworked version of Sonntag, one of Robert’s most popular tracks previously released on the well-established Kompakt label. Come Down swiftly ups the tempo, featuring a compelling main bassline that accompanies the poignant storytelling of vocalist Zera , before the hypnotic hum of Super Cactus softens the pace and gifts us a glimpse into a world far-removed from ours.

We are graced with another bespoke offering in Sin , an enchanting seven-minute rework of Robert’s debut Systematic track of the same name, whilst the heartfelt sense of No One Else undulates with a gentle lucidity, as Zera’s docile tones shimmer amidst a saxophone solo that evokes feelings of contemplation and anguish in one. Climax soon emerges with its breaks-inspired drum patterns and ethereal synth pulses, before the cosmic notes of Garden of Souls leave us in a haze of starry, wide-eyed reflection. Alice Rose ’s mesmerising vocals amplify the meditative qualities of Infinity Inside , a delicate penultimate record that unfurls into the album’s eventual closing track: Utopia .

Two one-man band projects meet together on the very first Global Warming various record : The cold-blooded Scottish sound-ingeneer Sordid Sound System and mysterious Spanish hedonist Sutja Gutierrez. Deeply rock-rooted and drug-infused, this futuristic western soundtrack opens with ‘The Void’, a arid dub jam, heavily hallucinogenic and ‘Meanwhile, When Times Turn Bad’, schizophrenic punk jam both recorded from Sordid Sound System’s redwood forests new studio on Northern California. On the other side, the lone ranger Sutja Gutierrez takes us to a dystopian horse ride into shady woods and grey plains, with ‘Everything Leads To An End’ and 'Beheaded Angels', two sensible journey, blending goofy drums, creepy synths layers, heady weird vocals and binary guitars for a unique and mighty melancholic mood.

One half of cult techno duo B12 (Warp Records) Steven Rutter pairs up with London-based vocalist and songwriter Bryonii to kick off 2020 with an album on Rutter’s FireScope imprint.

Steven Rutter and rising artist Bryonii have been a solid studio pair developing a sound which is organic yet otherworldly, ever evolving and driven by a mutual appreciation of each other's musical sensibility. The album makes for honest, emotive listening and is influenced by the likes of Atoms For Peace, Portishead and Grimes amongst others. Their debut album is a sultry, soul infused work with bass heavy bottom ends and weighty rhythms.

'Juliet' is intense and brooding, with percolating synths and haunting chords overlaid with Bryonii's breathy but eerie vocals while 'LDLM' is more spacious and eerie, with xylophone sounds ringing out brightly over sparse drums. Bryonii here is more vulnerable and reserved but just as impactful. After the twitchy electronics and scattered riffs of lurching bass tune 'Oxygen' is the taught 'Beltane Baby' with its twanging bass riffs propping up scattered hits. The lush harmony layers of Bryonii's voice sit amongst weird sound designs and sci-fi effects that make this a dystopian take on something similar to trip-hop.

The unsettling futuristic style continues on experimental kaleidoscope 'Obsidian' while the mood is somewhat reset with the dreamy and tripped out lullaby that is 'Room Without A View,' which features Bryonii's most heartfelt delivery. 'Chinese Whisper' is another inventive offering that explores downbeat moods and shimmering chords and synths and stirring r&b styles from Bryonii. 'Sympathy Live' is a heartfelt plea with a devastatingly emotional impact and last of all is an FBA remix of 'Juliet' primed for the dance floor.

This is an avant-garde mix of vocals and electronic sounds that add up to something very real and human, as well as packing some serious bass weight and a wealth of new ideas.

LTD. CLEAR BLUE VINYL

New York painter and musician exploratory industrialist Tor Lundvall initially envisioned his 14th album, Beautiful Illusions, as an entirely instrumental affair, "inspired by memories of sitting in a church or cathedral watching the shifting sunlight through stained glass." Although he ultimately chose to wreath the majority of the tracks with hushed, poetic vocals, his original muse still resonates. These are certainly songs of shadowplay and vaulted skies, the quiet grandeur of dusk deepening on the horizon. Lundvall characterizes the lyrical subject matter, too, in ways both specific and surreal, exploring "the doubts, the anxieties and even the bleak fantasies the mind spirals into during moments of isolation, separation and distance." Tricks of the eye, mind, and ear, magnified by silence and the looming long winter. Shivering pulses and muted bass lines tread the twilight while icicle synths and wiry guitar map the melody until the voice enters, narrating oblique moods of essence and absence, tenderness and truth. Glimpses of dark humor flicker in the wordplay but the greater sonic landscape is one of falling leaves and failing light, small gestures rendered as revelation, cloaked in reverb and spatial fog. Lundvall's mastery of nuance and negative space continues to heighten, whispered brushstrokes of the invisible and the unsaid, what lies beneath and what lies beyond: "Behind the shields and false fronts is usually a sadness. The heartbreaking reflections of what might have been."

* Spearhead Records bring back some of the most requested tracks from the back catalogue.
* Tracks from LSB, S.P.Y, Riya, Lenzman, Bungle & Electrosoul System.

* Spearhead Records bring back some of the most requested tracks from the back catalogue.
* Tracks from Total Science, Riya & Hybrid Minds, Seba, Blue Sonix, LSB & S.P.Y

Hailing from Oaxaca, Mexico and currently based in Brussels, Vica Pacheco crafts a rich sound world that comes alive in surprising manifold turns. On the heels of Vocamorphosis, her stunning electroacoustic piece commissioned by France Culture where Ferrari-esque divagations venture into the untamed fancies of an imaginary wilderness, her debut record Symplegmata transposes a continuous exploration of unearthed sound narratives into briefer vignettes that, together, allow for a fully-fleshed mythology to unfurl. Departing from the idea of the symplegma - biological fusions, hermaphrodite sexuality, the amalgamation of distinct beings into fully-realized entities - Pacheco synthesizes field recordings and manipulated vocals in order to weld unique micro-sculptures that convey environments as contrasting as they are complementary. The 12 tracks that compose Symplegmata can be interpreted as elements for an alternative science fiction soundtrack or as the leisurely tunes of a parallel civilization from future pasts; either way, the physicality of Pacheco’s sound crafting beckons the kind of immersive melding that, much like the underwater symplegmatic beings of her lore, generate new fusional experiences with each listen.

Deep Heads are proud to present a debut Album from Label boss Zeb Samuels, entitled ‘Hope & Light’.

The album ‘Hope & Light’ holds an energy of warm & light textures with an array of talented musicians involved in the project.
All produced and creatively directed by Zeb, the music embodied here is a detailed insight of Zeb’s explorations as a composer, producer, sound engineer and performer.

Throughout the album, we hear Zeb on Keys, Synths and of course vocals.
In his own words, he describes his music as Jazz, but only references Jazz as the freedom of movement within his music and his expression of improvisational music. It’s hard to categorise as one type of sound, but touches on many different genres, with Jazz, Ambient & Bass being strong forces.

Zeb's music has already been supported on BBC Radio 6 Music, Clash Magazine, Magnetic Magazine, XLR8R, Kid Fonque's 5FM, by Belgium Tastemaker Lefto, Soulection Radio's Joe Kay and as a producer, he has worked with some of the most prestigious names in the music industry. As a label manager, he has released works from Ash Walker, Synkro, Djrum, Escapism Refuge, Lewis B, DFRNT, Congi, Geode, Versa & Rowl and Vivek.

No one sculpts volts & frequencies into a story quite like David Morley. For Futurepast’s third release, he has delivered a precise rendering of its vision to transcend temporal associations and perceptions. In the title track Boundary Travels, he ascends quickly into a weighty melodic line that oscillates like the natural intonations of an inner monologue, built upon a foundation of tightly knit hits and bleeps. The story of Limbo unfolds in the infinitesimal margin where intensity becomes softness, hesitation becomes resolution, and boundaries become intersections. Sounds drift past, above, and below in Crushing Pressure as if a city, or its memory, was suddenly suspended in a black hole. Boundary Travels might be the closest we can get to such a horizon.
- DVK

It was the mid 80s. A musical revolution was already steamrolling throughout the French West Indies when the band Kassav' produced what was to become the sound of the decade. With a now wider use of synthetic and digital tones, the "zouk" wave literally swept away to sea the biguine and cadence from the West Indian musical landscape. While this took place, some musicians chose to make an alternative use of the new techniques brought on by the advent of synthesizers. Musicians like Serge Fabriano.

It was back in 1980 that Serge, a talented young musician from Guadeloupe, while studying for a degree in 'Arts & Informatique' (Computers & Arts Cycle) at the Université De Vincennes near Paris, discovered early computer-generated digital music (MAO in French) thanks to his roommates, who both taught computer-generated graphic arts. In 1982 Fabriano and his Fabriano Unité Zion project recorded, with the help of Alain-Jean Marie, Mario Canonge and Pierre Labor, Cosmik Syndika*, which to this day remains a masterpiece of made-in-Guadeloupe Caribbean jazz.

The following years saw him tour the US and Canada as well as several other countries. By 1986 he was back in Guadeloupe, teaching music in the secondary schools of Point-à -Pître and Sainte-Rose. While doing this, his ongoing passion for the budding MAO led him to kit himself out: the Yamaha CX5M (MSX Music Computer), the Macintosh Plus, the legendary synthesizers DX7 and DX11 and several other early rhythm machines became his new toys.

Him and his partner at the time, Marie-Reine Lamoureux, who was also both a teacher and a musician, as well as a member of the Fabriano Fuzion project, decided to involve their pupils in his electronic musical experimentations. They recorded an album, composed of five tracks deliberately titled Demain, under the name 'Digital Caresse' (the idea behind this was that instead of hitting the percussions to make music, one stroked the computer keyboard to coax a sound). The combination of the children's choir, enchanting wonky flutes, saturated electronic beat and cosmic atmosphere perfectly outline the purity of this rough diamond.

MCC returns with x3 roll cage rattlers from the elusive DJ SKIFT, rumoured to be operating remotely outta the True North-North East territories. Recommended if ur into anything good.

Bathurst is pleased to announce the debut album 'All One' by The Motion Orchestra.

The group formed in 2017 in Hamburg as a studio project and outlet for lead writer and bandleader - David Hanke (Keno, Renegades Of Jazz) to explore his Neo-Classical and Jazz sensibilities in a new setting.

Comprising of the US-based Andy Sells on Drums, with Germans Alexander Bednasch on Double-Bass, Mark Matthes on Violins, and David Hanke on electronics and production, as well as a one-off guest appearance from other long term Hanke collaborators - Tristan de Liege on clarinet (for the track 'Maylight'), David Nesselhauf on electronics (for the track 'All One') and Ingo Möll on additional Bass (for the track 'Everything We Are').

Strangely, when considering the intimacy of the album the group has never actually fully met in person, with live recordings taking place over 4 years across studios in Seattle, Los Angeles and Hamburg. With Hanke and Matthes contributing the majority of the writing and arranging, the wonderful musicianship of the group as a whole is obvious to hear in the record, which expertly showcases the performers rare understanding of musical space and compositional balance, yet still allowing for flashes of individual brilliance.

As the first tracks were arranged it became clear that The Motion Orchestra occupy a musical space that sits aside from their obvious stylistic influences, instead bearing a compositional style that deftly fuses the orchestral and electronic worlds more akin to that of modern cinematic composition than most commercial releases. Matthes' lush string arrangements are a beauty to behold, layered elegantly upon the muscular and oftentimes swinging rhythm section low end, all the while Hanke's cerebral sound design and production elements interplay with all throughout, providing an eclectic array of wonderful foils and musical partners to the palette.

With only a small clutch of singles and tracks being released so far they have already turned the heads of Huey Morgan on BBC 6Music and Bandcamp Weekly, as well as closing in on 500,000 streams on Spotify. Exploring themes as time and space, transience, life and death – their music is delightfully relevant, timeless and contemplative in comparison to much of today's disposable music culture.

''All One' is a collection inspired by the notion that everything comes from the same source, the same starting point. And throughout its play time it builds out this concept from the reserved, poignant strings and ambience beginnings of opener 'From Dust', through to the delicate pitter-patter rhythm and memorable melodies of 'Threadspin', before picking up in tempo and dynamics ahead of the epic penultimate track - Sonorous' and its piano chord harmonics, tasteful bass notes, and swirling jazz drum patterns. Indeed by the last notes of title track 'All One' there is a real sense of having mentally journeyed some distance to arrive exactly where you are for the listener. It's a truly atmospheric audio experience that is constantly engaging and inspiring both feelings and thought throughout.

Perhaps the mastermind of the project - David Hanke, sums it up best himself:

"It begins where it ends. Turning these subjects into sounds, creating an emotional sound journey with a deeper note is the idea."

Voltage Festival is releasing a compilation of 4 EP's to celebrate five years of existence. The EP's are dedicated to four sub-genres of techno and represent the versatility in techno of Voltage Festival's line-up.

The series starts off with a classic techno EP called ‘Zener Diode’, followed by a deep techno one called ‘Wiring Harness’, an industrial release with the name ‘Circuit Breaker’ and closing with acid techno called ‘Resistor’. The artists featured on the releases already made their appearance at Voltage Festival, or are playing on this year’s edition.

Repress!

Club Culture is back for it’s third instalment of the series. Volume 3 takes you on a similar journey, with each track providing a different mood to bring us 4 tracks tailored for the dancefloor.

With tracks from Frankel & Harper, T. Jacques, Lavonz (with a classic reissue from 1998) and Main Phase. We look forward to taking you on a new chapter of ‘Club Culture’.

After the 2020 release of Old Dreams And Memories, Icelandic dub techno linchpin Yagya returns for a second release on his emergent label, Small Plastic Animals. This latest venture marks a new chapter in the artist's accomplished career, having released on Delsin, Subwax BCN and A Strangely Isolated Place as well as forming a core part of the Thule collective alongside his partner in Sanasol, Thor. As those associations ably point out, the music Yagya crafts is spacious and atmospheric, using the techno tradition as a vessel for meditative as well as emotional exploration and experimenting with sound design according to a specific, patiently cultivated style. Always Maybe Tomorrow finds Yagya ruminating on the behavioural energy of environments as viewed from afar - the man-made electricity of urban expanses and the interconnected flora and fauna of ecosystems. Looking to his chosen tools as a means to express these ideas, he employed a non-linear approach to each of the four tracks on this EP, choosing to create musical systems in constant flux rather than composing each piece in a conventional left-to-right narrative. Yagya's trademark voluminous chords and vast pads ebb and flow through filters controlled by LFOs and randomness, creating their own micro-incidents and macro evolution as though holding a mirror up to the environments the initial inspiration was drawn from.

3WA's Altair EP comes on 180g Vinyl with two-sided screen printed artwork hand made by the Earth & Stone team. Each physical copy comes with a collectors zine included with the record.

Via a trio of critically releases for the CPU label (two EPs and an album), Sheffield born Evan Majumdar- Swift, AKA 96 Back, delivers an eclectic EP for Hypercolour.

Leaning on, but by no means restricting himself, to the bleep roots of the Steel City, the ‘TBQFH’ EP assembles four highly accomplished tracks of head scrambling and fearless electronics. From the beat science of ‘Fe Symbolic’ to the widescreen sound palette at play in ‘Party Animal’, 96 Back flaunts a distinctive and bold dexterity.

We are not where we live, but the valley we built'
Enjoyment through suffering. Beauty in chaos. African Ghost Valley apply these principles to create their heavy doomsday electronics pulled in from the Black Bunker; a D.I.Y space under a multi-story car-park.Separated from any scene on the surface, the record was put together by European / Canadian duo Childle Grangier and Gabriel Ghebrezghi;a partnership formed in the heat of heavily improvised recording sessions, where the pair would thrash out their versions of power electronics, industrial waste drops and rhythmic dub rumble to the cities homeless.
Keeping these raw fnal cuts away from any studio trickery, the microphone would be left on to archive feld recordings and wayward audio drops, capturing the hum and lifeblood of the 'Bunker and the wheezing lungs of the dense concrete that surrounded them. Titling this work 'Colony', the album is a open-ended and multi-edged tool for AGV to explore, allowing the listener to interpret the work as they see ft, bringing to mind images of corroded space settlements and the darkest recess of human history. You decide.

+ Eindeloostoogfilosoof (locked groove)

Alex Deforce, poet and Brussels bar-culture connoisseur makes his appearance on Lexi Disques, in collaboration with NY-based Charlotte Jacobs and Wiet L (Sagat). The result is a playful mix of spoken word and electronics infused in contemporary flemish poetry and radio practice. Including a 12 page booklet with texts and visuals by Alex.

This is the second Super Hexagon release. It's got three tracks from Alma at a total running time of 15 minutes and 32 seconds. Superb electronica for fans of AFX & Squarepusher.

An Gleann Dubh are on a quest for new sonic domains with their mutant machine creations, bringing together abstract dub, electro and IDM that invokes a feeling of the early 90s where possibilities with techno seemed limitless