Beats Vinyl New Releases - News

‘A Quiet Corner In Time’ began life as a sound work created by composer Simon Fisher Turner for renowned ceramicist Edmund de Waal’s installation at the Schindler house in Los Angeles. Fisher Turner and de Waal’s collaboration is a metamorphosis of that work into a standalone album release. The album represents the first time de Waal has collaborated so closely with a musician and draws Simon Fisher Turner’s past into the present as it references his early sound work for Derek Jarman’s films (he worked with Jarman from Caravaggio up to his final work, Blue). ‘A Quiet Corner In Time’ brings together Fisher Turner’s field recordings collected with de Waal in
Vienna and LA alongside placed materials and architectural interventions: porcelain vessels, furniture and vitrines. This huge soundworld combines elements of de Waal’s own history, detailed in his 2010 memoir The Hare With Amber Eyes; the Schindler House itself; its former resident John Cage, along with sounds swapped with Ryuichi Sakamoto into a meditative drama, poised between action and stasis, mischief and grace.

Soviet Space Research Institute (SSRI) is a musical scheme led by Vladimiros Peilivanidis under the moniker Heinz Kammler. Similar to other HK by-products such as ITPDWIP (Instant Teleportation Process Detected While In Progress), SSRI is influenced by early Soviet and Western electronix of the likes of Detroit, Bristol, Munich, and St. Petersburg.

ARPA Spatial Industries is a fictional exotic tech R&D firm operating from 2036. The SSR Institute is exploring the cosmic endeavours of ARPA S.I. as presented through a series of public commercials.

In this episode, we cover three particular commercials released between April and September 2036.

“ Xerum 525 “
A marvelous piece of exotic chemistry, Xerum 525 is an artificial compound developed by ARPA Industries in association with Bend Systems, the only company run entirely by Homos and not Digital Twins, or Self-Centered Intelligence.
While its source genetic code is blurry, speculations suggest that Xerum 525 originates from a combination of research conducted between the Hermetic and the Nazi eras.

In addition, it is yet unknown how this compound is being utilized by the tech giant, although most schematics, algorithms and patent filings subjecting Xerum 525 involve some sort of timestamp mutation protocols, hence Bend Systems is involved, a legal entity known to be tackling with molecular dispatch technology distributed through time “checkpoints”.

“ ARPA Interceptor ”
One of the most controversial spacecraft developments of this year was the proposed ARPA Interceptor blueprint, designed by the award- winning space- dynamics engineer Alexei Cherepanov.

Dubbed as the first commercial one-seater spacecraft, the ARPA interceptor is capable of performing a full cycle around our solar system in less than 11 earth- days and with only a single charge of its graphene- powered cells.
While the Interceptor is designed for those willing to pay the extra mile in order to enjoy private space rides, it is said that the autonomous aircraft will be able to intercommunicate with various ARPA stations all over the solar system, essentially providing metrics every time an Interceptor is at use by its owner.

“ A black cat’s journey to the other side ”
The initial propagation material is showcasing the first successful instant teleportation process as detected by the SSRI observatory. In this case, ARPA managed to transfer the physical representation of a black lab cat called “Pierrot” to one of ARPA’s MAS1-mission stations on Mars.

The technique used in the successful operation involved photonic technology, quantum entanglement principles and molecular-scale 3D printers.

Furthermore, the operation was a joint effort between ARPA, the space logistics giant Hermes 3 (H3 Interstellar), and Harvester Inc., a leading mining venture operating independently from Mars and the first legal entity run entirely by machines.

Additional telecommunications infrastructure was provided by Orion Industries, the company behind the popular TAF-1S smart hand-held device.

While critics suggested that the incident cannot be confirmed as “teleportation” since in essence the original subject was scanned, erased from existence, and reprinted on ‘the other side of the line’, adding that such a scenario holds bioethical concerns about whether we’re really transferring the real thing, or we create an identical replica, ARPA cits that this is the first step towards near- instant physical, digital, and biological data transfer over extraterrestrial distances.

“ Cold Summer ”
This is not an ode to the Aussies enjoying sunny beaches during December, but an audible set of frequencies tailored to transmit a Cold Summer Vibe on Mars’ capital Cydonia.

During the six-month long summer on the red planet, Synths enjoy the hills of the Southern hemisphere where temperatures can remind somewhat of planet Gaia (former Earth). The Sun is on a heating spree, cleaving the planet with gold-red rays of thermal radiation.

At that period of the year, the hills are a popular destination for romantic engagements, and hard-resets. Additionally, the hills are considered a must experience while on Mars for all interstellar intelligence.

Spirit & Form unfolds a rippling waterfall, an oceanic wave of sequenced sound to safeguard against the drowning of a city-stressed soul. Like a spa for the brain, relaxing your meditation muscles with melodies of deep dreams and high hopes. A digitech video ad for a coconut-flavored aperitivo with ice-tickling images, new age flavors, fluorescently-lighted polygon meshes and deepdark shading. Well, all these spirits are taking new form here; electronic exotica and slow burning ambient prepared from a deep-felt love for specific vibes and spaces. A very personal and perfectly paced soft swinging masterpiece.

Spirit & Form is inspired by growing up in the 80's and 90's and all that this includes and inflicts; tv news intros and animated series, never ending ambient adventures and first person gaming, office clerk cubicles and its vestimentary code, hair highlights and glossy textiles, rompler synths and video manuals, digital high sheen and synthesized reality. All this in perfect harmony with nature's high frequencies and its effect on mood and composure, like calmness in the eye of a storm.

Spirit & Form is the brainchild of co-conspirators David Edren and Bent Von Bent, who both released soloalbums as DSR Lines and Ōgon Batto, respectively. S&F is a next step in their path of exploring various works of output. This new project breaks their initial setup of improvisation to explore a more compositional modus operandi.

Spirit & Form is the result of numerous programming and production sessions between 2017 and 2019, one being a week at a reclusive residence in the outskirts of Zeelandic Flanders (next to the renowned Drowned lands of Saeftinghe) where most of the album's tracks came together.

Queen Sound' is an album inspired by a visual world governed by whetted femininity, populated by impish silhouettes, twisted bucolic landscapes and wide-windowed interiors.

Sunatirene is the solo project of New York via Baltimore musician and sound artist, Sydney Spann. She uses archival samples, strings, field recordings, chance operations, and lyric poetry to fashion melodies within soundscapes. Spann's live performances often incorporate a rotating theatrical iconography to match sonic motifs. She released her debut full-length ‘Trepanning’ via Ehse Records in 2015. ‘Queen Sound’ is her second full-length, and her first release on She Rocks!

Dark Fields stands out from the barrage or recent Spanish experimental-industrial underground
re-issues as one of the most obscure and surrounded by mysticism.

One massive track with no cuts, recorded in 1979 under the motto "a silence that makes dogs bark" and released by Klamm in 1983 in a tiny edition of 300, the trio disbanded shortly after finishing the recording and never looked back.

Darker than tar atmospheres with Resident's like vocals, this is the brainchild of Caballero T's obsessions with Brian Eno's work, who found the perfect partners in Tres' psychotic vocals and the studio wizardry of Señor Nada. Reissued by Madrid's Equilibrio, who already gave us Randomize's ¿Como se divertirán los insectos? Not for the faint of heart. Get yours while they last

London-based producer and DJ Tarquin has returned to Gobstopper Records for his second release with the seminal underground label, 'Grease'. Tarquin delves deeper into the boundary pushing sound that his productions have become synonymous with for this two track release, out on digital and 12' vinyl formats from 5th may. The release's A-side, 'Grease (Chord Mix)' is a high tempo example of the genre's more experimental side, using fragmented percussive samples set to a background of pitch-bent chord stabs and twisted melodic elements. Providing as much impact in the track's negative space as in its instrumentation, Tarquin's minimalist approach to production on 'Grease (Chord Mix)' establishes its boldness and makes it one of the most recognisable examples of deconstructed club music of the year so far. As a counter-point to the abstract starkness of 'Grease (Chord Mix)', the release's flip side 'Foxtown' utilises ominous synths and distorted bass tones to tackle the more upfront sound of first generation grime production. Tarquin adds short, sharp chops of texture to the mix from every angle, creating a sound that feels robust without ever adding too many layers. Using revered trademarks of the genre's sound such as MIDI flute melodies and menacing pads, 'Foxtown' brings to mind a more glitched-out interpretation of some of Dizzee Rascal's 'Boy In Da Corner'-era production work. Tarquin's second release on Gobstopper Records is the sound of an artist mastering his own experimental sound whilst acknowledging its foundational elements. This flexible approach to his productions places Tarquin highly in the ranks of the UK's forward thinking club elite and makes 'Grease' one of 2017's exciting and essential grime releases.

Remastered Reissue des zweiten On-U Sound Katalogalbums, des Post-Punk-Klassikers "Pay Attention!" der Mothmen von 1980. Exklusive CD-Erstveröffentlichung mit 6 Bonustracks, davon 3 bislang unveröffentlicht, die alle als mp3-Code auch auf der LP enthalten sind. The Mothmen bestanden aus Mitgliedern der beiden Manchester-Bands Alberto Y Lost Trios Paranoias und Durutti Column und mischten Gitarrenriffs mit Ohrwurmmelodien in einer Dub-Produktionsästhetik. Für Fans von Wire, Gang Of Four und Public Image Limited.

The Sound Wizard behind the name The Small Crowd is Martin H. His influences are all over the map and he's been remixing, producing, arranging for other artists in Sweden for some time now.This is his solo project where he blends his heavenly, mostly instrumental, mix of electronic music with a classical string quartet (Rosa Kvartetten).Adventurous and beautiful.

For Lionoil's 4th outing, formerly supine Edinburgh top cat Thinktank takes us on a dive around his subaquatic crib, drifting between it's many chambers - each one stranger and more manic than the next. Within this flooded house are cupboards of digi-dub hysteria, boxes of ginger-snap crunchy electro and an attic full of flailing blippy techno that Thinktank has offered to dancefloors outside and above. Three tracks cut at 45 for the club, built for enhancing maritime mindfulness and amphibian serenity. First up, 'Salve' protects our skin and soothes our egos. Flip it over and deadly digi-dub rain-dance ceremony 'Computers Need More Africa' does exactly what it says on the tin. Finally, 'Underwater Allies' is Thinktank's entrance theme/warrior's dance/getting out of the shower groove.
Hold your breath and embrace the chill - we'll supply the goggles.

Words that capture this resultant outcome. A spectral haze of subconscious, living rhythms. A meeting of mind-tribes. Close; Kudo; Ruscha; Tripp. Hear, the discovery of Tkil.
Such collaboration can bring powerful interests, mixing diversity with vivid psychedelic motions. Soundscapes of improvised beats, jamming intersections float and pierce the sonic sphere. Aural poetics illuminated across satellite optics, NYC-LA-NYC-LA.
The quartet creates in a non-linear, multiple level, liquid sequence. Four individuals, their subtle personality's reiterating sonic textures to form cascading minimalist atmospheres, chimes and percussion - diffused harmonics of ethnic vortices descending endlessly. Acting as coordinates that search for their source, a purity of multiplicity is presented.
Together these are focused experiments, raga-like meditations of precious expression from artistic connotation. Visionary; subtle; mysterious. Their essence an eclectic blend of composition, a natural but technical expression of cosmic minimalism and world music influence. The outcome is a magical encounter of artists finding a creative affinity, sweeping downstream on a rolling rhythmic magic muse, beyond a bizarre excursion to capture the thrill of modernism, moments that reach the soul of alienation and togetherness in equal, savant, infinity.

Juddering bangers and hypnotic body-rockers, dazed spells and rootical wig-outs spun from early Detroit, West African field recordings, dub and beatbox hip hop; rough as fuck and clatteringly percussive, but shot through with a gritty numinousness. Soundboy techno; Stokey worries.
Gorgeously sleeved in midnight-black art-paper, intricately printed in silver with the visionary photography of Katrin Koenning, folded by hand and packed into Japanese cellophane envelopes.

Instrumental music is supposed to be asemantic and yet a rich language of rhetorical gestures has grown up around it.
None of them may have a specific meaning but they easily lead the listener towards an emotion, a sensation, an embryonic story. Does any of this mean that music is abstract Or does it, to the contrary, mean that music tells a story There is no abstraction without a story. Is there a story without an abstraction The composition on this album, is it a radio play Tropa Macaca = André Abel and Joana da Conceição

Check out their earlier albums, they're just as great.

2021 repress of Tupperwear’s 2017’s sophomore album, Mokele Mbembe.

Rising from the ashes of legendary underground Tenerife outfit Colectivo Drone are Tupperwear - an organic electronic duo formed by Daniel García (Salétile) and Mladen Kurajica (Gaf) in 1999, Tenerife. Since then, and for the most of 20+ years they have been unleashing electronic waves of sound from the Atlantic island by way of intense live and a series of uncompromising and unclassifiable albums and EPs.

Taking cues from a wide spectrum of electronic music classics, mostly the more pastoral and frantic electronica of Aphex Twin et all circa the late 90’s, whilst at the same time adding their own mischievous and tongue in cheek approach to composition and performance, Tupperwear have for the last 20 years been responsible for some of the most intense live performances the island has seen whilst also taking their anything goes, improvisation first approach all over the world, tis includes virtually all of Europe (east or west), Japan, China, Peru, Colombia, Equador or Mexico, you name it!

In 2017 the local festival and label Keroxen published ‘Mokele Mbembe’, their 2nd LP of twisted electronica which is here repressed to a wider public after the success of their collaboration with São Paulo Underground and Chicago legend Rob Mazurek. (Saturno Mágico, 2021, Keroxen).

Unslaved's 'Punjab' is a journey through three unconventional club tracks, hear genres entwined, sounds broken down and set free in the most spell-binding way. First track 'Punjab' is an eight minute creeper built from insane drum patterns and layered with an eerie, yet blissful melody. With an almost ambient quality, Punjab is an off- kilter yet perfect. On the ip, B1 'Apogee' is a dark masterpiece with the rawest, yet most striking of characters. A track that wouldn't have been out of place in early dubstep or grime circles with a spine-tingling bass line, 'Apogee' has that sparse, stripped-back feel where listeners discover hidden elements on each listen. Exploring the murkiest corners of electronica, 'Apogee' is an intense mover that sets a high standard for the release.

'TTA' or 'Tom Tom's Advanced' makes up the nal number on the 'Punjab' EP's trio. Just as dark as 'Apogee' and just as eerie as 'Punjab', 'TTA' casually switches from genre to genre and could easily be the soundtrack to a video-game (on acid.) Mind- bending build-ups, mystery samples and wavy breakdowns make 'TTA' a twisting and turning journey through the underworld of dance.

The Limited Series continues with the 9th release on the sub label. BPLS009 presents a 5 track compilation of stripped back and scantily clad drum tracks. 2020 hasn't been the year for clubs so here's something low key. The opening track "Pitch Control" comes from Guava. A subtle composition of percussive tools and well crafted sub bass, further exploring his sound from previous appearances on Holding Hands and Control Freak. LUXE fka DJ Luz, the Manchester based producer and B.L.O.O.M affiliate provides her debut track "Falcon's Rise", a nostalgic remedy with a euphoric vox and scattered jungle drums.

Part two opens up to French producer Pipholp, his second appearance on the label, adding another broken beat, IDM inspired jazzy house entry with "Angers". A sense of patience between moods leaving you in limbo. Monotronique also joins with "Beat Himself" on the B2, a no nonsense bass heavy DJ tool for that specific peak occasion. More danger after his debut appearance on the Black Label Series (BPBL03) last year. In a total mood change, the release comes to a meditative close with "Wide Awake" from Padre Oe. A collaboration between Pete Lazonby, an artist with a long history most known for his chart heading solo production "Sacred Cycles" on Brainiak Records in the 90's, and Otto Fischer, a Nigerian free-improvising singer, lyricist and guitarist best known for his guitar work with the Alexander Hawkins Ensemble. The track also features Henry Lowther on trumpet, widely recognized as one the UK's best, and the strongest contributor to Talk Talk's Spirit of Eden with dozens of top of the pops appearances with a spanning list of important and renowned bands appearing at Ronnie Scott's to Woodstock. The mood is Blue. One Love. BP x

* Spearhead Records bring back some of the most requested tracks from the back catalogue.
* Tracks from BCee, Mutt, LSB, Technicolour & Komaic (aka Technimatic), Seba & Redeyes.

* Spearhead Records bring back some of the most requested tracks from the back catalogue.
* Tracks from BCee, Alix Perez, Netsky, Riya, Technicolour & LSB.

Living in a post capitalistic desert, rural south holland, the only social meeting point, your local
LIDL (europe's number1 food retailer), must be GOD itself.

JAHMONI proudly presents - The World of VENDERSTOOIK - that weird & enigmatic
collective with its vibrant online community having pushed some sound for years beyond
comprehension, a genre of its own, rooted in Gabber, Goa & Rotterdam Techno.
This Situationist Ensemble will explain to you why Indian Week at LIDL is not just a marketing
move but more an inspirational sending from God urging you to find spirituality in places and
things that seem boring and dull at best.

As certainly one of the most promising shooting stars of european underground techno in 2016,
having toured thru central europe, with their contribution to the break-thru release BATTLE
BREAK on the frontier label PRR! PRR! - 'We don't understand this record, but you need to
have it' (UK Music Press) - having reached wider audiences, are now back with a puzzling 30
mins Vinyl ranging somewhere between EP and Album.

It wouldn't be proper VENDERSTROOIK if they had all done it themselves, of course. In the
spirit of their grown grassroots DIY producer community, hammering out tracks daily, reviewing
and remixing simultaneously, this record has at least 5 different acts aligned together while it is
not a compilation, more a cohesive concept album exploring the borders of dark techno, burialstyle
dystopian techno dub & noise.

Letting BELP from Munich start off the A-side with a polyrhythmic, glitchy post dubstep club
track with spacially distorted noisy wobble basses and a challenging arrangement for most
dancefloors, moving to a more stream-lined techno track very much in the same vibe from
finnish producer SECT-ION over to Zaquoir from Leipzig (whom we know from SVS Records)
to end the A-side with a more ambient amalgamation of field recordings with dub elements
ending in a natural sound environment.

Turn the record over and VENDERSTROOIK finally teaches us how 15mins of dubbish
minimal dark techno remains fascinating, never seems to end or to repeat itself the slightest.
Based on material from UK-based MENOPAUSAL HOUND DOG, this epic tune, though
minimal, slightly shifts and phases the few elements of this dubbish dark techno track resulting in
an endless build-up that should make every listener happy even unfamiliar with the peculiarities
of the VENDERSTROOIK universe.
Busy preparing their own label as the natural next step for future releases, meanwhile JAHMONI
is honoured to bring you this release as 200 copies limited hand stamped white label 12'.

Aer recent reflections on kosmische sonics and so focus synthesis, Origin Peoples' latest release is an in-depth exploration of our universal dance floor grammar from Italian producer Whodamanny. A key member of Naples' cosmic funk contemporaries, Raaele has put his psychedelic stamp on Periodica and Gravi Grati, both in solo mode and as a member of the notorious Mystic Jungle Tribe.

His debut solo LP, (and first outing on Origin Peoples) 'T.C.P.' travels a retro-futurist timeline between the esoteric electronics of Italy's rich library heritage and a chrome-clad brand of robotic body music perfect for the o-planetary resorts of the near future. Coastal, cosmic, funky and far out, this is the perfect distillation of the Neapolitan sound that's been turning heads and moving bodies in recent years.

In its fleeting half-life, the fragmentary 'Eurasia Aborigine' serves as both introduction and adjustment period, exposing us to a swell of electromagnetic pulses and establishing the synthetic flavours to follow. Launch protocol complete, 'Centum-Satem' employs maximum thrust, hurtling through proto techno sequences, breathless snares and a bubbling bassline while solar flares provide flashes of extreme ASMR stimulus. 'Hypothesis And Contradictions' brings things back down to cruising pace, the metallic chime of a hypnogogic percussion grid underpinning the freeform bleeps of Manny's radiophonic workout. Growing in amplitude, these electronic abstractions bleed into the opening bars of 'Electronic Sheets', building anticipation before the track flickers into the maximal sound of high grade synth funk. As the snapping electro rhythm and Laswellian bass lick take possession of our primary motor cortex, the Neapolitan producer explores hi-tech jazz tones and wild solos, translating Zawinul's "Dialects" into a fresh lingua franca for the future club kids. Body language predates speech and Manny's keen to remind us that movement matters.

Opening the other side with whooshing white noise, tender jazz tones and glistening glitches, 'Kurgan Cot' could easily be Capri by the Sea of Tranquilli, while the techno-tribalism of 'Kunda Nemunas' fuses shoulder rolling polyrhythms, thick slabs of square bass and exotic mallets into the greatest groove the Cosmic club never heard. From there we take a moment of reflection via the mystical bells and hazy interference of 'Blitzkreig Mith' before 'e Light Of TCP' lis us into an extended out-of-body experience. With Whodamanny as our guide we spend ten blissful minutes gliding through crystalline melodies, intricate solos and entheogenic tonali with only the subtle percussion and precise bass sequence keeping us tethered to our space-time continuum.

Wonderfully wayward electronic vectors from Dorchester's Yaaard, aka Chris Catlin, overseer of sleeping giant Reckno Records. How to Download a Glass of Water compiles work spanning the breadth of Yaaard's conscious output - from gorgeously folding magma through to serrated dancehall and icy r'n'b introspection. This LP contains two previously unreleased tracks: the lo-fi slow-burner "Forses", and "What Now", a soaring outsider pop duet with Teresa Winter (The Death of Rave).

How to Download a Glass of Water will be pressed to a limited run of 300 records, with artwork by Paul Greenan and Chris Catlin. A giant A0 print of Paul's cover art will also be available. Out May 31.

Croydon's Yearning Kru uses digital technology and specifically sampling to make a unique lo-fi psychedelic environment. There is a large visual element with all his artwork self-made and live performances accompanied by his own distinctive visual montages. His work is inspired by the world-building aspect of various literary fantasy environments, especially Gormenghast and Dune, and the music is a psychedelic representation of landscapes rather than narratives of characters (as more song-based music might represent). The tracks function as viewpoints into a world for a brief period of time, and the world represented is one of small workshops toiling and churning in the shadow of great hives of technology. The title "Copper Vale" is meant to hint at something both pastoral and bucolic, a valley or secluded glade, but also recognising the industry and electricity that drives our world, something that is often set at odds against nature; also the genres of fantasy and sci-fi, that show ideas of past and future through these archetypal cultural ideas. His previous albums were the two-part cassette "Cracked Lacquer/Vanadium" on Patten's Kaleidoscope records (and it's remixes), his own self-released "Red Ice" and "Forways" on Quantum Natives as well as various self-released EPs. Much of "Copper Vale" was created in South Korea and Taiwan where he is now based.

On the A1 cut is none other than Om Unit, who flips the original of the track ‘Hold on’. Mr Unit takes the original Piano hook and puts some serious weight behind the drums and baselines to give this remix a classy drum & bass twist. The remix contains a very distinct Om Unit flavour and is a collaboration of the highest order.

For the A2 cut is a Deep Heads favourite, Nottingham due Congi. Congi have stripped back the vocals for their remix and added their signature sound. The beat work is remarkable and all round production is impressive. A fantastic display of what these 2 talented producers are all about.

Then on the flip side and for the B1 is the one and only Ash Walker, with his interpretation on the track ‘Stars Glow’. Ash pitches down the original vocal and takes this remix somewhere far away from this planet. It’s gritty, twisted and bursting at the seems with low frequencies.

The beats and hard and punchy and is certainly one for the sound system crew. Finally for the B2 side is LA based producer Feverkin. We’ve had our ear on this talented man for a while, so is a honour to have him giving us some of his Feverkin flavour. His remix of ‘Night Wave’ is exactly what we were expecting from him and does not disappoint. He adds some signature 2step beats and sounds that can only be described as Feverkin, but keeps some of the original energy and mainly vocals for this incredible remix.

After more than a decade of deep, expansive productions on labels such as Detroit Underground and CPU, Annie Hall arrives on MUSAR for a record typically rich in texture and understated grooves.

Opening track 'Linium' immediately seduces listeners with a complex drum pattern that somehow feels spacious, subtly twisting and turning its way around Hall's analogue world. Dutch artist Mattheis maintains this understated feel but adds a soft, compelling kick in response on his suspenseful remix of 'Lavandula'. The original, moodier version of this cut the follows to open the B side, gradually erupting around a killer distorted bassline. The EP continues to hit a more urgent note with the tense machinations of 'Silene', where dense layers of stuttering, frenetic drums interweave with Hall's trademark, melancholy keys. The record concludes on a weightless, transcendent note with 'Santolina', taking each visceral element featured thus far and slowing each down, with affecting results.

Indebted to vintage electro and IDM, Hall's music is no throwback, always looking forward and moving dancefloors in the most unexpected ways.



DJ FEEDBACK

Early support from



Michael Mayer (Kompakt) : Nice vibes from Mattheis... will play for sure!

James Zabiela (Born Electric) : Linium is a nice one, thanks.

Arnaud Le Texier (Cocoon / Chronicle) : Nice music. Thx!

Marcel Dettmann (Ostgut Ton/MDR) : Thx!

Carl Craig (Planet E) : Thx!

Gonno (Beats In Space Records / Endless Flight) : I like Mattheis' :)

Thomas Hessler (Index Marcel Fengler) : Nice one! Thank you!

Slam (Soma) : Thanx

Âme (Innervisions) : Thanks

Blasha & Allatt (Meat Free / Manchester) : Amazing!

EREZ / John Byrun : A superb EP

Tom Lye (Melodic Distraction - Liverpool) : Big fan of the whole EP. Strong, building electro with different moods. Essential!

Afrodeutsche (NTS / LuckyMe / Skam) : Glitchy melodica... Right up my Strasse...

DJ Shiva / Noncompliant (Valence / Detroit Underground) : Stellar music here. Moving beyond "DJ music", this is just really fantastic to listen to in headphones. Gorgeous stuff.

Lonya (Asymmetric Recordings) : Great stuff here!

Nori (Posivision) : Cool work.

Cinnaman (Rush Hour / Naked Naked) : Lavandula and Santolina are my favorites! thanks

Dj Windows XP (E-Beamz) : Dope E.P. Will play Lavandula.

Ambivalent/LA-4A (Delft/Cocoon/Ovum) I'm a huge fan of Annie Hall and Mattheis!!! This is a FANTASTIC release!! One of my favorites of recent months just on first listen!!

Benoit C (Tsugi) : Linium for me

Ian Blevins (ESP Institute / Sulk Magic) : Linium and another bit of top work from Mattheis. Santolina is pushing my buttons too. Aphexy vibes.

Joe Europe (Ransom Note) : Very nice!

Azterisco: Very interesting record. Nice remix!

Oded Peled : What a fantastic release! Was hard to choose a favourite between Linium and the Mattheis Remix of Lavandula. Both will come in handy in my sets. ....Thanx a lot and keep em coming.

Naduve (Cocktail d'Amore / Disco Halal) : Both A1 and A2 are great!..Thanks.

Anastasia Kristensen (Nous) : I dig this a lot, it's a crazy well produced record.

Demia E.Clash (Darknet) : Such a good ep-.i love them all,quality production yess.

Pedro Martins (Karakter Records) : Nice EP overall. Linium, Silene, and Santolina are my favorites. Thank you so much!

Xinobi (Discotexas) : Great record. I'm specially enchanted by the original version o Lavandula. Congratulations.

Scan Mode (DJ Mag Spain) : Lavandula in both mixes for me

John Osborn (TANSTAAFL) : Can't pick a fav. it is all Devine. thank you.

Madloch (Sound Avenue) : Nice EP, Linium & Lavandula original are my favs, thanks.

DVS NME (Transient Force) : The standout track is Lavandula.

After two much-sought-after releases from DJ Chupacabra, Carpet’s Steps series just had to come back with a third. ‘Finissage’ and ‘Subsonic’ on the A both live up to their steppy billing, the beats dipping and diving in and out of pads and samples that nod unashamedly to UK garage and dubstep. On the B, ‘Wooded’ is a new-school minimal groover for a housier crowd, while ‘Dranzer’ rounds things off with massive bass, R&B-esque samples and just enough of a pinch of acid.

Repress

Long out of press, Helium’s seminal 1993 masterpiece ’The Works’ E.P. eventually sees the light of day again on Kalahari Oyster Cult. A head-turning slab of visionary house and trance music, ’The Works’ hasn’t aged one bit and its dancefloor appeal sure hasn’t lost any of its high-impact melodic beauty. Driven by the subs-towed harmonics of the wistful ‘Out There’ and fun-loving cowbell rides meet gut-churning 909 kicks of ’Try Me’.

An off-kilter ambientoid trip, B-side opener ‘Clouds’ draws closer to The KLF’s chromatic blends, whereas ‘We Are The Future’ expands the scope to further utopian apexes with its soothing assortment of nu-agey panpipes and slo, Sino-flavoured chug. Rounding off that mini-odyssey, breaky pastoral closer ‘What Is The Human Machine’ takes us on a trip-hop-informed, acid-friendly ride in the wild.

Helium’s classic is now back in fully remastered shape (OYSTER20.1)

Homemade Weapons has established himself as one of Drum and Bass’ most vital artists, sculpting a signature style that has garnered wide ranging support from Om Unit through to Calibre, Loxy and on to Donato Dozzy. With his Negative Space debut LP for Samurai Music, Homemade Weapons planted a jagged flag, attracting critical acclaim and igniting a new era of breakbeat manipulation.

The first in a series of vinyl and streaming platform-only white label releases on YUKU, featuring known artists releasing under different new names. We introduce "Imaginary Number" with four deadly 130-bpm clubtrax. Tracks from this release have enjoyed radio support from Madam X, Tom Ravenscroft, Mary Anne Hobbs, Surgeon, and Breaka!

A metaphor about diversity and passion for athletics. Looking for inspiration in our environment, as diverse as quality electronics, as extensive as a marathon. Biome Laps wants to take a lot of laps within the IDM universe, electro and the most evocative ambient. This new Madrid electronic music label of José Merinero, which in 2021 celebrates 20 years in music, 15 since he launched his �rst references on his own labels such as City Archives or Ultrix Records and 10 since the creation of .Àrtico Netlabel, his pretty girl, which has allowed him to move in the national underground, and in festivals like L.E.V. and what has been your home to look for that diversity, to �nd that electronics without labels under the name of JM. Here, in addition, it has been able to count on the collaboration of great spanish producers in some references. Passion for electronics speaking of José, he falls short, so he decides to create Biome Laps, where we will �nd timeless music, on vinyl and digital, and above all local music, made with a lot of passion. A veteran who debuts with his own name, showing himself without more, with a single objective, to give back to the music he believes in, everything he has received in return…

semi clear green vinyl

"Since our debut release on YUKU, our perspective about the many creative possibilities open to us has evolved.

With "MAKTUB," meaning "It's written," we're clearly stating that it's time to dive deeper into our musical ethos and production. It represents a significant step in our self-discovery, and a big step forward from the debut EP.

On this sonic architect project, we managed to make a strong cross-Atlantic connection with the various features on this LP and make geographical boundaries evaporate. This genre-fusion release was formed in pure isolation and solitude from all sides, but the final outcome brings a feeling of even stronger unity within TRAKA, and also at same time preserves our personal individual creative identities."
- TRAKA

Over the past year or so I have watched as the releases on Holding Hands got more and more intense. Don’t get me wrong, I love it. Intense and straight to the face was always the plan for the label. At the same time I do have slightly more varied taste and I had been getting sent a decent amount of incredible music that didn’t quite fit on the original outlet. My first love when it comes to electronic music is dark, eyes down, bass heavy and so it seemed like now was the perfect time to create a label with a slightly deeper angle to accommodate this sort of thing.

After having released an initial set of smoked-out grooves, Agonis shifts focus towards the nerve tingling aspects of his craft. On "Neutropia", Agonis' first full-length effort, the artist devotes his attention to the outer rim, shedding all earthbound notions in the process. Listeners are presented with 50 minutes of lysergic experimentation, effortlessly gliding between cerebral rhythms and more forceful frequencies.

Keplar re-issues the fourth album 'Chessa' by Dan Abrams' project Shuttle358 on vinyl for the first time. The double LP edition includes 3 previously unreleased tracks from the same recording sessions back in 2004, as well as an extended artwork with unseen photographs by Dan Abrams.

While undoubtedly associated with the microsound and 'clicks & cuts' movement around the turn of the millennium, on 'Chessa' Shuttle358 left behind the classical rhythmic patterns of the genre and shifted further towards warmer territories, meandering between modern digital minimalism and the soft tones of ambient music. Counter to his microsound synthesis approach on Frame (2000), Abrams created Chessa by writing software that manipulated samples from his unreleased songs, guitar pieces, and vintage japanese films sampled from video tape. In particular, a special granulating technique was written and performed at intentionally low sample rates that gave the uniquely fragile, yet dense sound to the album. Over fourteen tracks Abrams arranges slowly evolving sonic entities of unfading elegance. Strayed and hazy melodies pulse and cascade, elongated but brittle harmonies shimmer and disappear, echoing far-off in the rounded corners of the mind. The patient and detailed way Abrams combines the broken with the beautiful in creating organic collages of sound that retain the euphonic essence of a song, makes this piece of work so powerful and timeless, sounding just as relevant today, as it did 17 years ago.

Under modern scrutiny in Abrams latest studio, he refocused the original recordings to emphasize the elements most important to the original vision. The final mastering and vinyl preparation was done in collaboration with Stephan Mathieu, vinyl was cut by LUPO.

From the original press release in 2004 by Taylor Deupree:

Without a doubt Shuttle358 has become one of the most admired artists to emerge from modern electronic music’s sea of musicians. From the humble beginnings of a demo CD in 12k’s mailbox to 4 critically acclaimed CDs, Dan Abrams is, to some, the one credited for bringing a warmth and human touch back into what has often been considered a very cold, sterile genre. It began with 1999’s Optimal.lp (12k1005), a groundbreaking debut release that immediately defined the Shuttle358 sound; a hybridization of the then-emerging “microsound” genre with Eno’s true ambient explorations. In 2000 Abrams outdid himself with Frame (12k1011) by honing his sound design and exploring production techniques at rates that made his “now” quite brief and creating what was to become one of the most sought-after CDs in the 12k catalog.

Chessa is the third release from Abrams’ Shuttle358 moniker on 12k and he continues to do what he does best: attempt to move microsound away from the world of theory and towards absolute real life. Like his photographs, Chessa is music about, and to be listened to in, unexpected places. It is a narrative, a simple slice of life that plays out through the incidental photography of the cover artwork. To achieve this Abrams fuses irregular granular sound particles, like the movements of everyday life, with a deliberate melodic base that captures emotion and simplicity.

- limited edition 10" vinyl
- hand stamped
- no digital
- never to be re-pressed

xpressed by synthetic voices, they present a futuristic take on modern electronic music.
Lush sounds of classic analog synths, modular drum machines, and digital sources merge into unheard soundscapes within their voltage driven root system. Six tracks combining various paths of the electronic landform into a musical journey framed by Kris Wellings’
uncanny chants. Garden Scene is a trip from the aesthetics of Detroit electro to complexity of IDM to harmonic outbursts from the abyss of contemporary pop culture.