Beats Vinyl New Releases - News

Top draw Junglist producer Dub-Liner represents for Concrete Castle Dubs and delivers two massive lickshotz, one of which drafts in legendary dancehall don General T.K. live an' direct. Nah miss

10" vinyl cut and mastered by Shane @ Finyl Tweek.

Tracklist details printed on the a-side, logo handstamp on the b-side.

Dunk is well known for his productions as ½ of the renowned Jam Thieves Playaz. Now the Sao Paolo based artist is fully focused on his solo career and has provided Liondub with a 4 track EP, specifically made for vinyl, that pushes the boundaries of his experience in DnB. This is deep, hard hitting, rolling drum and bass guided by new ideas from an artist exploring music outside of his comfort zone. With recent releases on Sofa Sounds, Subliminal and Chronic, Dunk is thriving as a producer on his own, and it can be heard clearly on the “True Funk” EP.

Japanese pipe-organ builder and sound artist Yosuke Fujita provided us with one of the prettiest, weirdest records that passed over our desk last year, essentially a custom-built organ duet with a bat colony, recorded in a cave beneath Mt. Fuji. It’s now been remastsred by Rashad Becker (with whom Fujita will be collaborating on a performance for Issue Project Room next month) and captures a sound somewhere between Sarah Davachi, Eleh, Pauline Oliveros and Kali Malone’s long-form organ dirges, with the bat calls sounding almost like a synthesizer piped thru an echo chamber.

Since 2009, Fujita has been recording almost exclusively with his custom-built pipe organ: a unique instrument made from 11 pipes and a blacksmith’s air pump. All of his recordings are worth hearing, but “KŌMORI” is among the most unusual and rewarding - 40 minutes of alien, pensive organ drone that echoes around the repeating, reverberating squeaks of a colony of bats.

Inspired by the fact that bats were the source of many recent viruses - like Ebola, Nipah and Hendra - Fujita grabbed a Sunken CO-100K microphone that was capable of picking up their ultrasonic echolocation. These sounds, captured in a cave beneath Mt. Fuji, are totally alien, like chattering sine waves or wobbling modular business. It’s the perfect foil for Fujita’s well-worn courtly organ variations that mirror traditional Japanese 7th century gagaku forms.

The rhythmic click of the air pump guides Fujita’s bellowing drones, drowning out the cave’s uneven spaces. Sometimes the bat sounds are reduced to a whisper, at others - such as on the crushing third part - they’re almost deafening. Fujita processes these sounds expertly, occasionally mirroring their fluttering tonalities, at others simply allowing the unusual frequencies to cascade through the empty caverns.

This is properly vital new music - sonically adjacent to Medieval church music, but also austere early electronics, spiked with a brilliantly asymmetric streak all of its own.

From a stylistic perspective, all bets are off as modernist bass music bowls forward with its sights on the dance. Over the past three years, J-Shadow has embodied that ethic more than most with a hybridised flex snapping fluidly between lurid grime waveforms, rave-indebted structures and hi-tech sound design. A perfect fit for Sneaker Social Club’s own omnivorous tendencies, then.

Very few albums manage to unveil their roots so honestly and at the same time succeed in creating something utterly distinct. "Of All The Things" from Jazzanova is one of these albums.
Originally released in 2008 on Universal, it now gets a luxurious reissue on Sonar Kollektiv as a 3LP with pop-up gatefold cover including previously unreleased instrumentals.
This format corresponds perfectly with the elegant opulence of the music that shines even brighter eleven years after its initial release. At no time is it unclear that this album is a deep bow to soul from the 1960s and 70s as well as genres like jazz, brazil and pop music in the vein of the early Beatles.
Along these lines, "Of All The Things" is meant to be perceived as a tribute to the music that Jazzanova has been honoring affectionately in their DJ sets and which has always had a decisive influence on their own productions.
At the same time, the Jazzanova guys have been successful in casually creating elaborate musical pieces which convey a deeply contemporary vibe - not least because of the multifarious references to electronic productions.
The path to this sophomore long player, which features the contribution of over 50 studio musicians, had been laid out beginning with Jazzanova's first album "In Between" from 2002.

Long awaited Lenta tunes are hitting wax on TAPE HISS 007. The EP delivers well composed rhythms and odd sounds for your dancing and listening pleasure alike. Some brilliant tribal vibes here and some bittersweet moments there. It's all about intuition and diversity.

*Repress*

SUNANDBASS Recordings eighth release is on the horizon, an EP from none other than Marcus Intalex.

Tkać means ’to weave’ in Polish. On this album, Swedish–Polish composer and musician Marta Forsberg delivers two compositions that capture her unique ability to transmit visions of light into glimmering sonic landscapes. To weave: crossing threads of dreams and light under and over each other.

LED AND LOVE SOUNDS is a live recording of a piece based on frozen and processed violin sounds. Weave and Dream was composed on an OP-1 synthesizer, and Forsberg’s use of LED light strips played a crucial role in the composition process.

This is tactile drone music, enriched by Nikos Veliotis' mixing work (MMMΔ) and the mastering by Mell Dettmer (collaborator of Eyvind Kang, SunnO))), Earth, Tim Hecker).

"The composer and sound artist now lives in Berlin, but is closely associated with the so-called Stockholm Drone Society around artists such as Kali Malone, Mats Erlandsson and Ellen Arkbro.

Having recently presented a composition for an installation with LED lights with her album New Love Music, now combines older material from very similar contexts: »LED AND LOVE SOUNDS« was performed in an art gallery and consists of processed violin sounds that Forsberg layers into haunting drones in front of the clearly audible soundscape of the room. »Weave and Dream« has been written for synthesiser and was part of an installation style that combined LED lights and fabrics with music.

More insistent in style and more intense in sound, the effect of »Weave and Dream« is similar to that of the first piece: Forsberg’s music enters into a dialogue with space and time that unfolds its full power even without the originally associated visual and physical experiences – very slowly and carefully, of course." (field notes)

Continuing our ambitious People Like Us vinyl reissue program with Welcome Aboard – a strangely relevant 10-year-old album (originally released in May 2011) when People Like Us aka Vicki Bennett became stranded in the US after the Icelandic Eyjafjallajökull volcano eruption closed much of northern Europe’s airspace.

Volcanically marooned in Baltimore and NYC, Bennett utilized some of her “free” time to work on the album and even gained audio contributions from fellow experimental musicians Jason Willett (of Half Japanese) and M.C. Schmidt (of Matmos) via her extended stay

Bennett derived thematic material of displacement, travel, and a longing for elsewhere from the natural disaster that caused her own predicament. Now strangely echoed by the Covid-19 outbreak and the various grounding of planes and stay at home policies worldwide.

While the general mashup culture often centres on the instant gratification of seamlessly juxtaposing hooks, People Like Us tracks transform the source material into collages that are equal parts dissonance and pleasure, making artful commentaries on our culture and Bennett’s own existential amusement within such a wondrous world. No one could have predicted how relevant this album would have been 10 years later.

Volcanoes or Viruses, Welcome Abroad is what happens when you’re stranded due to a freak natural occurrence trapping people all over the world and causing mass plane cancellations.

In 2018, way before we established our quirky little label & our ears were still young and unspent, in the deep sound forrest that is soundcloud we discovered an unpolished gem of a track, courtesy of Rebecca B, upcoming scottish born and berlin based banger producer.

Some years and life changing times later we are holding in our hand Rebecca’s first vinyl, dubbed „Murphy’s Law“, in accordance with the previously mentioned times.

Step right in with the A1 „Militant Margaret“ which rolls you off straight into Rebecca’s world, followed by A2 „Bionic Butterfly“, that certain gem we talked about earlier. On the B side you can follow Rebecca on a journey back to her roots. B1 „Odd World“ is a downtempo anthem with an infamous influence and B2 „Old Rapper“ its upbeat twin sibling. Welcome, Rebecca

Cobwebbed keys and dust mite spectres perfuse the dimensions of rooms 14-19 in the third and final volume of the Tape Loop Orchestra’s ongoing ‘Interiors’ investigations, subtly refining the Tape Loop Orchestra sound from vast and moor-like to minimalist and economic. Big tip if you’re into Tim Hecker, Basinski, A Winged Victory for the Sullen, Richard Skelton.

Again accompanied by a booklet of evocative “found” images, TLO vicariously probes our relationship to space and time thru the prism of domestic life, and more specifically, thru the spaces once inhabited by others. His music is a metaphor for the plasmic, entropic energy of human spirits, and their referential ephemera, using the glimpses of other peoples lives - as found in the booklet - as cues for haunting strokes of dilapidated piano coupled with cosmic sighs that strafe the soundfield like the timelapse of midwinter sun dialling an empty bedroom. The LP features two related pieces, while the CD revolves one long, immersive track formed of outtakes.

“Rooms are an incarnation of the people who inhabit them.
The selection of items are signs of status, emblems of their aspirations and signatures of private lives. Even when empty the omnipotence of the inhabitants is on display through the soft furnishings, artworks and trinkets.

Empty Time is the third volume of Tape Loop Orchestra’s Interiors series. Across the series TLO adopts a restrained minimal approach, focusing on the spatial aspects of sound TLO offers up a soundtrack to interiors bereft of inhabitants. Offering his own collection of found photos as a visual guide the listener is invited to meditate on the spaces we inhabit and what ephemeral energy is left behind when they are not in use.”

Once you enter the field of unity
You will feel the infinite source

Once you enter the field of unity
You will serve in presence

Once you enter the field of unity
I promise
you will meet yourself

Artilect's third EP for Samurai steps up the brute force and reflects the current global climate of frustration and constricted energy poised to explode. The title track steps with creeping malice, packing taut combustion with nods to the best of 90's era Dillinja. 'Spiral' is the highlight track here - pure futurism, a frenetic unravelling fireball punctuated with searing amen slices and sub punches. 'FK' is a rugged collab with Quartz that perfectly references and updates the golden era of DnB with tear-out amens and dive-bombing sonics. Final track 'Turmoil' is the 'Spiral' companion track, slicing up the clenched sections with rapid fire break hits that unknot themselves in focused propulsion only to be reeled back in tight for the next release. An EP for our times, Artilect continues to establish himself as one of the DnB scenes most promising names advancing the art form.

An Exact Science is a fantasy of long time ASC fans have had for many years (ourselves included) come to life with results that surpass our imagined results.

The new sub-label from WNCL Recordings features 12 short “tools” per release, for use on discotheque sound systems and home stereos alike. Released on 10” vinyl with digital to follow at a later date.

Denham Audio – the next generation of breakbeat scientists from the land of bleep and clonk – take some time out from their world domination plans to grace the Library Tool Kit series with an essential collection of heavy duty miniatures.

This is the new 2LP Best Of assembling the biggest hits and remixes produced by Fatboy Slim aka Norman Cook. Spanning nearly two decades of his career, Fatboy Slim still dominates the dancefloor as his international touring schedule demonstrates.
This collection includes multiple top 10 hits along with the most successful remix productions of his career. An extended digital version offers more of Norman's fruitful career history including Gangster Trippin', Sunset (Bird of Prey) and Everybody Needs A 303. This is the definitive release documenting the original superstar DJ.

Fresh from a release on the legendary Metalheadz imprint, Friske returns to his very own Requisite Music label for release number three and a brand new two track single.

The four Scottish-Irish musicians Conor Dalton, David Donaldson, Greame Reedie and Ian Maclennan are Island People. After their highly acclaimed debut from 2017, they have now finished their second album with the simple and consistent title »II«. Compared to their debut, »II« sounds more mature and complex. The arrangements unfold like the long tracking shots of an early Antonioni film - time seems to stand still, circling the moment. Impressionistically, one feels transported into the Scottish island landscape with its contrasting lights and harsh elements. Gloomy, darker, richer textures have conquered their space on »II« as much as the more present acoustic components. As much as its predecessor, also this record was skilfully produced, the musicians’ entire experience is audible (Conor Dalton is a sought-after mastering engineer; David Donaldson a Grammy Award-winning producer) – but anything fashionable or sensationalist has been intentionally waived. The musical serenity, holding up a craft that neither has to show itself off every minute nor wants to respond to the latest trends impressed us the most. The cover photo was contributed by the Scottish artist Helena Ohman. She also provided the video for the track »Crash«. Furthermore, singer Alice Hill-Woods was invited to contribute the lyrics and vocals to »Stalling«. Island People »II« will be released as gatefold double LP as well as on CD and digitally. In advance we asked Island People about the creative process behind the album and quote as follows: This album reflects on the destination we have in common before us, and celebrates the longer road while also considering paths not taken and journeys that ended too soon. It has been said that »art is how we decorate space; music is how we decorate time.« For us the writing of this album has been a great journey through both, shared with friends. While our first album acknowledged our own spaces and borders as individuals, the new album seemed to grow very quickly from our travels together as a band. Periods spent on the road playing live afforded extra time together and while we didn’t feel constrained to a concept at the start, more and more of the tracks evolved to reflect these journeys and experiences together.

This is the 16th release on RIOT Radio Records, an independent techno label based in Scotland.

Jerome Hill lives and breathes music with his productions, sets and record labels being educational and hedonistic in equal measures. He’s a label owner, party organiser, scratcher, dot joiner and arguably the best proper pumpin’ party DJ in the world. He’s the founder of “Don’t” recordings, “Fat Hop” records, “Super Rhythm Trax” and 1992 rave themed “Hornsey Hardcore” with his own releases, all of which are absolute honkin’ belters, featuring prominently on labels that are lucky enough to have his work printed with them.
This release sees the welcome return of Jerome to RIOT Radio Records for a second outing with three original tracks and a blustering ‘Bar Room Rumble’ of a remix by those Swedish lunatics TSR. The Don’t master is once again on top form with his own unique style of funkin’ and bumpin’ and wonk to make you stomp. It’ll even shake your body’s as yet undiscovered Cuban hip movements to bust a move or two from the over indulgent rhumba mayhem it’ll stir up within.
WARNING: THESE BAR ROOM RUMBLINGS ARE SURE TO CAUSE THE TORMENTOR TO AWAKEN

The third part of the 25 Years of Metalheadz series sees us revisit the industrious sounds of 'Drum Trip' by Kaotic Chemistry aka 2 Bad Mice. Originally released on Moving Shadow an astonishing 29 years ago 'Drum Trip' has remained a DJ's favourite to this day, a testament to the foundation work laid down by the pioneering trio.

The revival wasprompted by a heavy-hitting remix by Metalheadz's own Detboi and was followed with an elegant, rolled-out interpretation from Madcap. The frustration caused by the loss of the original ‘Drum Trip’ recording was quickly forgotten as Wheeler went in and ultimately produced an outstanding full-scale rebuild. A second 'Low Ends & Amens' version by Detboi retains the original tempo and features as a digital bonus alongside a previously unreleased Kaotic Chemistry track in 'Jupiter' which was brought back to life with the astuteskills of Steve Kielty (SCAR).

It’s an unquestionable truth that we’re delighted to present this classic era of electronic music restored and rejuvenated as part of the 25 Years of Metalheadz project.

'MESSAGE FROM THE PARAZONE' is a various artist compilation album that marks the 10th release of Parallax Recordings.

Precursor to DJ Die Soon's upcoming monster of an album on Morphine, this 7inch introduces the legendary beatmaker from Berlin with a more stripped down, clashy dancefloor killer on one side, and a 'deep doped' heavy roller on the B side. TIP!

When South-Americans gather, many things can arise, but one will be certain: it
will be intense. It could be it a party, a conflict, a work of art or an EP such as this
one that involves a Brasilian label releasing a collection of eclectic, dark and deep
electro-boogie and post-punk by a Colombian artist. Gladkazuka is the guitarist
on Matías Aguayo’s pan-american ensemble The Desdemonas and here he offers
us four slices of synthetic trunk funk on Gop Tun’s label. Each one of them are
guaranteed not only to entice sensations of all types and provoke emotions of all
kinds but also with the intensity expected from such a combination and required
for maximum fun.

Hiroshi Watanabe does not hold back on Threshold of Eternity EP. The Leonids Strings is a deeply emotional and delicate string arrangement that leaves the listener beauty struck and in awe. Into the Memory is a dance floor banger which holds true to Watanabe's exquisite skill as a techno producer. The release contains a beautiful balance between groove and beauty which is rarely present in a techno record. The cover photography is a photo by Watanabe himself of his hometown Tokyo.

Taking you back to the sounds of Underground Garage with the bumping 2-Step flex of Jodo Kast.

Jon Hopkins knüpft mit neuer Single, in Zusammenarbeit mit Kelly Lee Owens, an das 2018er Meisterwerk „Singularity“ an und kommt 2020 auf Tour nach Europa.

The New Yorker feiert Jon Hopkins nach seinem 2018er Meisterwerk „Singularity“ als “one of the most celebrated electronic musicians of his generation” und auch wir kriegen gar nicht genug Multitalent aus London.
Zum Glück gibt es tolle Neuigkeiten für alle Jon Hopkins Fans für 2020. Zuerst veröffentlicht er zusammen mit Kelly Lee Owens eine neue 12‘‘ namens „Luminous Spaces“, ein herrlicher Track der Hopkins‘ elektronische Klänge perfekt mit der spirituellen Stimme von Owens verbindet. Dann geht es auf große Europatour im Frühjahr mit zwei Konzerten in Deutschland

- Schwarzes Vinyl inkl. MP3 Downloadkarte

Clear Vinyl

Mark Leckey finally presents the soundtrack to his autobiographical allegory ‘O’ Magic Power of Bleakness’, a mind sluicing fantasy/autobiographical narrative inspired by folklore and half-remembered tales of teenage life growing up in the Wirral, a personal history woven into screwed 808s, ringtones, sacred chimes, smudged
synths, sirens and levitating ambience that sounds like nowt else.
Following his seminal, hauntological trips ‘Fiorucci Made me Hardcore’ (2012) and ‘Dream English Kid 1964 - 1999AD’ (2016); the 3-part accompaniment to ‘O’ Magic Power Of Bleakness’ captures the Turner Prizewinning artist moving beyond signature collage tekkers to create an entirely original arrangement for his latest audio-visual installation at Tate Britain in 2019 - a life-size replica of a motorway bridge on the M53 on the Wirral, Merseyside. In situ, the soundtrack is a vital component of the installation, livicating its liminal space with a narrative arc that magically turns familiar, popular and folkwise tropes into an occultural tale about provenance and a reminder of the supernatural in the modern world.
Leckey approaches the piece as “an autobiographical allegory” in an attempt to locate the enduring enigma of sub/urban British life with uncanny insight. Alongside his own narration, a plethora of Scouse-kids play out the story of an aspirational kid who escapes the Wirral not to London, but to the faerie realm spoken of in Northern European folklore. When he crashes down to earth, his friends don’t understand who, or what, he’s become. It ultimately concludes in a symphonic supernatural riot, culminating a sort of metaphysical transformation common to Traditional Ballads and reminding us of the angel/redemption sequence at the end of Lynch’s ‘Fire Walk With Me’.
‘O’ Magic Power Of Bleakness’ is a well-worn story that’s brutally familiar to anyone who’s escaped the clutches of one of Britain’s forgotten, Tory-scoured battlefields. But Leckey’s treatment is transformative; he offsets observed reality with the surreal verve of folklore like a theme park ride thru a Britain the country prefers not to remember, decorated with themes that have been looped around our collective consciousness for thousands of years. Leckey’s art has essentially come to reflect the psyche of a generation, divining the
poetic and occult from the seeming banality of British life by tapping into leylines that riddle the concrete landscape to the imagination. Specifically (if allegorically) it’s Leckey’s life in focus but, on the broadest level, the work speaks to the politics of big town parochiality vs. the elusive lure of big city glitter, in a way that’s bound to resonate with many listeners who’ve made that same transition and questioned their place inbetween worlds in the process

Ahead of the release of his new album Book Of Life, Erased Tapes will re-issue Stories, the first in a trilogy of vibraphone solo albums by Berlin-based composer Masayoshi Fujita. This quietly exquisite album is like a book of illustrations, evoking scenes of natural beauty and poetic poignancy that combines climactic crescendos laced with electronic detail and luxurious melody. Stories is the beginning of Masayoshi's mission in bringing the vibraphone — a relatively new invention in the history of instruments often kept in the background in orchestras and jazz outfits — into the spotlight. Having trained as a drummer, Masayoshi began experimenting with the vibraphone, preparing its bars with kitchen foil or beads, playing it with the cello bow or using the other end of the mallets to create a more ambient texture of sound. Focussing on the vibraphone in this way sets Masayoshi apart, dedicating his artistic life to celebrating this fascinating and often under appreciated instrument and making his take on ambient and modern compositional styles a unique one.

Misha Sultan is a professional musician multi-instumentalist and sound engineer with a wide background. He started making music over 20 years ago with his brother and neighbors in the heart of Siberia. Misha’s hometown Novosibirsk is located between Europe and Asia where lots of his inspiration came from.

«The Red Fern Road» is a trip for years and for less than an hour at the same time. While listening to the album you’re going into the void of time and place. But the world that opens up to you when you listen to the music is such a beautiful universe that you want to stay there forever.

The Vinyl Debut Of Microm Records Is A New Era For Negocius Man And Microm Records N.e.g.o. They Are Very Special Songs With Different Styles Of High Quality Electro. It's My Cover Letter Around The World Hard, Raw, Dark, Robotic Vocoders, Detroit Sounds And Drexciyan Moments, Galactic Funk, Minimalist Atmosphere With Effects. They Are My Different Facets Making Electro But Not All, I Have A New Sound For 2019, Stay Alert And Enjoy!!! For Me Is A Timeless Disc, I Like It And I Always Will, All The Tracks Are Me: N.e.g.o.

Limitierte 12" mit drei der vier "Sonic Buds" Tracks, die der "Smokers Delight (Ltd. 25th Anniversary Edition)" LP als MP3-Bonustracks beilagen. Darunter die Neukompositionen "Let's Ascend" und "Aquaself" sowie der alternative "Funk Mix" des NOW-Klassikers "Dreadoverboard". Sämtliche Tracks erschienen erstmals mit der LP-Jubiläumsausgabe und werden hier zum ersten Mal auf Vinyl erhältlich.

Not Waving renders his pop soul on a definitive album opus ‘How To Leave Your Body’, starcrossed with guest appearances by Jim O’Rourke, Jonnine Standish, Marie Davidson, Spivak and Mark
Lanegan
An escapist parable for the times, Alessio Natalizia marks a career high with his most sensitive production and songwriting illuminated by a coterie of notable collaborators. Its 11 songs deal with the necessity of friendship, the fragility of loss and spiritual transcendence via a spectrum of strategies that ultimately arrive at a mutual conclusion: love is the message. It packs sample amounts of nostalgia into a fantasy sequence of elegiac pop, skewed rave and midnight lullabies that fine-tune over 20 years of devotion to his craft, perfectly matching experimental restlessness with enduring pop appeal.
Perhaps unavoidably, circumstances had a hand in the creation of ‘How To Leave Your Body’, forcing Natalizia to work with collaborators remotely. Yet the strength of his bonds bleeds through in the album’s handful of poignant vocal pieces, none more so than the hushed intimacy of Marie Davidson on the bewitching downbeat trance hymn ‘Hold On’, but also in the bruised blush of ‘My Sway’ featuring Jonnine’s spine-tracing lilt over hovering organ and dembow bumps, while the hook-up with Mark Lanegan once again yields bittersweet fruit on ‘Last Time Leaving Home Part 2’, with gravelly blues vox diffused into detuned, miasmic cello that really tugs.
Effortless and made for rinsing, the whole album is testament to the humility and pathos of Natalizia’s oeuvre, which has gotten better with age. It plays out like a lovingly crafted mixtape, decanting all original material with a classic cadence and fleeting play of styles, from aerial jazz notes in ‘You Are Always Younger Than The Future’, to the gnawing club grind of ‘Define Normal’, a noisily gurning ‘Self-Portrait’, and the lushly resolved admittance of ‘My Best Is Good Enough.’
Comparisons don’t really work with this one, it’s just Not Waving.

From Norway via Berlin, O.M.Theorem debuts with an EP rooted in 160BPM sub-heavy atmospheric soundscapes, that explores connections between different tempos and time signatures. Side A presents two percussive driven polyrhytmic explorations while side B steps into slightly more familiar dubstep / UK Garage territory.

Seekersinternational sends dub into another dimension, a place where the laws of physics appear irrelevant. Formerly solid structures are made improbable and surreal; songs become dizzying, recursive mazes. But for all this weirdness, the Canadian producer has generally hung onto dub's loved-up feel.

Dauw welcomes Taylor Deupree to the label with his new record 'Mur'. With this release Dauw also introduces Jelle Martens, a Belgian graphic designer and painter, for the artwork of this release.

Deupree describes the album title “as if there’s always something about my music that’s like a murmur”, resulting in a murmuring effect when pronouncing the names of each track. Mur is a personal journey through the challenging year that 2020 has been. The fifth and last track on the album, Mar, contributes as a catharsis to this turbulent period in Deupree’s personal life, which is defined by the interaction between the loud sounds and the soft keys of the piano. As if the storm has died down and the waters have found their peace.

Taylor Deupree is an American musician and mastering engineer based just outside of New York. As a former member of the American electronic band Prototype 909, Deupree has had numerous collaborations with artists such as Ryuichi Sakamoto, Stephen Vitiello, Alva Noto and Marcus Fischer. Curating 12k, a New-York based music label, is another aspect of Deupree’s career and brought together over one hundred releases since its beginnings in 1997. Having some similar artists in our catalog (Federico Durand, Will Samson and Steinbüchel for example), it’s safe to say that Deupree’s new release through Dauw will be in good company.