Beats Vinyl New Releases - News

Ibiza Records has collaborated with Mix and Blen label owner and Dj/Produced by Kenny Ken aka Soundclash Champion 1994 (Roller Express to bring you this 3 track EP called Mix and Blen Vinyl Series 1...

These tracks made in 1997/98 when he brought a whole studio n decided he wanted to produce musik... Back then it was Akai n Emu samplers, Mackie desks and a hot of other bits n pieces. These 3 tracks were'nt for release just meant forr Kenny only...

Now its 2020 n Kenny has been thru old DATS n musik on old hard drives n decided 2 release sum of those tracks... Enjoy…

1. Everyman Rare Mix: Original reggae riff was cut up with a synth pattern underneath n energetic beats on the drop with a reggae infuenced bassline along with sum virus top basses making the flow...

2. Dancehall: Intro a mix of dancehall vocals along with sum played notes n stabby bass notes on the drop with a smooth 808 bass underneath, beats just rolling...

3. Kill Ya Bumber: Reggae piano skank intro with skippy beats n strong vocals n rumbling 808 bass with synth stabs on the drop n rolling energetic beats....

2x12"

Berghain Fünfzehn sees Luke Slater creating new compositions from the Ostgut Ton back catalogue, chopping, looping tweaking and deploying sounds into a mix that is both a playful retrospective of the label and future-facing vision for mixing and dance music. On April 17, seven exclusive tracks from the Berghain Fünfzehn DJ mix will be released on two 12”s and for streaming/digital download. De- and reconstructing the Ostgut Ton discography, Slater’s vision encompasses not only sampling but live electronics and improvisation, resulting in a broad spectrum of heady and liminal dance music: from ultra stripped-back mindfuck techno, vocals and blasts of distortion to breakbeat excursions, minimalistic acid, and rave polyrhythms. In other words: the arc of the label through Slater’s singular hallucinatory prism.

Mit Berghain Fünfzehn schafft Luke Slater neue Kompositionen aus dem Ostgut Ton- Backkatalog, indem er bestehende Sounds zerhackt, loopt, neu justiert und in einen Mix einbettet. Das Ergebnis ist eine spielerische Retrospektive auf das Label und gleichzeitig eine zukunftsweisende Vision für Mixing und Dance Music als solche. Am 17. April erscheinen sieben exklusive Tracks aus dem Berghain Fünfzehn-DJ-Mix auf zwei 12"es und als digitaler Download / Stream. Mittels einer De- und Rekonstruktion der Ostgut Ton-Diskografie umreißt Slaters Vision nicht nur Sampling, sondern auch Live Electronics und Improvisation, was sich im breiten Spektrum berauschender und liminaler Dance Music artikuliert: von radikal abgespecktem Mindfuck-Techno über Vocals und Verzerrungen bis hin zu Breakbeat-Exkursionen, minimalistischem Acid und Rave-Polyrhythmik. In anderen Worten: der Bogen des Ostgut Ton-Labels, gebrochen in Slaters einzigartigen, halluzinatorischen Prisma.

"Vapor City" ist das gefeierte Debütalbum von Travis Stewart als Machinedrum welches erstmals 2013 erschien und seit einigen Jahren nicht mehr erhältlich ist. Anlässlich der Veröffentlichung seines neuen Albums “A View Of U” veröffentlicht Ninja Tune eine limitierte Neuauflage des Klassikers auf goldenem Doppelvinyl mit Artwork von Dom Flannigan and Eclair Fifi.

"Vapor City" ist ein Moloch, eine Metropole entstanden in Travis Stewarts Träumen, die ihn schon ein Leben lang verfolgen. Immer wiederkehrende Träume brachten ihn so oft in diese imaginäre Stadt, so dass er diese Viertel für Viertel beschreiben kann und das illusorische Metropolis auch für seine Hörer endlich erfahrbar macht. Das Album ist eine detaillierte Stadtkarte aus Sound-Landschaften, die es jedem ermöglichen sich in "Vapor City" zurechtzufinden - oder auch darin verloren zu gehen. Nach Veröffentlichungen auf LuckyMe, Planet Mu, und Hotflush Records und seinem hochgelobten Album "Room(s)" aus 2011 bastelte Stewart nicht nur an Nebenprojekten wie JETS (mit Jimmy Edgar) oder etlichen Remixen, sondern auch an der Vertonung seiner Vision.

Clear Vinyl Repress

This album has its origins 17 yeas ago in early 2000, before Chain Reaction released the legendary Ship-Scope 12'. Three of the tracks here are taken from an acetate cut at Dubplates & Mastering at that time but which wouldn't see the light of day until now, including another batch of tracks taken from original masters. Only 5 copies of that acetate were ever made so this is the first time any of these tracks are available for public consumption and, for our money, rank among the finest and
most distinctive in either the Chain Reaction or Shinichi Atobe's vaults.

The material is effectively some of the Japanese producer's earliest work, showcasing the sort of tender, feminine pressure that would bubble up on the Ship-Scope EP and later be revealed in his new productions, Butterfly Effect and World yet, for many reasons, they would lay sunk in his archive for the next 17 years.
The tracks taken from that acetate are labelled First Plate 1-3 and really are quite remarkable, having taken on so much character and added weight over the years that the incidental crackle
of surface noise imbues proceedings with an added dimension that's hard to fathom. It basically sounds like a lost transmission making its way from Paul-Lincke-Ufer at the turn of the millennium
to a new, completely changed world all these years later.
The patina of crackle lends a mist-on-bare skin feeling akin to summer garden parties at Berghain in the stepping First Plate 1, and gives a foggier sort of depth perception to the hydraulic,
Maurizian heft of First Plate 2, but it's the submerged euphoria of First Plate 3 that hits the hardest; a heady, bittersweet reminder of days gone by.The other four tracks are crisply transferred from master tapes, relinquishing a sublime, impossible to categorise House variant that recalls everything from DJ Sprinkles to Ron Trent, yet with that weird, timeless production tick that by now has become something of a signature for this most distinctive and hard to categorise producer.

A message from the unknown.. limited to 200 copies

The italian project Zero Call produces pure Italo Disco with perfect brushes of ebm- infused retro synthwave. Punchy snares, pulsing basslines and dramatic synths behind monochromatic female spoken vocals. Including the main track “Stellar Wind” + 2 remixes by Technobeton and Arkademode + 2 recovered tracks from his past discography. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios.

1LP, Spalax Label. Distributed through MG.ART. Correlations is the first studio album by Manuel Göttsching´s band Ashra, released in 1979. It is the first Ashra album to feature a full band of 3 musicians including founder Manuel Göttsching; the (first) two albums before (NEW AGE OF EARTH and BLACKOUTS) released under the name had actually been Manuel Göttsching solo albums.

On the A side Venezuelian / Bruxelles based artist Bear Bones, Lay Low (well known for his shamanic unstoppable live acts) brings us a faster than usual track. Turbo exotic beats, distorted bass and psychedelic waves. Lick that toad and enjoy the flight !

On the B side we celebrate the come back of High Wolf who was focused on his Black Zone Myth Chant alias those last years. After worldwide tours and more than 20 releases on labels like Not not fun, Sun Ark, Leaving Records or Consternation, Maxime P. woke up the wolf for some heavy looping beats. Is it slomo dub infused tribal house or the weirdest hardtechno you ever heard ? Only your legs have the answer.

Presenting his first new music since 2018's 'Cloudy' on A14, we welcome Beneath to the roster with this expansive and unnerving new double EP 'On Tilt'.

His most substantial release to date, the six tracks build on his signature style of sound system workout imbued with the resonance of UK Funky, Hardcore and DMZ Dubstep. 'On Tilt' refers to a situation in poker where the player lets their luck dictate decision making, resulting in irrational strategies based purely on emotion. The panic can be felt throughout the EP with the towering 'Dark Waters' being a standout. On closer listen, dense layers of detail lurk beneath the surface making for an intense and thrilling trip.

Returning to klunk, Jabes takes cues from 80’s horror soundtracks and hyperactive UK dance music styles to deploy the groundwork laid from klunk001 towards a darker and more mature sound

Is Joe's 2nd album on Sable Noir recordings. It's a recollection of tunes put on a side throughout the years in the idea to make an album, and englobing all the different aspects possible of some of the music the producer has been up to.

Flow LP takes its influences from triphop to dub techno, ambient music to jungle, soulful drum and bass of course, but also cinematic ambient scores to darkest and percussive 170 joints.

The point here was to be able to tell a story bringing all those different styles all together, and also to deliver an album. Not only for dj's, but also for a full listening purpose. That's why we also released this album, in vinyl, digital, but also in a good old fashioned CD version too.

We hope this cosmic journey through all those styles makes you feel something special. Wherever you listen to it.

Sable noir recordings, but also everything behind this LP is a friend and family co working team, and it is a real pleasure to finally be able to bring this to you now!

Anarcho Amusements is a mini-album consisting of 9 diverse tracks produced between 2015-2018. It's an amusing - at times even

cheeky journey through multiple genres, tempo-ranges and sonic adventures. By altering between different sets of compositions,

samples and meta-tags Anarcho Amusements tries to give every sonic fiction it's distinct sound while still staying coherent. Nicola

Kazimir is a part of the collective Les Points based in Zürich. His art and music production is mostly based around topics like occultism,

rave culture and institutional-critique. Photo by Ivana Kojic.

Anarcho Amusements is a mini-album consisting of 9 diverse tracks produced between 2015-2018. It's an amusing - at times even

cheeky journey through multiple genres, tempo-ranges and sonic adventures. By altering between different sets of compositions,

samples and meta-tags Anarcho Amusements tries to give every sonic fiction it's distinct sound while still staying coherent. Nicola

Kazimir is a part of the collective Les Points based in Zürich. His art and music production is mostly based around topics like occultism,

rave culture and institutional-critique. Photo by Ivana Kojic.

Introducing ‘SWITCH’ from Reflec, the first release on his brand-new imprint SOAKER SOUND; a label intent on exploring left-leaning club sounds as we make our imminent return to the club. A powerful statement of serious things to come; SWITCH is an ice-cold, eski 6 tracker that puts a fresh spin on the golden days of UK grime. Released on 03.05.2021 on vinyl and digital, SWITCH drops in time to soundtrack the summer and can be pre-ordered here.

Schooled to distinct musical classes and universes, geographically distant though highly compatible culturally speaking, Simo Cell and Abdullah Miniawy began collaborating in the winter of 2018, jamming and experimenting together at Simo’s studio in Pantin, in the suburbs of Paris. Merging Simo’s hypermodern, hip-hop and bass-infused production skills with Abdullah’s soulful trumpet and vocals hoodoo, their joint debut effort ‘Kill Me Or Negotiate’ lays the foundation to a body of work that transcends epochs, latitudes and other zeitgeistian concerns to weave a narrative arc both timeless and inwardly impactful throughout.

Having graced the grooves of an array of high-flying labels such as Livity Sound, BFDM, Timedance, Wisdom Teeth, Simo Cell has created a sound imaginarium truly his own, as exacting and complex in its overall structure as it invites to get rid of any prejudices towards restrictive terminologies and genre-bound limitations. An effervescing crossover of rehashed trap motifs, dub flexions and trenchant Bristolian programming, Simo's sound reinvents bass music as we know it, exploring its core assets and fringes with equal poise and determination to make a difference. This attempt at forging new paths for bass and electronic music in general shines particularly high on ‘Kill Me Or Negotiate’, exalting to further compelling spiritual and political heights the boundary-pushing potential of both his deconstructionist approach and Abdullah’s vibrant Eastern-grown poetics.

Defining his own craft as an "expression of religion, revolution and freedom", Abdullah Miniawy’s the herald of a musical realm where music, faith and politics entangle to form a strikingly profound tableau of the human condition in an era of uncontrolled digital frenzy. Multiplying main projects and side-endeavours, whether it be joining forces with contemporary jazz whizz Erik Truffaz, Munich-based trio Carl Gari or through new collaborations with DJ HVAD and YOM, Miniawy’s keeping a position of choice as a spearhead of vanguard music, as attested by this debut EP alongside Simo Cell. The result goes way beyond expectations, pushing forth a uniquely free, mind-expanding brand of sufi-esque riddims and more ambientoid spaces for contemplation as it steers clear from normative club music to root deeper into socio-politically charged instrospection and thoughtful, elegiac body music. "

Stiletti Ana, part of the dreamy sunbathed electronic duo “Jesse” and top tier in Finnish music production is releasing a new solo album, “I’m an arpeggiator” on Höga Nord Rekords. This album carries similarities to Jesse in both production and sounds but hides more ancient wisdom. A refined sound but with more edges left sharp and more of a mysterious vibe.

As the sound professor he is, Stiletti Ana takes you in a tour of his vast collection of vintage synthesisers and in centre of attention sits the arpeggiator (hence the album title) which gives the sound much of its repetitive character. Recorded in the legendary Haista II-studio outside Helsinki, “I’m an arpeggiator” channels the energies from the waters and forest surrounding the studio, giving the music its’s escapistic and romantic character.

This record is a transcendental trip down the paths of Boards of Canada and Manuel Göttsching, dedicated to the ancient Babylonian fishing god, Dagan.

I had five pupils.
Now, the first pupil: His name was Zhang Yiaotian.
He practiced the Centipede style.
He was known as the Centipede.
In fact, the speed he moved was as fast as a Centipede.

The ep already in its first track “after the silence” seduces us with a dark intro that gives different features of what awaits us next. Strong rhythms and catchy melodies with a darkness typical of the Z series movies of the late 70’s and early 80’s. As the album progresses, the hardness of the percussions becomes plausible in tracks like “Kinky” or “Just on illusion” that will make you dance with your soul glued to your chest. Returning to his more ambient side in the following tracks, vinilette shows us once again what he is capable of doing not only compositions focused on the dance floor, but also compositions that could well be part of any soundtrack of an independent film.

Sixteen unheard works from Mexican jazz synesthete, Germán Bringas. Bringas plays with a delicate balance between experiment & pastoral spaciousness, sounding like Coltrane scoring a Tarkovsky film. To Accompany this release, we’ve made a documentary about Germán’s life.

Tunel Hacia Tí (Tunnel Toward You) is a collection of early compositions by Germán Bringas of Portales, Mexico City. This album features songs from his lost cassette ambient jazz opus, "Caminatas" (Hikes), it’s spiritual successor, "Exposción Al Vacio" (Vacuum Exposure), and unreleased works created between '91-'00. Every instrument heard on this release was played by Bringas, and recorded in a studio in the back of his home.

Germán’s pieces are informed by his synesthetic experience. As he plays, he witnesses color coordinating with each note. His earliest experience of this cross-sensory ability came from playing his parents piano when he was young. Exploring the keys, a spectrum of color presented itself, and he began searching for colors he preferred. He discovered an enticing shade of blue, which unbeknownst to him at the time, was a jazz chord. In the following years, he attended school at the Conservatorio Nacional de Música and was classically trained in piano and composition. The Conservatorio was extremely demanding, and didn’t appreciate his innate talents to play by ear. He was fed up with the indoctrinating way they taught, which coincided with a lecture he attended by Carlos Casteñeda. Inspired by the teachings, he left school behind to start a group with his friends to practice meditative exercises loosely based off Casteñeda’s Tensegrity movements to expand the body and mind. His friends and he spent years going into the woods and training as quasi-disciples of the Castañedian path. In those times, Germán developed a new approach to music, letting go of the formality of his classical training, and rediscovering his childhood experience to play from feeling. Learning trumpet, saxophone, and native Mexican instruments all to his own design, he followed his synesthetic experience to guide his compositions. He was compelled to record the discoveries he was making, so he produced a string of cassettes, only enough to pass around to friends & local collectors.

In his earliest works, you can hear the influence of his time spent in the tranquility of the woods colliding with the frenzy of the city he grew up in. Combining inspiration he obtained from ECM Records virtuosos, Mexican Rock-in-opposition, visionary jazz artists, and otherworldly sci-fi films like Blade Runner and Stalker, his songs ebb and flow between serene synths and chaotic bursts of emotive horns. In addition to these compositions, he started an experimental music club in his house in Portales called Jazzorca. At Jazzorca, which is still running to this day, he would share his pensive movements with a small group of dedicated music lovers. Germán truly created a world of his own through these works, and his sound is singular when held up to Mexican music from the same era.

Currently, Germán makes drums out of propane tanks in his backyard, he produces experimental CDs under his own label, and plays live regularly at Jazzorca. You might catch him strolling through his neighborhood in Portales at sunset, soaking in the influence of the city sounds and their associated colors he witnesses.

Dutch-Italian composer, musician and producer Aimee Portioli alias Grand River is back on Spazio Disponibile. After a debut record on the label in 2017, she now serves up her first ever physical long player, Pineapple. The record draws on Portioli's love of electronic music and sound design, as well as her background in traditional composition and formal training on a range of musical instruments.

An experienced sound engineer and composer for national radio, she crafts absorbing film scores, experimental and ambient projects and takes in symphonic calculations that blur the lines between traditional composition and research-based modernism. All that is evident on Pineapple, which is named after the most peculiar of fruits and is just as peculiar, but ultimately satisfying, across ten remarkable yet rewarding tracks.

They are often long pieces which take in wallowing electronic landscapes, with real ambient beauty next to a subtle sense of narrative that is absorbing throughout. Unusual sound sources and a masterful sense of suspense characterize the album and make it as fascinating as it is enjoyable. (*Audio snippets will be released in September*)

On their self-titled debut album, the German-Indian project Hotel Kali present the results of what started as a brief residency for Theresa Stroetges a.k.a. Golden Diskó Ship in Kolkata and ended in her joining forces with double bass player Debjit Mahalanobis, synth enthusiast Varun Desai and the versatile songwriter Suyasha Sengupta. "Hotel Kali" is a living, breathing entity that theoretically picks up on many different musical traditions but in practice challenges them all. Four different individuals find a common ground somewhere between and far beyond cosmic rock, experimental dance music, and adventurous post-rock.

Sapurra is back on Pro-Tez with the super deep and dubbed out four tracker “Better Call Soul”. Think smokey hazy dance floors in the morning where only the strong survives. Killer ganja rollers. 180 gram and vinyl only release as usual.

London based multi-instrumentalist and beatmaker Wonky Logic drops 6 track EP “Transdimensional Fuunk (Transposed for Human Consumption)”, on July 30, 2021, marking the 14th release of Super-Sonic Jazz Records. Also, save the date for the first two singles on May 21 and June 25, 2021.

Last year, producer and multi-instrumentalist Wonky Logic released his debut album “0113”. Now, he continues to showcase his passion for wonky beats and swirling synths with his follow up “Transdimensional Fuunk (Transposed for Human Consumption)”. As a service to clubbers and dancers of Planet Earth, he translated his banging space funk for human needs. From steamy and dangerous to subtle and soulful, it’s all on his extraterrestrial palet. Ain’t no denying that, with these 6 tracks he establishes himself as one of the more rebellious beatheads in the UK Jazz scene, with strong connections to Super-Sonic Jazz and Summer Dance Forever.

Wonky Logic started out at the age of 11 on his mum’s computer and made his journey onwards from Leeds College of Music to jamming with Nubian Twist and GEO, into becoming a founding member of Steam Down. He collaborated with Nubya Garcia, Theon Cross, Wiyaala, Afla Sakey, K.O.G., and broken beat icon I.G Culture, for which he did Musical Direction of “Earthbound” (Super-Sonic’s ninth release). His current projects include his own band with Nache (Sons of Kemet) as well as The General Elation Soundsystem, alongside Brother Portrait and Nadeem Din-Gabisi. He plays keyboards for Bryony Jarmon-Pinto, synth bass with afrofuturism band ONIPA and has recently played on Emma Jean Thackray's project Um-Yang alongside Soweto Kinch.

However, this Summer will be all about his own brand new EP, which will be warmly welcomed by beatmakers, clubbers and dancers alike. Hopefully, they can do so in the freshly reopened clubs across the globe, where this piece belongs.

Madcap returns to Soul Deep with his much anticipated, Hide EP. Madcap has established himself as one of the top producers in the scene, with his signature sound that often pays homage to his roots in early Jungle in Hardcore Breaks. With releases on Soul Deep, Smooth N Groove, CIA, Mac II, Myriad, Symmetry, and AKO Beatz, Madcap continues to push his sound to new heights. The Hide EP takes us back to mid 90's, with it's tough Amen breaks, BIG 808 baselines, smooth atmospherics, and classic vocal embellishments. The vinyl release is limited, so make sure to grab this instant classic release before it's too late!

Soul Intent delivers his second studio album, this time on Dope Plates, the 90s influenced sub-label for his Lossless Music imprint.

"Everything And Nothing" sees Soul Intent reach back 25 years to the sounds and vibes that soundtracked his teenage years in the mid 90s. It was this period when he first discovered rave and jungle through his brothers CD collection, MTV's Party Zone and Dreamscape tape packs, which were being passed around at school.

Some of the track names refer to memories from this era including "Standard Deluxe" (a long since defunct skate/surf clothing brand) and "Tribal Gathering" - the legendary 1993 rave put on by event organisers Universe.

* Clean Slate is the first release from Addremove on Swiss label Thrènes.

* There isn't a lot to say about Addremove himself or herself as he/she prefers to keep their identity unrevealed, at least for the moment, so lets concentrate on the music.

* Clean Slate consists of 5 original tracks and a remix from JK Flesh (project/alias of Justin Broadrick of Godflesh, Final and Jesu).

** Addremove is an electronic music project with a unique approach. The first EP is titled 'Clean Slate', and it is the second release on the outfit's own label, 'Thrènes'.
The sound of this production is lush, minimal, and dark, echoing influences as diverse as ambient music, experimental electronica, and darkwave.

** The EP features 6 tracks with eerie and industrial overtones, including opening number 'Letter From Police', which sets the mood with some pounding percussive samples and fuzzy synth lines. 'Lurk' is certainly one of the most striking tracks on this release - The melodic drones and bass synth lines create an all-embracing sonic landscape, while a sudden burst of glitchy beats breaks the pattern unexpectedly. This track almost make you feel like being on a spaceship, trying to escape a huge Mothership blasting out their most massive firepower on a chase at the edge of the Galaxy.
On tracks like 'When They Fall From The Sky', Addremove focuses on textures, slighting going for a more upbeat feel, while adding more sonic layers to the mix. The sound of this EP weaves in and out of dark minimalism, sonic drones and roomy percussion with a sparse, yet powerful feel.

** Most notably, the release also features a really cool remix curated by JK Flesh, who took his own spin on the track 'Crie'.
This project is the moniker behind Justin Broadrick, known for his work with acts such as Godflesh, Final, and Jesu.
On this remix, he set out to make a huge impact with his stylistic quirks and unique vision, igniting a whole new attitude to the track and recontextualizing its aesthetics. The remixed version remains dark and fuzzy, but while the original mix is more textural and haunting, JK Flesh added a true industrial vibe to the song, going for a powerful and uncompromising tone. The drums its hard past the point of saturation, and the side-chain swells crash in like waves of sonic grit. This cleverly arranged remix really adds something unique to the table.

Set for release in both physical and digital formats on October 13th, Clean Slate EP marks Addremove's first EP for Swiss-based record company Thrènes (which takes its name from the Greek word for funeral lament) and are a label dedicated to the release of tenebrous electronica and techno.

* Press / Promotion: Vision Music Promotion
** Text: Andrea Caccese

Repress

The fifth installment of DJ NOBU's imprint Bitta is a debut EP by a Japanese emerging producer Daisuke Uchiyama. Daisuke has been involved in music making for a long time originally as a bass player and has experimented across various genre from rock to electronic music, but this is his very first solo release. His Egg
EP consists of intricate poly-rhythmic techno breakbeats combined with metallic yet organic layers of percussion and pastel-coloured electronic riffs that create the atmospheric depth and abstract beauty while drawing the listeners into hypnosis. On the remix duties, we have invited Marco Shuttle, who is well known for The Bunker New York, Spazio Disponibile works as well as his own Eerie label outputs. His B1 remix enhances the percussive elements of the original A1, and gets you lost in a jungle-like mystique. B2 delivers his
trademark psychedelia through exotic synth works with added sensuality. Both classy remixes are fine examples of Marco's remarkable skills bringing fourth the essence of the original materials at the same time.

It’s not easy to summarize any band whose career has stretched over two decades. In the case of Growing, though, it’s all in the name: since 2001, the core duo of Kevin Doria and Joe DeNardo have been making vibrating, explorative experimental music that is in a forever state of evolution. In that time, they have amassed a hard-to-define and influential body of work, and Diptych sees the band operating at the height of their “big amp ambient” powers.

Diptych is a masterclass in slowly undulating ambient drift, and quite possibly the definitive headphone album of the year. Guitars that sound like organs pointed at the heavens are cut with subtly damaged electronic moves, the end result being a record that is at once ecstatic, transportive and gritty.

Ambient and new age music have become part of the larger indie vocabulary. Things were different over twenty years ago in the Olympia, Washington punk community where Doria and DeNardo got their start. Both veterans of aggressive music by the time the band began, Growing emerged like a rainbow at the other end of the heavy music tunnel: loud as ever, but with a sonic and aesthetic position that ran counter to punk rock norms.

Created over the past year and a half, Diptych extrapolates on Growing’s formative drone-based work, showing a unit in full control of a language that they have built and reconfigured over time. The music here continues to be an intuitive outgrowth of a friendship that started in late-90s Olympia and still bears fruit today—even as each member lives in a different city.

A new, heavier direction for Howlround, a project better known for more ambient work. Described as 'Tapeloop Techno', thick knotty tangles of dense, pulsating bass are an echo of Robin's early days making bad dance music, while the abrasive snarls of feedback swirling around these tracks point to his more recent embrace of indeterminacy and chance composition. Previous vinyl releases on Psyché Tropes, The Wormhole, A Year in the Country and Front & Follow as well as his own label The Fog Signals have shown a deep understanding of the possibilities of tape manipulation. On The Debatable Lands Howlround eschews the usual field recordings in favour of exploring the interior world of the machines themselves.

Liam Doc, a staple in the Scottish scene and resident at the Glaswegian institution Sub Club, brings a record of throbbing techno minimalism to Shall Not Fade. Having rubbed shoulders with some of the biggest names in Scottish dance music from Denis Sulta to Big Miz, Doc's sound is cool, collected and distinctively UK.

Energetic A1 "Jamie Said It Was Wicked" combines earworm distorted bass triplets with atmospheric steel drums, its strong rhythm dragging you into "Icarus" which puts on the breaks in a silky laidback house roller. Doc turns up the nostalgia for A-side closer "2008"; the wide bassline giving a classic noughties feel but with touches of chillout room memories in the smooth piano stabs. On the other side, percussion dominates.

"Looks Like a Mad Place" is proper eyes down business, a drum-heavy uk techno number with dubwise bite. More playful percussion on the hard drum hybrid power of "Thyme Bridge (Part II)", but the crowning jewel of the record is the closing track, "A.S.M.R (I'm Trying)". Delving further into pivotal forward club sounds, Doc creates a darker spin on uk funky elements with an ominous, vibrating bassline and ear tickling percs. The EP builds from a ravey sound palette into dark and raw British techno at its finest, proving Liam Doc is a master of his craft.

Marc Barreca's 1986 album "The Sleeper Wakes". Originally released on cassette by the Seattle electronic ambient label, Intrepid.

Marc Barreca has been creating and performing electronic music since the mid-1970s. His 1980 album, Twilight, reissued on vinyl in 2016, was one of the earliest releases on Palace Of Lights. Recent releases include Shadow Aesthetics (2018) and three collaborations with K. Leimer. Previous reissues include work on the acclaimed VOD box set American Cassette Culture, the Cherry Red compilation of seminal U.S. electronic music and the 1983 cassette, Music Works For Industry. His work is also included in the collection of The British Library."

The Sleeper Wakes has been out of print for many years and we are very happy to remaster and reissue this great work that was ahead of it's time, employing analog treatments of sampled sounds arranged in a very interesting and intuitive way.

Captain Rip Hayman (b.1951, New Mexico) has come ashore again, bearing fresh cargo. A student of John Cage, Ravi Shankar, and Philip Corner, Rip was a founding editor of the notable Ear Magazine (1975-1991), and since 1977 he has run New York's oldest bar, the Ear Inn. The focused minimalism of his new LP Waves: Real and Imagined varies from the collaged spectacle of his first Recital LP, Dreams of India & China (2019).

This oceanic dish holds two side-long works: “Waves for Flutes,” a multi-tracked flute composition recorded by the artist in 1977. ‘Angelic’, ‘Grave’, and ‘Sad’ modes overlap an effect of medieval choral organum, as shifting patterns evoke water and wind variations of the shore and vast sea beyond. An enchanting and arresting piece.

The second side holds “Seascapes,” which was recorded on the Pacific ocean in February and March of 2020 – through calm seas and tempestuous storms. The ship as the instrument played by the sea. We feel both lost and saved when at sea, the landfall feared or longed for.

The album is dedicated to all those whose souls have been lost and found at sea amidst the waves, for each sea wave is a child of Oceanus & Tethys, Greek gods of the sea, every one sent on their way to play...

* Atheos is a ferocious new collection from Rotkeller, which sees the Swiss electronic duo (Laurent Schmidhäusler and Federico Sutera) double-down on the brooding energy of their previous releases with a renewed intensity—fusing bold electronic experimentalism to dense, maximalist techno.

* Whether on the slow-burn immensity of opener 'SW', the monolithic, doom-laden expanses of 'Malz' or the spellbinding surge of '17. October', Atheos showcases a dark melodic complexity from the duo—in part brought on by the use of both digital and analog recording techniques.

* While the mesmeric, choral melancholia of EP closer 'Godless'—its eerie and beguiling textures echoing all that has preceded it—offers-up ominously open-ended ending; solidifying Atheos as Rotkeller's most atmospheric and cohesive work to-date.

* As if that wasn't enough, EOMAC (Stroboscopic Artefacts, Killekill, Trilogy Tapes, Bedouin) caps Atheos off in style, with a savage edit of '17. October'. The remix that pushing Rotkeller's original track into new rhythmical directions—the glassy rhythms splintering like shards of light across an eternally eclipsed landscape.

Set for release in both physical and digital formats on May 5th, Atheos marks Rotkeller's first EP for Swiss-based record company Thrènes (which takes its name from the Greek word for funeral lament) and are a label dedicated to the release of tenebrous electronica and techno.

Outside Ludlow / Desert Disco is the first major solo release from Australian performer-composer Sam Dunscombe, now based in Berlin after residing for the past decade in San Diego and Tokyo. A virtuoso clarinettist who has performed in composed and improvised settings with artists such as Klaus Lang and Taku Sugimoto, their practice also embraces computer music, lo-fi electronics and field recordings, in addition to their long-term commitment to archiving, studying and performing the work of Romanian spectralist composer Horatiu Radulescu.
The two side-long pieces presented on this LP began from a chance encounter in a specific geographic location (documented in the photographs that grace the record’s sleeve). Exploring California’s Mojave desert with a friend, Dunscombe made the unlikely discovery of a tangle of quarter-inch tape snared on a cactus. The digitised version of this tape, variously edited and processed, as well as Dunscombe’s own transcription and embellished performance of some of its material on Hammond organ, makes up one of the main ingredients of the LP’s first side. The other is a field recording of the area outside the ghost town of Ludlow, where the tape was found, where haunted silence is punctuated by freight trains and clusters of explosions from gold mines and the local marine corps. Far from any kind of documentary approach, the resulting composition reaches back to the smeared atmospherics and overdriven tape crunch of Hands To, Small Cruel Party or Joe Colley, before the Hammond organ rises up to cast a spectral shimmer reminiscent of 1960s tape music classics like Arne Nordheim’s ‘Warszawa’.

On ‘Desert Disco’ (its title perhaps a clue to the content of the mysterious tape), Dunscombe zeroes in on a single fragment of the tape, accompanying it with analogue synthesis to craft an immersive work based on a single chord. Throughout the course of this work, the monolithic opening sonority gradually splits apart, revealing an infinity of rhythmically phasing lines that swarm like a cloud of insects and patter like falling rain, placing Dunscombe’s piece in a lineage of patient electronic exploration that includes landmarks like Costin Miereanu’s Derives and the contemporary work of Jim O’Rourke.

Limited edition vinyl with images by Sam Dunscombe and design by Lasse Marhaug. Mastered by Joe Talia at Good Mixture, Berlin.

Limited to 300 copies
Following up from his TRUElipS album from last year SW. returns to Avenue 66 with a 7 track LP titled blewLIPs.

With his deep musical education, Daniel Varga produced under many pseudonyms (Soda), (Borneo und Sporenburg), (Cybordelics) formed in Stuttgart in 1993, (REWORK) or by Toni Mono released on F Communications in 1995, a disc that haunted the dancefloors of the time. Besides countless releases of his compositions, and numerous remixes, he has also contributed to the music of numerous film projects. One of the favourite discs of the founders of the label.

'Music For Theatre And Dance – Volume Two' is the second in a small series of EPs that will focus on music which was initially created for or inspired by dance and performance. Created as a dialogue with the avant-garde and highly experimental work in dance, theatre and art evolving at the time, the music was in turn at times greatly innovative.

That it was created for a dance or performance though means that such music was also often highly rhythmic and a number of pieces from this time stand out and seem greatly deserving of a new context.

Whether it's more ambient or atmospheric works or whether it's in the more rhythmic or percussive pieces, Music From Memory brings together another selection of tracks that aims to highlight this highly innovative direction in music.

New Finnish imprint VIENO, kicks off with 10 track compilation of Finnish ambient, electronica & experimental music. Selection draws an emotionally infused red line throughout.

Travelling starts with "Pumpuli". Beautiful soft opener for ears and other senses. However, more deeper agenda follows. For darker soul searching Roberto Rodriguez provides 80´s synth driven "Third Act" followed by techno producer Satoi´s melancholic journey "Unohda".
B-Side goes on with dubby triphop influnced "Heimo M" by Aleksi Myllykoski with Finnish saxosphone legend Tapani Rinne. Paving the way for young and gifted Sansibar´s spacey techno breathing "ISS". Last track of the compilation, ”Ukki”, is a very personal, intriguingly gloomy, yet unpolished piano composition dedicated for recently deceased great grandfather of the artist, Mierka.

”I was just asked what’s my reason to create VIENO and bring out this compilation just now? I’ve been exploring the Finnish urban music and club scene for more than two decades and I recognize the space and craving is now present. Now is the right time to recreate and bring life to this art of subtle melancholy we Finns have always carried deep in us. In a way i´m tryin´to awaken the emotional energy more than just to paint insipid and expectedly ear friendly, atmospheric soundscapes.” - Jaako Hurme