After the sold out releases by DJ Trace & DJ Krust & Source Direct on Tempo's SPEED series here's another legendary drum and bass producer called VOYAGER. Also known as Pete Parsons; a highly prolific producer and genious engineer, active since the early 90s and throughout the golden era of Jungle / Drum and Bass which got him releases on legendary labels such as Deejay Recordings & Lucky Spin Records, Suburban Base, Moving Shadow, Goodlooking & Creative Source amongst others. On this release you'll find three fresh new recorded Voyager tracks. Judge for yourself but mostly enjoy the voyage! This release comes as a strictly limited 500 copies handnumbered 180gram Picture Disc Vinyl pressing with a high quality polybag sleeve (including a handnumbered qty sticker on polybag corner) + all tracks mastered by Stuart Hawkes of Metropolis Mastering London. First come, first served, no picture disc repress! Please Note: This is a special high quality collector's picture disc vinyl and the sound quality is still good (but maybe not as good as on a regular standard black vinyl). For the full sound experience, you may buy the download.
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Inspired by cosmology and ancient mythology, the Anunaku project is a continuation of TSVI’s debut album 'Inner Worlds' and aims to explore the use of various drums from around the world combined with elements of UK underground club music.
E' come un gioco, ma non troppo, quello della spirale, simbolo intrigante, ineffabile ed inestricabile: dal nulla alla volta celeste, alle galassie e ritorno; dalle immensità del tutto al niente, dall'infinito al buco nero.
From Babelfish: "It's like a game, but not too much, that of the spiral, an intriguing symbol, ineffable and inextricable: from nowhere to the celestial vault, to galaxies and back; from the immensity of everything to nothing, from infinity to the black hole."
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From the creator of Deep Reggaeton and the hit record "¡Estéreo Bomba! Vol. 1", DJ Python, returns with the first masterful full length album "Dulce Compañia". Comprised of eight ethe-real, banging hits of the most unique and thought provoking calibre - mixing Deep House, Shoegaze, Trance, and of course, Reggaeton - these songs-not-tracks slide over the Dembow in the unique way only Python can dream up. Rated E for Everyone.
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We've been struggling with the follow up on the HELP012 press release: This record is by DJ Sports, it's called Akrasia and has three mixes on it.
Costumer support: (plusfortyfive) 26 83 82 39. Sports- & Central-action. Saludos para toda mi gente.
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Following 2018’s debut, Giles Armstrong ‘finally’ returns to First Cut with three killer cuts.
From the woozy break beat techno of ‘The Bunny’ throughout the left field ‘Corridor of Uncertainty’ and the gritty electro of ‘Blazed In Slur’, the ninth release on First Cut showcases Giles’ considerable talent.
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786 Recordings presents the next release of their 786X series. Rising Artist Saanen join the family with a new sharped 12”. Includes a deadly remix of Rukkus from DPRTNDRP & 3WA.
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The unmissable, head-twisting debut LP by Cairo’s 1127 returns on red vinyl pressing for those who missed its shockwaves for the first time back in summer 2019, Huge recommendation if you’re into Autechre, Arca, Croww w, Rabit...
Getting right under the skin with its hugely variegated palette of brutalist, rhythmic power electronics and evocative location recordings, ‘Tqaseem Mqamat El Haram 2016-2019’ resembles something like a soundtrack to a Neil Blomkamp flick set it Cario, Egypt, 2050 where stifling heat and pollution means everyone wears
breathing apparatus and hover cars sputter about its dusty sprawl. It’s surely one of the most shocking and transfixing sides from North Africa this side of the debut LPs by 1127’s peers, Myslma and Zuli, and should be prized by anyone with an ear for futurist rhythms and microtonal synths of a modern, Afro-futurist order.
Comprising collaged chunks from 1127’s archive arranged in a seamless, diffracted flow that recalls Autechre as well as the mutant adjuncts in Arca’s &&&& or Croww’s ‘Prosthetics MechaMix’, the results feel as though scraped from the insides of 1127’s skull, capturing and rendering the sounds of Cairo street raves ricocheting
with spasms of gristly noise, strafing into pockets of cutthroat flashcore and dropping out into smoky,
intimate scenes of Arabic dialogue, all threaded together with a distinctive taste for metallic microtonal synthlines and coruscating noise.
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Black Truffle is delighted to offer up a rare serving of unheard works by legendary Swiss artist Anton Bruhin. Active as a visual artist, poet, and musician since the 1960s, Bruhin has created important work in forms as varied as concrete poetry and landscape painting, imbuing everything he does with wit, humility, and absurdist humour. A recognised master of the jew’s harp (or Trümpi, as this ancient folk instrument is known in Swiss German), Bruhin’s sound work also encompasses tape collage, sound poetry, and manipulated bird song. On Speech Poems/Fruity Music we are treated to 26 short pieces made between 2006 and 2008 using the audio software Fruity Loops. These pieces carry on Bruhin’s long-running project of exploring the creative use and misuse of cheap, accessible technologies. In many of his analogue works, Bruhin explored the possibilities of simple cassette equipment. He invented DIY approaches to layering sounds by using multiple tape machines, experimented with distortion and tape speed, or, in his classic Inout (1981) created a maniacally single-minded audio monument to the pause button. Like the computer pixel drawings the artist produced around the same time as these recordings, Speech Poems/Fruity Music extends this approach to consumer software, presenting two parallel sequences of works that make use of Fruity Loops’ inbuilt synthetic instruments and its speech synthesis function. The instrumental works play like a twisted take on the aesthetics of 1980s video game soundtracks, using synthetic accordion and harpsichord sounds to realise jaunty little ditties that exploit their machine-realisation by making use of improbable pitch-bends and humanly impossible tempos and articulations. Between these samples of Fruity Music, we are treated to the Speech Poems, a series of recitations by a lone computer-generated voice. Many of them are in fact songs, as the synthetic voice crudely and hilariously changes pitch as it moves through its fragmented syllables and odes to cream in coffee. Carrying on Bruhin’s interest in the creative misuse of technology, many of the Speech Poems attempt to force Fruity Loops’ voice synthesis, designed only to speak English, to speak German. By entering phonetic text into the program, Bruhin gets it to produce a passable German alphabet and a series of approximations to a proper pronunciation of his name. Hilarious while strangely austere, entertaining but bizarre, Speech Poems/Fruity Music is classic Anton Bruhin, arriving in a beautiful mosaic cover by the artist, with the text of the ‘abc für anglophone’ on the back cover.
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Bakongo comes proper with two stripped back drum workouts for TRULE’s 10” series. UK Funky pioneer Roska has been making great percussion tracks under his Bakongo alias for some time now. On Thirteen/Level Cowbell he continues this with two rugged, skeletal drum tracks with minimal bass and the faintest trace of texture in there that absolutely demand to be moved to.
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Pudel Produkte boldly strides from strengh to strenth.
The enigmatic 47IN4 and RVDS (Pudel Produkte, Smallville, Bureau B) have coalesced as Cosmic Car, with one spontaneous gig under their belt with Börft’s Erik Jäähalli at the Golden Pudel and their debut release, Pudel Produkte 35.
Cradling tonality, detuned dischordant melodies which drift in and out of your subconcious, rhythms that collapse on themselves. The duo provide a record that floats between creeping acid and Mu-sique Concreté.
A delicate touch made with a unique use of tape machines, radio, and traditional techno hardware, it is pure sonic alchemy.
Artwork courtesy of the genius, Alex Solman
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On April 23, 2021, Degiheugi will present his 8th album entitled "Foreglow". This record with multiple influences, ranging from samba to Afrobeat through soul and French chanson, is a real ray of light that makes you want to escape and takes you far from home. Once again, the unstoppable digger and beatmaker surprises us and shows us how well he masters the art of sampling.
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Kleistwahr is the solo project of Gary Mundy, the legendary power electronic and noise-rock musician who is a founding member of Ramleh and runs the highly influential Broken Flag label. Solemn drones and elegiac long-form passages gird Kleistwahr’s Winter, which often chimes, glistens, and glows through a unhurried constructs for organ, synth, guitar, and electronics. Yet Mundy pivots throughout with triumphant explosions of shrill noise, redlined overload, and harrowingly anguished vocals from the great unknown. Quintessential Kleistwahr.
Winter was originally published as part of the instantly out of print On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection also stood as the 50th release for The Helen Scarsdale Agency, an imprint founded in 2003 and dedicated to post-industrial research, recombinant noise, surrealist demolition, existential vacancy and then some.
With the necessary reissue of Winter, The Helen Scarsdale Agency will embark upon the reissue of much of that material from On Corrosion.
Much talked about project, now release is finally coming into fruition. Morphology approached Exalt with the idea of releasing one of their tracks. Roll forward a year and this 4 track EP comes with 2 brand new original Morphology tracks and stellar remixes from John Shima and B12 legend Steven Rutter.
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In the beginning, there was just a box of tapes and “Fate’s Gentle Hand.”
It was the autumn of 2010, and an anonymous figure known only as the Head Technician, an employee of Pye Corner Audio Transcription Services (“Magnetically aligning ferrous particles since 1970”), found himself at an auction in the village of Coldred, pop. 110. He was on the hunt for tobacco pipes when he chanced across a trio of boxes listed in the auction catalog, which described their contents only as “archived magnetic recordings.” The sole bidder, he won the lot, and upon receipt of his purchase took possession of an unspecified number of mouldering cassettes and ¼" reel-to-reel tapes. The collection contained no identifying information save for a single phrase scrawled on each box: “Black Mill Sessions.” And so, armed with razors, eyedroppers, and a bevy of solid-state circuitry, the Head Technician sat down at his machines and got to work.
Whether anyone believed it or not, this was the framing device surrounding Pye Corner Audio’s Black Mill Tapes Volume I: Avant Shards, which took the mysterious tactics of artists like Boards of Canada and Burial and raised them exponentially. Much like the narrator of a 19th century novel, the anonymous Head Technician purported merely to be the messenger of secondhand sounds. These were not compositions, we were told; they were tape transfers—“transcriptions” of an unknown author, slathered
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*2021 Repress ** Steeped in improvisational practice and known for their visceral live performances, the pair's sound combines Javanese folk and ritual music with metal and psychedelic influences. Rully Shabara's extended vocal techniques arc from guttural droning to frenetic chants and upper-register ululations, while Wukir Suryadi supplies dynamic instrumenta-tion using the bambuwukir, an amplified bamboo zither of his own invention. Menjadi (meaning 'to become') follows from the redose-3 containing "Di Kala Sudah" (reworked by Buchla synth master Charles Cohen) and is the first in a series of new Morphine releases pro-duced by Rabih Beaini and set to arrive over the next year, with artwork by Nathalie Du Pasquier, curated and designed by Tankboys.
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After the exceptional first volume of ‘Rakka’, Vladislav Delay is taken by the wanderlust again for a ravishing 2nd album of elemental electronics inspired by the Finnish wilderness. RIYL Shackleton, Rian Treanor...
Where 2020’s ‘Rakka’ represented some of Sasu Ripatti aka Vladislav Delay’s most intensely noisy textures and rhythmic complexity, as inspired by walks in his native Finnish wilderness, his follow-up further draws on and refines that experience in a beautifully brutalist bouquet of brambling distortion and tempestuous pulses that speak to the chaotic power of nature’s ecological interdependence. In the process ‘Rakka II’ fulminates Delay’s reactive sound even closer to the styles of Shapednoise, but still distinguished by his signature,
freehanded style of percussive tumult that reaches beyond techno and club music into an ecstatic, holistic hybrid of power ambient, black metal, avant-dub, free jazz, and extreme dance musicks.
While still breathlessly busy and densely overgrown, ‘Rakka II’ is intended as the romantic answer to the more hostile first volume. Its seven parts balance a sense of febrile passion with hyper-disciplined logic in more explicitly emotive, optimistic gestures that emerge from its atonal murk and convulsive structures.
Boundaries of discord and harmony are smudged almost into the red, but rendered with the spatial definition that become a hallmark of Delay’s best work for over 20 years, but never heard quite so wild and lushly semi-conscious as on cuts such as the soaring and collapsing ‘Raato’, or the craggy might of ‘Raaha’, and the heart-in-mouth headiness of ‘Rapaa.
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'Verzamelen II' is the second volume in a retrospective series in which we look back at the work of Wouter van Veldhoven (Netherlands). Throughout the past decade, the Dutch composer built an impressive catalogue of music in which tape loop and modular synthesis experiments hold a central place. Both collaborations and solo-work saw the light through some distinctive labels such as Slaapwel, The Tapeworm, Umor Rex and Digitalis among others.
With this series we want to dive into some work which slightly went under the radar. The pieces are collected from several releases and are re-mastered for the occasion. Some of them were never physically released before.
Peter Broderick and Hainbach kindly joined this trip by offering two new reworks which close this second volume.
Songs taken from ‘A head stuck in tapes’, ‘Een paar schetjes en optredens 2005-2006’ & other found unreleased tracks.
Konstruktivists is the Industrial project of Glenn Michael Wallis from Kent, England. In the late ’70s Wallis was a “control agent” for Throbbing Gristle and the Industrial Records crew. Influenced by Krautrock bands like Can, NEU!, Cluster/Harmonia as well as Tuxedomoon, Yello, Chrome, and SPK, Glenn began to record his own material. After several cassette releases, Konstruktivists’ first LP ‘A Dissembly’ was released in 1982 followed by ‘Psykho Genetika’ in 1983 and ‘Black December’ in 1984. That same year Wallis collaborated with his friend Chris Carter, of Throbbing Gristle and Chris and Cosey fame, on CTI’s ‘Conspiracy International One’.
In 1985, Glenn spent a week at Chris and Cosey’s studio recording 11 tracks that would become the ’Glennascaul’ album originally released on Nigel Ayers' Sterile Records. Produced and mixed by Chris Carter, it marked a complete change in style for the band towards a beat-orientated rhythmic sound. ‘Glennascaul’ is proto electro at its very best, with Glenn’s hallucinogenic vocals on top. A musical collage designed to invoke images in the mind. The back cover clearly states “No guitars. No Fairlights.” For this deluxe reissue we’ve added two bonus tracks recorded around the same time, now vinyl for the first time ever. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring cover art, which is a co-production of Trevor Brown, Nigel Ayers and an image Glenn Wallis supplied. Each copy includes a double-sided 8x11 insert with liner notes by Nigel Ayers, press clippings, and photos.
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Tlim Shug & DJ Playstation pair up for a split EP on newly minted label E-BEAMZ - Tlim Shug up first fresh from his debut on Greece's legendary Echovolt Records.. a slice of thugged out deep club baltimore inspired house muzak. On the flip DJ Playstation comes correct with a tape saturated jungle heater.. Headz certainly ain't ready!
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KMRU is one of the rising stars of the East African music scene, selected as one Resident Advisor's 15 East African artists you need to hear last year, playing at the infamous Nyege Nyege Festival in 2018, and being picked up by Deadmau5's label Mau5trap for a track on their 'We Are Friends' compilation, with Chris Waldt. KMRU makes intelligent atmospheric and emotionally evocative electronic music. His sounds combine everything from gritty, indigenous field recordings to piano to 303. As his Erased EP demonstrates, soulful electronica sounds beautiful, even natural. Just a 300 pressing, so pick up this gem from Nairobi before they go - 3 sublime tracks! Mastered by Neil Perch, artwork by G.S-L Studio.
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In 1985 a wondrous album titled Hemp Is Here was created by the obscure English duo Leven Signs, composed of Pete Karkut and Maggie Turner. Since then, Hemp Is Here has proven to be a visionary recording that holds a special place in the ongoing expansion of experimental music. Through the method of tape collage, an unclassifiable recording was created that consisted of post-punk and avant-pop sounds, tribal rhythms and dub and folklore elements. The result was an unpretentious yet sonically sophisticated endeavour that subconsciously evoked the twentieth-century avant-gardist and minimalist music traditions. While maintaining a distinctly original sound, their output still contributed to local explorations and remained somewhat in line with other genre-dissolving bands from eighties England like Rimarimba, This Heat, Woo, 23 Skidoo or Eric Random and The Bedlamites.
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Birdsong and bright mornings announce the arrival of spring, and Growing Bin celebrate the season of rebirth with the return of a hardy perennial. In the three years since he introduced the world to his Baltic Beat, Bartos Kruczynski has traded dub techno, Berlin electronics and jazzy Balearic on a string of highly regarded labels. Now the Polish musician is back in the Growing Bin, ready to take us on another audio adventure through the meadows and forests of his native land.
Vivid LP opener ‘Pastoral Sequences’ leads us down the garden path, around the lakeside and across the train tracks, striking a cinematic tone as gentle piano and subdued synth tones drift around natural field recordings. Dip a toe in the stream and feel the breeze between your fingers as you stroll towards the Balearic brilliance of ‘In the Garden’, a carefree cooler built on a subtle bossa rhythm, serene chords and chiming mallets. Bartosz reprises the aquatic grandeur of his first Baltic Beat on the immersive ‘Petals’, a selected ambient work where Tangerine pads underpin interlocking electronics and stately keys. Guitars ring out, Reich’s mallets ripple and well tempered piano drift over a thick sequence as ‘Voices’ propels us to the halfway point with soft power.
The B-side opens with the delicate hypnotism of ‘If You Go Down In The Woods Today’,
a modern minimalist masterpiece alive with circular mallets and sultry woodwind, before ‘The Orchard’ paints an impressionistic vignette from the same palette. Shifting focus but not feeling Kruczynski takes us home ‘Along The Sun Drenched Road’ in two stages; the first a gorgeous combination of the acoustic and electronic where hints of dub techno sit beneath languid piano notes, the second an eastern tinged reprise of the album’s opening and a welcome return home before the storm breaks.
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Gerald Cleaver's second electronic album, jointly released by 577 Records sub label Positive Elevation and Meakusma. It sees Cleaver further exploring the depths of electronic music offered by his hometown Detroit, combining those influences with his personal musical background as a jazz drummer.
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Banoffee Pies Records 16th Original Series release comes via a 4 track Split EP collaboration between Kincaid, and Zenzizenz, the ambient moniker of techno producer Viers. After a long year behind us, and likely ahead, this record takes a temporary step into the calm and adds reflection to the blurred months that passed.
The release is a collection of textural bumps and melodies opening with Kincaid's 9 minute "Slow Stumble Home" - an aptly titled down tempo trip through a confused space, layered with composition, like a Playstation home screen theme on Mushrooms. Calm follows with two tracks from Zenzizenz - "Returning From Home", a steady meditation through rumbling sounds soon shift to a new mood on the B side. "Falling Off" offers a more lethargic wandering mood through the marshland before BP016 comes to it's close with "Single Cell", the 2nd Kincaid track, which concludes with a chaptered 4x4 structure and slow bursts of energy within. Time to absorb. Love BP x
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The first Razors Edge release in over 3 years welcomes back some heavyweights of the Metalheadz camp in Loxy, Ink, Resound and Gremlinz.
A post-millennium anthem in 'Headz Roll' gets the remix treatment from what has got to be one of the most dangerous looking quadruples in dnb history, and the result is an uncompromising and refreshing twist on an already much-recognised sound. On the flip we're exposed to the gritty energy of 'Think' by Ink, Loxy & Resound who as a trio have been making waves and gathering momentum on their own imprint in recent times.
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Anonymous producer Alphonse returns to Klasse Wrecks for his third release on the label and brings with him a concoction of familiar sounds and flavours. If anything is certain about Alphonse by now it is that nothing is certain and everything is to be expected. The 'Beechwood DNA' EP sounds like a grip of the producer's influences and inspirations funneled through his sample heavy approach to production, taking wild turns unannounced. Acid licks and unruly breakbeats are definitely nothing new but the producers considered summation of each track is truly original and surprising. The EP rounds off with the title track 'Beechwood', a painfully beautiful ode that captures a nostalgic mood and shows off the producers well-informed ear for a catchy sample.
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Eyes to the horizon...it´s getting closer! This is the 12" sampler that will advance the 4x12" 'Message To The Parazone' album to celebrate the 5th birthday and 10th release of Parallax Recordings.
The 4-tracker gives an insight into what to expect from the album and offers a wide range of styles: It opens with the dark and mystic 170-groover 'Horizons' by ScanOne. It´s followed by the raw, dubby, Amen-led Dead Man´s Chest Remix of 'Rhodiola'. Originally part of the Subaquatic EP by Tim Reaper it was a collabo with dutch Yorobi and is turning heads in various sets at the moment. On the flip InnerCore slaps us with 'Turbo Sound', an alarming ravey Hardcore beast that will make you jump off your seat and bust shapes in your bedroom. The dark lord FX rounds off the EP in his trademark dark style that only he can do so easily. 'Dark Shadows' is a pitch-black monster with racing, relentless Amens and the evilest mentasms. You don´t want to miss this.
The black vinyl is pressed by Optimal Media and comes in a high quality reversed cardboard sleeve with illustrations and artwork by Vali NME Click. All music was mastered by Beau Thomas at Ten Eight Seven Mastering.
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Presenting the Dark Guru EP from Toulouse’s favourite quartet - Visages. This is their 2nd EP on the label to date. Their deep melodic and dark sound has helped them to truly make their mark on the genre. Also unrestrained by tempo or genre, Visages are prone to writing at various bpm’s, as is evident in the dubstep (title) track Dark Guru. Visages have a special talent in creating music that is perfect for dancefloors, and for listening at home. No stone is left unturned in their compositions, and their style is truly unique. The Dark Guru EP is out on 30th April on vinyl and digital.
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