Beats Vinyl New Releases - News

For Böser Herbst, Thomas Fehlmann returns to the sediment of ages, drawing from a similar lexicon of sounds to that used on 2018’s ‘1929 – Das Jahr Babylon’. Like that album, Böser Herbst was produced as the soundtrack to a documentary made by Volker Heise, ‘Herbst 1929, Schatten Über Babylon’, which offers historical insight to the third season of the television series Babylon Berlin. It adds yet another string to the bow of this most forward-thinking and creative artist, whose history takes in NDW (Palais Schaumburg), techno (3MB) and psychedelic ambience (The Orb), plus a clutch of gorgeous solo albums that explore wide terrain, from the dancefloor through supine home listening to compelling soundtrack work. Fehlmann’s approach here was to ‘capture’ samples of contemporaneous music, “picking up the dirt and dust of original 1920s archive sound and music excerpts and shaping the essence into this selection of tunes,” he recalls. After delivering the material to the editing room, Fehlmann “threw all the pieces up in the air, deliberately lost the overview in consequence, researched the atmospheric thread and assembled it for this album.” That explains the singular nature of the material here, and its ability to sit together so neatly and discretely, as its own entity. For Böser Herbst is a music box of possibilities, shadowed by its historical provenance, but never crudely beholden to it, rather “keeping the references only as a distant nod, a scent.”

It’s certainly an evocative listen, a cornucopia of textural pleasure and sensual, tactile assemblage. The spiralling, psychedelic cycle of “Karnickel” winds its way between the ears like thread to the needle; “Mit Ausblick” immerses the listener in deep, gaseous tones, only to be lifted into the air by the glassy drones of “Umarmt”. “Wunschwechsler” crackles with the unpredictability of weather systems while a guitar-like loop unspools across the horizon. Throughout, you can catch tiny tastes of the source material, but they’re pressed into greater service, Fehlmann using these sources for their evocative capacity and then saturating them with grain and rumble, abstracting outwards. It’s a music of temporal disjuncture and clairvoyant resonance, “speaking with the past – alert, distant and quixotic.”

Für “Böser Herbst“ schürft Thomas Fehlmann tief in den Sedimenten der Zeit und schöpft dabei aus ganz ähnlichen Klangquellen wie auf dem 2018 erschienenen Album “1929 - Das Jahr Babylon“. Auch “Böser Herbst“ wurde als Soundtrack zu der von Volker Heise gedrehten Dokumentation “Herbst 1929, Schatten über Babylon“ produziert, die den historischen Background der dritte Staffel der deutschen Fernsehserie “Babylon Berlin“ beleuchtet und dabei Archivmaterial mit Stimmen unterschiedlichster Zeitzeugen verknüpft. Das neue Album fügt eine weitere Saite zum Bogen dieses überaus voraus denkenden und kreativen Künstlers hinzu, dessen Geschichte NDW (Palais Schaumburg), Techno (3MB) und psychedelischen Ambient (The Orb) umfasst, plus eine Reihe von großartigen Soloalben, die ein weites Terrain erkunden, von der Tanzfläche über entspanntes Hören bis hin zu Soundtracks.

Fehlmanns Herangehensweise auf diesem Album war es, Samples aus jener Zeit "einzufangen", "den Schmutz und Staub der originalen 1920er Archiv-, Sound- und Musikaufnahmen zu sammeln und als Essenz in die einzelnen Tracks einfließen zu lassen", erinnert er sich. Nachdem Fehlmann das Material im Schnittraum abgegeben hatte, "warf er alle Teile in die Luft, verlor dabei absichtlich den Überblick, suchte sich dann einen atmosphärischen roten Faden und setzte alles wieder zusammen." Das erklärt die Einzigartigkeit des vorliegenden Materials und dessen Eigenschaft, sich fein säuberlich und gänzlich unangestrengt zu einer Einheit zusammenzufügen. “Böser Herbst“ ist eine Spieldose voll unbegrenzter musikalischer Möglichkeiten, umspielt von düsteren historischen Quellen ohne darin zu ertrinken – Fehlmann ging es stattdessen darum, "die Referenzen nur wie eine flüchtige Geste, wie eine Ahnung von etwas zu behandeln."

“Böser Herbst“ löst eine Vielzahl an unterschiedlichen Vorstellungen beim Hörer aus, es ist ein wahres Füllhorn an lustvollen Texturen und sinnlicher, taktiler Assemblage. Der spiralförmige, psychedelische Kreisel von "Karnickel" dreht sich in die Ohren wie ein Faden ins Nadelöhr; "Mit Ausblick" lässt den Hörer in tiefe, gasförmige Töne eintauchen, um anschließend von den transparenten Drones von "Umarmt" in die Luft gehoben zu werden. "Wunschwechsler" knistert mit der Unberechenbarkeit eines aufziehenden Unwetters, während sich ein gitarrenartiger Loop am Horizont abzeichnet. Überall kann man winzige Spurenelemente des Ausgangsmaterials erhaschen, aber sie werden in einen größeren Kontext gesetzt; Fehlmann benutzt seine Quellen nur als Mittel zum Zweck, um eine bestimmte Wirkung hervorzurufen, die einzelnen Teilchen werden angereichert mit Struktur und Körper und schließlich abstrahiert wieder ins Außen gesendet. Es ist Musik, an der die Zeit sich bricht und in die Zukunft schaut wie in einen Resonanzraum: Musik, "die mit der Vergangenheit spricht - hellwach, mit aller gebotenen Distanz und voller Rätsel".

Following in the footsteps of the pathbreaking Minna Miteru compilation of Japanese indie music, Morr Music and Alien Transistor have again joined forces to release The Fruit Of Errata, a compilation introducing the world to the intimate DIY pop of yumbo. Led by songwriter, pianist, and occasional vocalist Koji Shibuya, the Japanese band has released four albums since forming in 1998. This compilation draws fifteen songs (eighteen on vinyl) from those albums, and some ancillary releases, to uncover a biographical narrative of yumbo, showing how Shibuya’s songwriting, and the group’s limber, sensitive playing, has developed over the decades. It also places them squarely within a tradition of home-spun but ambitious Japanese pop that takes in Maher Shalal Hash Baz, Tenniscoats, Nagisa Ni Te, Yuzo Iwata, Kazumi Nikaido and more.

yumbo is very much the vision of Shibuya, an amiable iconoclast whose songs seem informed by some of his early listening – there’s the playful seriousness of Maher Shalal Hash Baz’s Tori Kudo here, an avowed long-time hero for Shibuya, but also the flexibility of freely improvised music. You can also hear Shibuya’s fondness for Mayo Thompson and The Red Crayola in both the idiosyncracies of the writing and the egalitarian looseness of the playing. Shibuya also carries those energies into the group’s membership – there are fantastic stories of him having a conversation at a record shop, or overhearing someone speaking, and asking the person in question to join yumbo as one of their various singers. He seems open to chance as a driving force, as a way to make space for unexpected possibilities to blossom.

The great achievement of yumbo and Shibuya, though, is translating all of this into beautiful, unpredictable pop songs. There’s a gorgeous soul-inflected lilt to “A House” that makes it delightfully affecting; the swaying brass on “Storm” propels its melody to a moody, dreamlike conclusion; the nakedness of “The Sweetest Mass” is slightly reminiscent of Carla Bley’s more pop-focused writing, crossed with the classicism of the songs that spilled from the Brill Building in the ‘60s. Throughout, Shibuya renders pop a deeply personal experience; you can hear musings here on friendship, family, intimacy, the complexity of relationships, mortality, and imbalances of power. These musings are also shadowed by real-life events: the effects and impact of the Great East Japan Earthquake of 2011 are captured in songs like “Umbrella People” from Onibi.

Throughout the performances on The Fruit Of Errata, Shibuya and the group play with tenderness; they also often draw on other players to flesh out the music even further, two such guests being the aforementioned Tori Kudo (on “Umbrella People”) and Olympia, Washington’s LAKE (on “The Devil Song”). Community-minded and generous in approach, the writing of Shibuya and the music of yumbo is never less than lovely, and The Fruit Of Errata is a welcome introduction to their world. Open and gentle, confident and generous, these pop songs are filled with charm and spirit.

Presenting Alix Perez’s largest solo project since his second album in 2013. “Without End” is an 8 track journey through his exploration of soulful drum and bass - a sound Alix is renowned for. The EP includes collaborations with Liam Bailey, Workforce & Halogenix.

Venerable avant-gardist John Duncan supplies quietly jaw-dropping new fruits from his fertile relationship with iDEAL Recordings, rendering a concept album for the times split between thoughts on social energy/ failure, and intimacy, in his singular style In quizzical pursuit of the haunted muse that’s informed Duncan’s boundary-pushing work since the late ‘70s, and which has lit up the iDEAL catalogue over the past half decade, ’Soft Eyes’ renders Duncan’s oblique reading of the psychic zeitgeist in subtly contrasting sides of furtively rhythm-driven and richly atmospheric songcraft. In keeping with Duncan’s reputation as a sort of avant garde shaman or psychopomp, there’s something unfathomably timeless and ineffably eternal about his work on ’Soft Eyes’, which follows the course of his modern classics such as the songbook of wizened covers ‘Bitter Earth’ (2016), and last year’s ‘Red Sky’ 2CD, without feeling like he’s re-treading old ground, and still sounding vitally unusual.
The record’s first half revolves around Duncan’s thoughts on social energy and failure, from crowds to tribal gatherings, in a low-key but extraordinary style. Chamber wind meets a metallic pulse somewhere between dembow and Yemeni folk to underline his achingly hoarse vocals on ‘The Rabid Position’, while the lurking vox of ’Say No’ smartly reaffirms his counter-cultural cache, and the queered ambience of ‘Homecoming’ sees him slip into a sort of curdled tribal reverie.
On the other hand, the B-side dwells in a starker, intimate half light, with songs stripped to a spectral quintessence between the petal-fall keys and prickly sax of ‘Foreplay’, a face freezing, ASMR-triggering
beauty titled ‘Frenzy’, and an unmissable, abyss-hovering vision ‘Resolve’, and pooling into the miasmic folk strings and stygian glyde of ‘The Beautiful Attempt.

Ibiza Records has known the legendary artist Mc Det from 1993 n this project has been a longtime in the making to bring you Back to Det Oldskool Classics Vinyl EP. We've gone into his back catalogue n picked out some gems that 's reppin the 'Original Jungle Sound' to get you skankin n making you wanna skip, hop n jump....

A.Flavour for the Ravers: This track was a released in Germany in 2000 with TC Islam (R.I.P) on the intro and alongside Mc Det, Mc Fearless and Mc Skibadee..

AA.Junglist Massives: This track remix produced by Booyaka Crew in 1996 alongside the legendary artist Mc Det bringing his dominant style n flavour on to the beats.
Produced by Booyaka Crew

AAA.Let Me Recommend: This track made in1996 n came out on the Avex Trax Japanese label. Mc Det and the Dreamteam…
Produced by Dreamteam

AAA. This track remix produced by L Double in 1996 taken from Mc Det's CD album Out of Det....
Produced by L Double

This is the debut album from the Nancy-based quartet NCY Milky Band.
The four musicians deliver unique jazz experiments at the crossroads of 70's french groove and modern electronica.
The album covers a wide range of moods, switching from cheerful anthems with goofy synths to slow jams in which the saxophone breezes a deep feeling of nostalgia.
With Burn’IN, NCY Milky Band are bringing a refreshing and original touch to the upcoming french jazz scene.

Buttechno is Pavel Milyakov, an unknown music producer from Moscow suburbs and one of the local rising underground scenes leading voices. His debut record SPORT is a soundtrack to Russian designer Gosha Rubchinskys AW15 fashion show and this synthy, spasmodic music proves to be as fresh as Rubchinskys works. The world of Buttechno is dark, experimental and ever changing whether he DJs or plays live, he puts audience in a state of deep self-reflective meditation with a variety of tools ranging from astonishing post apocalyptic techno soundscapes to melancholic house structures.

Blue Vinyl

Cultishly adored artist Teresa Winter fesses up a supernaturally compelling, definitive opus with ‘Motto Of The Wheel’ - a life-giving bounty of warped ‘90s rave mutations, dream-pop and ambient noise, enchanted by ohrwurming vocal hooks and saturated in ravishing colour and frontier air A festive tribute to life in a seaside town, ‘Motto Of The Wheel’ is Teresa Winter’s most accomplished and significant album since she debuted in 2015. Its richly layered and psychedelic nature speaks lushly to Teresa’s experience of growing up in Bridlington, on a key liminal zone of the East Yorkshire coast, where she was just as inspired by formative studies in classical music as the dance-pop tunes blasting from arcades and a fairground by the beach. With the benefit and gauzy fidelity of hindsight, Teresa typically draws on her nostalgia with a mix of raw nerve, penetrative observation and careful emotional intelligence to create her most spellbinding, personalised and expansive record; one adorned with artwork by her father, beautifully hung in place by Rashad Becker’s exquisite mastering, and cut to 2 x LPs.
Like a palimpsest of memories smudged with sun, salt, and sugar, the baker’s dozen songs to ‘Motto Of The Wheel’ follow up on Teresa’s non pareil, inspirational reputation with a mix of ravishing ecstasy and endof-earth melancholy that only she could pull quite off like this. Her kaleidoscopic influences from overripe ‘90s rave-pop to Eastern European folk and the post-industrial occult remerge in abundant variegations, entwining her trade as musicologist with her reading of radical love, and the tarot card for Goddess Fortuna, into a celebration of seaside life’s chance, ephemeral joys and belly aches - artfully identifying the way it plays a crucial, almost parasitic function or counterpoint to ideas of “urban” and “pastoral”, or “bright” and
“bleak” in British culture - a site of escape, transformation/transgression, and flux.
Since her earliest works, Teresa’s practice poetically absorbs from myriad sources, and never more so than in ‘Motto Of The Wheel.’ From its introductory jungle-tekno headrush to passages of wind-whipped romance and headfreeze ambient beauty, Teresa’s poetic arrangements of vocals and sound design surely achieve a new high water mark in her catalogue. The street soul swoon of ‘Emptiness Is An Excess’ and spine-tracing extended melody of ‘Does He Love Me?’ are instant anthems, while her devilish playfulness bleeds thru in
samples of kids tombstoning off Bridlington’s harbour wall into the cold North Sea, and the cosiness of UK TV gold, all gilded with original vocals that range from wind-wrenched, shoegaze-like to ecstatic, each blessed with her patented form of emotional punishment at its most pop-wise yet uncompromising.
For purposes of disambiguation, the motto of the wheel is ““WEEEEEEEEEEEEE!!!!!!!!”

Vinyl Only

V.C.V.S. was founded by Irakli Shonia and Sandro Kozmanishvili in Tbilisi, in 2016. After spending considerable time together in the studio, the debut CD album 'Sections from the Imaginary Future' was released in May 2017 on label 'Hanker", containing more ambient/experimental music. After two intense years, Irakli and Sandro found new inspirations and ideas, which led them to return to the studio and record the EP called HUM in August 2018. DJ Sotofett made a variation of Trapped in the Corner together with Kalifornia Keke.

A talented early exponents in the history of techno–electronica that evolved out of the Melbourne music scene in the 1980s, Artificial Organs were pioneers in the art of music video in Australia and explored the potentials of innovative consumer tools for music and recording. Reissued for the first time in a deluxe vinyl edition of 400 copies.

Truth' is the new album by this incredible heavy-psych duo from Portugal, famous for their storming live shows at famous festivals like Reverence Valada and Barreiro Rocks and for supporting big neo-psych names like The Cosmic Dead, Pink Mountaintops and Endless Boogie. You won't believe how just two guys can create such a brutal sound. Echoes of Blue Cheer, Hawkwind, Tractor, Black Sabbath, Iron Butterfly and Pink Fairies spiced with doses of Kraut, Doom, Drone and Space-Rock.

Blue Chemise documents the hermetic soundworld of Australia's Mark Gomes. 'Daughters of Time' follows 2017's brilliant full-length 'Influence on Dusk,' released in micro-edition on Gomes' own Greedy Ventilator imprint. It is an elegiac set of vignettes recorded straight to dictaphone with minimal post-production. These pieces function in a manner akin to Loren Connor's evocative 'airs,' conjuring poignant, intangible senses of longing and nostalgia then disappearing well before overstaying their welcome. Regarding their genesis, Gomes points to a quote from Australian artist Robert Hunter: "It's like I'm external to them. They develop their own assertion and character; their becoming finished is a thing they decide themselves. It's unexplainable."

Limited hand stamped copies..

Aisha Devi’s Danse Noire label reissues Gabber Modus Operandi’s mindboggling combo of microtonal Balinese gamelan and screaming carnival gabber. Absolutely galaxy brain post-colonial hardfuzion free
expression from one of the globe’s most fascinating duos.
Originally released in 2018, Indonesian duo Gabber Modus Operandi’s debut album “PUXXXIMAXXX” showed the world the artistic and political power of radical fusion. By bolting together trash culture, European hard dance hedonism, heavy metal/punk theatrics and Indonesian gamelan elements, Ican Harem and DJ Kasimyn came up with a “chaotic pastiche” that has by now surpassed its influences without losing its cutting sense of humor. If you heard 2019’s “HOXXXYA” then you should have an idea of where GMO’s interests lie - “PUXXXIMAXXX” is maybe more raw, more unhinged and even more flamingly carnivalesque. From the very beginning the duo make their intentions clear, wielding a wavering trumpet loop before adding 400bpm kicks that roll like a tidal wave over traditional Indonesian percussion like it’s nothing at all.
There’s no hesitance in Kasimyn and Harem’s resolve, they take risks that should make most producers embarrassed. Think the Danes are putting a fresh spin on hard trance? Well listen to ‘Pariah’, that takes
the “festival somewhere in the distance” supersaw sound and slathers it over rolling gabber kicks before disintegrating into wobbly, ambient ritual magick. ‘Jathilan Titan’ might be even better, wrapping those same trance leads in beating Indonesian percussion without losing the 7am-on-a-mystery-drug-cocktail essence of the ‘ardkore experience. By the time we get to ‘Goroxxx’ with its swung rhythm and dense, chattering vocal mangles, there can be no denying that “PUXXXIMAXXX” is a unique proposition. While half of Europe is trying to recapture the sounds of a lost rave they never attended, GMO use the discarded shells of dance subgenres to cobble together a completely unique vanguard rave sound that doubles as a middle finger to the dull, aggy purists

Herman Saiz debuts on Aprapta Music with his latest creation, Time To Choose LP - 12 Original Tracks spread across 2x12inch.

The NZ based producer's latest project, born out of the volatility of 2020, merges various styles of electronic music, to offer a thought-provoking album, challenging the heavy main stream programming of this generation.

Each tracks aim to dissolve the illusionary forces holding us to meaningless narratives and diluted culture.

From downtempo, hip hop, minimal, house and experimental electronica, the album is an invitation to choose your own preferred timelines, switching off auto pilot, and harnessing the power of being present in the now.

Through interweaving deep truths with electronic pulses, this is a clear offering to choose sovereignty and an awakened future.

Looking back, Jimmy Edgar has a lot to be proud of. Over the course of the last decade-and-a- half, the Detroit native has proven both a celebrated favorite and consistent fixture of dance music in its multitudinous forms. Looking over the arc of his lengthy and diverse discography, both under his own name as well as pseudonymously, it’s hard not to see him as one of the most innovative producers and skilled sound designers to emerge this millennium, an artist whose legacy has touched untold numbers of home listeners and dance floor revellers alike. His upcoming album, CHEETAH BEND, achieves its ethos with the aid of some well- placed vocal guests. On "GET UP," a tough love motivational set to springy synth flourishes and bass rattling, Edgar links w/ fellow Detroiter Danny Brown who does irreparable microphone damage. FOR FANS OF: Flying Lotus, TNGHT, Danny Brown, Vince Staples, Schoolboy Q

Hospital Records’ jazz-infused drum & bass supplier and Goldfat Records co-founder Mitekiss drives into 2021 with his ‘Night Bus Stories’ EP, with four brand new tracks that are some of his best work to date.
Following on from the triumph of his ‘Objects To Push’ EP which received support from legendary figures including LTJ Bukem and DJ Fresh, Mitekiss’ latest release is profound and from the heart.
’City Angels (feat. Milo Merah & RSWT)’ beckons with sombre guitar licks and piano chord progressions drenched in melancholy. Milo Merah lays down captivatingly sincere vocals as he proves himself to be one of London’s rising musical talents. Nottingham born and bred, MC and vocalist RSWT showcases his deep-rooted musical ability as his vivid bars are flawlessly intertwined amongst Mitekiss’ orchestral strings.
Trickling ride cymbals and soulful keys set the scene on ‘Rain (Falling Down)’ as Mitekiss’ love for jazz eminently shines through. Mr Porter graces the track with a sublime vocal hook which drifts above delicate drums and off-beat bass notes.
In honour of the night bus on which he was a frequent traveller, Mitekiss exposes his deeper and darker side on ‘N68’. Tearout breaks, moody synth drones and a ruthless bassline make a mind-bending sonic imprint demonstrating Mitekiss’ diverse range of production mastery.
Teaming up with esteemed talent Javeon who’s no stranger to vocalling an array of drum & bass anthems, ‘Ring Alarms’ is a raw and irresistible stepper that encompasses enchanting melodies and warm flourishes.
Beyond his latest ‘Night Bus Stories’ EP, Mitekiss continues to demonstrate his taste-making abilities through the running of his very own label, Goldfat Records, which has proven to be ahead of the curve by putting out some of the most forward-thinking and sonically diverse drum & bass this year. With previous releases also on Shogun Audio, Skankandbass and his own Goldfat imprint, Mitekiss is building up a solid discography which is guaranteed to set the precedent for the sounds of tomorrow.

* The Vanguard Project return to Spearhead Records with Volume 7.
* Until now BCee & Villem have always worked on The Vanguard Project in the same room. Unable to be in the studio together during the current corona bollocks and determined not to let that stop them, they have been firing ideas back and forth online for the last few months to bring us this new batch of goodness.
* Featuring 6 brand new tracks, The Vanguard Project dust of the sampler and pack this EP with plenty of vibe.
* We might not be able to get to a club at the moment but these tracks are made to be turned up loud, so turn them up and let them rattle everything from your studio monitors to your car to alexa and your phone.
* Support from Rene LaVice (Radio 1 d&b show), BCee , London Elektricity, DJ Marky, and loads more.

Extrawelt take it to the next level with one of the most anticipated albums of 2021.. Big Tip!

Extrawelt take it to the next level with one of the most anticipated albums of 2021.. Big Tip!

The sound of MARTIN MERZ is a scenario of gloomy soundscapes and analogue bass figures, paired with elements from Industrial and EBM which takes the listener into the abyss of an urban future.
For his electronic compositions MARTIN MERZ isn’t only fishing in technowaters as he also lets his listeners glide through ambient landscapes which transform into pumping organic shapes of groove and synth melodies.
It’s those bubbly basslines making love to space-filling spheric sounds and tribal drums that turn everything into a timeless and dancy work of art.

* Strictly limited-edition 12” vinyl in full colour sleeve
* Dillinja joins the legends series with two previously unreleased gems from the mid and late 90s. Very different in style, but both unmistakably crafted by one of the genres true bass scientists.
* ‘Selassie I Sound’ is from 94/95 and is one of those tracks that jungle detectives have been after for years! Cropping up in many live set recordings from that era – we’re really excited to have dusted off the DAT for this one and to be able to present it to you as part of this series.
* ‘Valve Sound VIP’ as a special DJ edit of the huge track taken from Dillinja’s 2001 album Cybertron on FFFR. Most likely to have been recorded sometime in 1999 this alternate mix of a classic packs a punch and gives a fresh twist on a well loved anthem.
* As part of the legendary Valve Soundsystem alongside Lemon D, Dillinja is responsible for some of the genres most seminal moments on labels like V, Philly Blunt, Metalheadz and his own Valve imprint. On V alone tracks like ‘Unexplored Terrain’ ‘Chapter 19’ & ‘Grimey’ have secured his place in the D&B hall of fame and mean the status of ‘Legend’ is richly deserved!
* The third part in this vinyl series, with more legends waiting in the wings. These are an absolute essential for vinyl collectors.

William Basinski's reputation as the foremost producer of profound meditations on death and decay has long been established, but on his new album, Lamentations, he transforms operatic tragedy into abyssal beauty. More than any other work since The Disintegration Loops, there is an ominous grief throughout the album, and that sense of loss lingers like an emotional vapor. Captured and constructed from tape loops and studies from Basinski's archives - dating back to 1979 - Lamentations is over forty years of mournful sighs meticulously crafted into songs. They are shaped by the inevitable passage of time and the indisputable collapsing of space - and their collective resonance is infinite and eternal.

Acid Pauli is a name synonymous with certain aesthetic towards electronic music culture - both a part of the unhooked generation of that grew up experiencing his revelatory sets at places like Bar 25 and Fusion, and yet deeply rooted in musicality and adventurousness. BLD, the second full album from Martin Gretschmann, (aka Acid Pauli), builds on his already impressive back catalogue which spans back to 2005, and includes a debut album released on Nicolas Jaar's Clown and Sunset.

Over the course of the eight tracks here, Gretschmann explores some of the many facets that have made him one of the most trusted artists in his field. Released on his own (and Nico Stojan's) label Ouïe - the album is the perfect expression of the imprint's commitment to diverse, exciting sounds, freed of the conventions of traditional club music.

The album covers a number of moods and emotions, from dystopian carnivalesque vibes to moments of high intensity, through to deep melancholia and synth laden ambience. Gretschmann's well documented love of the sampler shines throughout - tracks are textured and colored with different hues from his extensive sound palette, whether it's a part of his more psychedelic moments, or concentrated on his innate knowledge of dancefloor dynamics.

As such BLD sits together as a complete piece of music - to be relished just as much by blissed out home listeners as the left-field dancers.

Some old gems of Bens have resurfaced from the archives thanks to Danny digging through his crates.

Ben grew out of the 1989 UK rave scene to dj, remix, produce and write for all sorts of artists from Prince to U2, djing around the world from Berlin to Buenos Aires.

These are his own tunes made in the Matrix studio in London in 1990, a hive of activity and talent, Massive Attack in the next room making Blue Lines, Mark E Smith in another with The Fall, and Adrian Sherwood dubbing Tackhead in another!

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* Expansion (Remix 1 & 2): Andy C and Ant Miles's penultimate releases prior the the inception of Ram Records were released on local label ‘Out Of Romford’. Under their usual guise as 'Desired State', ‘Expansion' was originally the B side to their Hardcore smasher ‘Dance The Dream’. Not long after, two further remixes (Remix 1 & 2) were created for the flip side to the ‘Dance The Dream’ Remix that followed. Both feature here in all their original Hardcore glory. Remastered from the original DAT for 2021, they continue as part of the Liftin Spirit Reloaded series on limited heavy weight vinyl.
Turn On: This track was Andy C and Ant Miles’s first ever collaboration together as Desired State, from what eventually became the Ram HQ studio in Hornchurch, Essex. Originally signed to Karma Records in 1991, it was oddly licensed to a label in the States and returned to the UK as an import! The track did so well, even as a higher priced import, it gave the pair the encouragement to continue on their path in the studio together and the rest is history as they say. Remastered from the original DAT once again, this one holds a special place in their heart.
Move Your Body: This particular track was never released to the masses, originally made way back in 1991, it was recently located on a DAT tape and has been brought into the the Liftin Spirit Reloaded series as a special unreleased bonus track.

Promotion across chosen internet websites and Hardcore 12” vinyl communities.

Hej! For ESO-003 we’ve tapped into that Århus connection again. DJ Sports coming in bass heavy with three tracks made for the club. A little dubsteppy, a little garagey, a lotta good. Produced with love and cut nice n loud to be played at 45.

After making a name for itself through acclaimed reissues of forgotten gems, Lyon’s Tunnel Vision Records is back, this time with a previously unreleased cult EP from the Serbian underground: InnVision’s Lake produced by Welljam aka Velja Mijanović, one of the pioneers of electronic music in Serbia and host of the legendary “Liquid” show on Yu Radio.

While it is fairly common these days for tracks to reach cult status after being uploaded to Youtube and picked up by its recommendation algorithm, the story of the Lake EP is truly unique.

Picture this: it’s the summer of 94 in Serbia and despite US sanctions, something was going on in the country’s musical underground with open-air parties on lakesides and other natural locations, fuelled by a feeling of freedom and creativity. At the time, InnVision was a 26-year-old producer inspired by the likes of The Orb, Brian Eno, Underworld, and Spooky. Unconcerned with adhering to trends or finding ways to make commercially-viable music, he created the tracks on this EP with Cubase running on an Atari computer and several synths fairly common at the time.

But the result was beyond anything common or ordinary. Described by its creator as “organic (ambient) house, but you can call it trance”, LAKE is rapture in its highest form. Pure enthusiasm seems to be driving this uplifting track, with an abundance of heavenly arpeggios and positive energy, along with masterful arrangements that make it even more grandiose, while retaining a light and dreamy quality (perhaps it is no coincidence that Lake in Serbian evokes weightlessness). It is one of those rare tracks that have a deep impact on body, mind, and soul and for which the repeat button was created. While adhering to a central theme, it never feels stale and this is explained by the fact that it was arranged live, with InnVision muting and tweaking everything in one go, which makes this track a “deskmix”, to use dub terminology. In fact, the producer remembers jumping around and shedding occasional tears while he recorded the final take.

On the flipside is another previously unreleased track, the forward-thinking NIGHTY. By no means filler, this is a timeless track with a subaquatic feel. With lush pads and elements doused in delay and reverb, you’d think this is a purely ambient cut, but it’s much more than that. Subtle melodic and rhythmic elements are engaged in a dialogue, and distant breakbeat samples can be detected in the background, enough to induce movement but never overtaking the vibe carefully created by InnVision. The result is a track that is at the same time featherlight and impossible to listen to without some sort of movement. Once again, truly unique music that transcends time and place.

Bristol roots legends! dubstep foundation!

Since 2019, Shipwrec's ambient wing has been in hibernation; waiting for the right artist and record to revive it. That musician has now arrived, Ochre with his album: Eye to Windward. Ten soundscapes make up this journey into the rich and textured world of this creator. The first steps on this excursion reverberate in the autumnal haze of "First Builders" before the shaded pathways of "Rising Tide" and "Evacuation." The listener finds themselves in a fissure, between different audio scenes; the sea-sawing waves of "Socotra", the undulations of the astral "Parinherm," the waking dream of "Fiddlehead", as Ochre paints in subtle tones and sounds. Fiction and film are sources of inspiration, the playful fantasies of "A Current Under Sea" and the sci-fi score of "Sand Engine" conjure vivid images through sound. A record of striking understated beauty. First pressing on "Hazy red marbled" vinyl.

From his 'FAT' Studio near the central Swedish town of Örebro, Sjunne Ferger crafted a small but radical legacy of genre bending music. With an open minded 'anything goes' attitude born from his jazz roots, compiled here are songs charting a transition from fusion beginnings via his debut 7" with group 'Exit' through to a more blissful synthetic sound palette. Across the album's 7 songs Sjunne's heady musical optimism aspired to an aesthetic that moved freely between drum machines & synths to more organic instrumentation with rich arrangements never losing sight of a light ethereal feel.

Hypnotic ambient pieces written for short film swirl amongst the electronic & electrified- unreleased versions of 'Destiny' and 'Candlelight' hint at his sound to come, while the album culminates in the highlights 'Night Rituale' and 'Childrens Mind' -Intoxicating mixes of Sjunne's influences & inspiration, they unknowingly hint at Mkwaju Ensemble and other key Japanese contemporaries, and bear witness to the Swede's deep Eastern philosophical outlook. Retaining his own unique sound throughout, 'Childrens Mind' is a primer for Sjunne Ferger's 'Mindgames' LP reissued on Strangelove later in 2021.

Suitman Jungle is a creation of percussionist Marc Pell. The idea behind it is a man in a suit playing jungle music. He uses his voice, plays a standing drum kit and utilises live electronics such as an SPD-SX, a clunky office keyboard and guitar pedals.

Suitman Jungle is the Director of RBS (Regional Bassline Services), a company that provides a wide variety of sub & mid-range bassline services internationally.

'Liquid Lunch' is an album influenced by the sounds of London and daily routines. It was produced in OpenOffice spreadsheet processor and mastered in a cracked version of Microsoft's Powerpoint. Track four, 'Nil Cash Option', is a recording of two gig-goers who gatecrashed Brighton's Great Escape Festival by pretending to be accountants. Track six, 'Lift Going Up', is about how some days one's mood can be better or worse than on other days.

Cold Body Music vol 1 is the first part of a new series of releases focused on cold wave, EBM, industrial etc. Vol 1's concept, curation and design are all our own work which we build around demos we’ve had in our hands for a while now. That is to say, all music on the album is previously unreleased. The format, design and fidelity pay homage to the early 80s “cassette culture” championed by bands such as Cabaret Voltaire, Throbbing Gristle, Clock DVA, and many more

Artists on the release: Victor 25-2 / Often A / Antoine Heroics / Silens Letum / Halvtrak / Schnell Funktion (H. Puolitaival & K. Rapatti)

LTD. MERLOT VINYL

William Basinski's reputation as the foremost producer of profound meditations on death and decay has long been established, but on his new album, Lamentations, he transforms operatic tragedy into abyssal beauty. More than any other work since The Disintegration Loops, there is an ominous grief throughout the album, and that sense of loss lingers like an emotional vapor. Captured and constructed from tape loops and studies from Basinski's archives - dating back to 1979 - Lamentations is over forty years of mournful sighs meticulously crafted into songs. They are shaped by the inevitable passage of time and the indisputable collapsing of space - and their collective resonance is infinite and eternal.

For the fifth release on Grand River’s experimental label, One Instrument, synthesizer maestro Donato Dozzy gifts us with an incredible, psychedelic 38-minute journey. “Slow Train” has been created using the EMS Synthi AKS, an extraordinary and rare portable modular analog synthesizer, first manufactured in 1972.

'One Instrument Sessions - Donato Dozzy' highlights the artist's most experimental side on what will be his 7th studio album. These tracks are the honest outcome from a long and intimate engagement with the instrument which were produced in his San Felice Circeo studio during an “altered state” night in October 2013. The resulting music is one of fluid continuity; Dozzy’s most extensive, vigorous and determined application of real-time studio recording to date.

The intensity of both parts of “Slow Train” are comparable to a mindfulness experience in which the listener’s perception of reality slows down enabling every small detail of the sound to become alive and increasingly vivid.

Few DJs and producers are as widely and universally acclaimed in techno circles as Italian Donato Dozzy. He has a rare ability to work his way into peoples' minds in both contemporary and classical settings, conjuring real mood and atmosphere. Never one to pay heed to the zeitgeist, he prefers to deal in hypnotic soundscapes that really take you on a trip.

Enigmatic as he is, and laidback as he seems, as an artist he is constantly unveiling new work. Displaying a large variation in terms of sound and method across many new releases each year - some of which come on his co-owned label Spazio Disponibile - he also puts out installations for public spaces and museums, uses obscure musical instruments, collaborates with likeminded producers, classical singers or visual artists. Donato seems to continuously challenge himself on a creative level: whatever method he uses, though, he is always likely to permeate your cerebral cortex and rewire it in fascinating and compelling new ways.

REPRESSED !
King Ghazi is Shadi Khries and Gilbert Cohen.
Recorded in Amman / May 2014.

All the music presented here is original, and has been recorded in Jordan in May 2014. This project was born when I met Shadi in Paris, at the percussion recording sessions for Acid Arab. From these sessions came the idea ofexploring local music styles on the verge of disappearing, in Jordan and elsewhere in the Middle East. It was also an opportunity for me to meet exceptional people and wonderful artists. For 15 days, we travelled through Jordan, recording local musicians. Here we hear Osama Al Khairat aka Abu Sayah, an exiled Syrian musician who plays the Yarghoul (two flutes linked together by beeswax. One plays a drone, the other the corresponding range, all while blowing continuously).
I want to specially thank Shermine Sawalha for allowing us to record in the living room of her parents' house, as well as for coordinating the whole project. Without her energy and patience, this record would not be in your hands today.
Also, many thanks to Ali Hamad Zalabia, who welcomed us to his camp in the desert at Wadi Rum, one of the most beautiful places that I have ever had the chance to see...

There's no doubt that Luca Piermattei is one of the most exciting young producers coming from the ever-growing Italian scene. The Seekers family member has been steadily releasing on some of the most influential labels of the moment, including his own imprint Polarity, which he runs with Gabrø, Frankfurt's HardWorkSoftDrink and EYA to name a few. His latest output is Colt Music's sixth release, in which he delivers four bass-driven, minimalistic tracks that fly effortlessly between house and electro in his very own signature style.

Loaded acidic & crafted tension, exploratively executed with and overall consistent and limited sound palette. Mullie Mess has been recording and producing as 100records for years and always carved a way through the real sonic underground of Berlin. Simultaneously strict and tilted, straight forward and leftfield, harsly deep and still masterly captivating. Last track is also source material for Madteo's Cositas Ricas featured on Sex Tags Amfibia's AMFIBIA 15 LP compilation.