Beats Vinyl New Releases - News

Tribute to B Boy culture...

This 3rd of the Motordiscs opens with a slow and delighted beat by The JuanMacLean, which turns into an electro mesmerizing track. Is it slow trance or is it some kind of house ? Are we early in the night or late in the after party ? Are we still dreaming ? A2 « Mark 211 » by Javi Redondo takes the energy level up with some acidy synth and punchy snares, proving that the power of a track does not necessarily lies in its speed. It is now time to flip the disc, Naduve takes us later in the night, bringing a murky vibe, thanks to haunting pads and low frequency instruments, picturing a proper underground club. The sun now starts to rise on the Seine river, the last track sounds like an ode to the dawn, where voices and shiny synths will emerge and open the crowd’s eyes. It was « Peppi » by Fairmont. This was a night at Garage

Hardcore has survived three decades. Will it never die? Mutate to survive, as the saying goes. There were outliers back then who remain misfits now, and it’s hard to tell whether what they’re making now is so different to what they were making then. Maybe the machines are slightly smarter, but they just find ways to rough the sound up elsewhere in the signal chain. What rings true is the sound hasn’t aged – in the right hands it still jabs at the frontal lobe and tickles the pleasure receptors with ferocious precision.

* 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.

* Alive ’N’ Kickin: Red One (Scott Bourne) was a friend of Andy C’s who actually went on to manage Ram Records in its latter years. Having an open door policy to the studio back in the early 90’s, Ant Miles invited Scott to bring some samples and ideas over and helped him to create two tracks. Both ended up as the fourth release on Liftin Spirit Records in 1994. Now morphing into the Jungle / Drum and Bass genre and moving away from the older Hardcore sound, this Amen tear out featured vocals from Val Kilmer’s ‘The Doors’ movie. It was tough to follow the previous successes of the previous release on Liftin Spirit, ‘Cold Fresh Air’ , but the more musical soundscape layers were starting to cement the Liftin Spirit sound of which it became renowned. A smasher for the record box of the era that was hammered by Andy C.
Living For The Night: Two lads Shaun and Kier from Brighton, Sussex, sent in some demos to Ant on cassette which greatly impressed him back in 1994. He immediately invited 'Stakka & K-Tee' over and helped them to finish off their ideas in the studio. 'Living for the Night' was actually the second release from them on the label and again showed off their editing skills with precision tooled drum breaks and thunderous bass lines.
Rugged and Raw: Stakka & K-Tee were by now regular visitors to the studio and this track was their final release on Liftin Spirit before venturing out on their own. A favorite of Ant Miles and championed once again by Andy C, this track tore up dance floors all over the globe, eventually being remixed by ’Splash’ of ‘Babylon’ fame.
Awareness: This release from The Interrogator was a collaboration with Ant Miles that followed on from Red One’s release in 1994. The energy in the studio inspired DJ Interrogator to venture onto the 'Sudden Def’ label as DJ Inter.

* 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.

* Cup-A-Cha: In 1995-96 the tracks were flowing out of the studio and Ant Miles would often sketch out beats while waiting for Andy C to return. Cup-A-Cha literally fell out of the computer one day and Andy felt it needed to go out as was, especially with the emotion laden piano trills towards the end; reminiscent of the sound of Foul Play who Ant adored. This track actually got Moving Shadow’s attention and Ant was invited over to release various tracks as ‘Higher Sense’ as a result of the vibe of this tune.

The Futurist (Ant Miles Remix): Originally the title track on Red One’s debut Liftin Spirit release in 1994, ‘The Futurist’ was indeed a sound and rhythm ahead of its time which inspired Ant Miles to load up the track for a special remix featured here. This went on to be backed with a remix of ‘Alive ’N’ Kickin’ that Andy C and Ant created as ‘Origin Unknown’. This mix captured the sound and vibe of The AWOL raves that are cherished greatly by all of D&B/Jungle heads of the time.

Soon Come:A collaboration between Ant and Andy C that went on to inspire yet another alias for them as ‘Concept 2’ on Liftin Spirit. Ram was often swamped with releases for months to come, so this found its way to the sister label. ‘Concept 2’ smashed it out the park in later years with tracks such as ‘Cause and Effect’. A Desired State production in full effect.

Bad Influence: Originally a B side for Stakka & K-Tee on Liftin Spirit, being in a similar vein to ’The Futurist’. This track also became an anthem at The Awol nights back in the day with its heads down, haunting, roller vibes.

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

* 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.

* Its U: This track was a collaboration with ‘Rainbow Country’ and Ant Miles from the very early years 1991-92. This track was actually released on a first label attempt starting life as ‘Etheric Records’ that Ant later morphed into ‘Liftin Spirit Records’. A Hardcore stormer of the era, smashed by DJ Randall and Grooverider back in the day.
Highlander: Again from way back in 1991, although under the guise of Desired State, this track featured on Ant’s friends label ‘Strategy Records’ which was inspiring Andy & Ant to formulate their own labels.
Turntable Overload: A remix from 1992 by Andy C and Ant Miles for Royal T & DJ XL originally released on Strategy Records. Once again encapturing that early 1990’s Hardcore sound that Strategy became well known for.
Move In Motion: The second flip side remix that Ant & Andy created for Royal T & DJ XL, once again, originally released on Strategy Records and remastered from the original DAT.

LIMITED TO 150 COPIES

Paula left crossing each river twice, knowing there would be nothing to come back to and on the way each of her steps continuously sonicated and extruded to finally collapse into the emptiness she once came from.

• Acen’s classic Trip To The Moon, released in three parts in 1992, hardly needs an introduction. This huge release is regarded by every raver, producer and DJ of the scene as a definitive classic. It was innovative at the time, and remains just as fresh sounding now.
• This box set contains all of the original A and B sides, gloriously remastered, as well as brand new remixes from some of the most talented people in the business old skool and new: Phuture Assassins, Coco Bryce, Pete Cannon, Danny Byrd, NRG and Scott Brown.
• It also contains revisits from the man himself, Acen, as he re-imagines Trip To The Moon, Ruffneck and Obsessed, plus a brand new track “Rings Around The Moon”!

Club / DJ Support
Billy Bunter, Jay Cunning, Hixxy, Danny Byrd, D Bridge, The Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many, many others.

Celebrating the founding 25 years ago of the legendary Drum & Bass / Jungle label - Suburban Base Records. We have chosen 1 key title for the first 5 years of the label to reissue a vinyl release for Record Store Day 2017 on clear vinyl. Not been available on vinyl since the 90s! Pick from 1994 - Early DJ Hype release: Roll The Beats , Dub Plate Fever & Floating Kill

*REPRESS*

Dub-Stuy Records welcomes a new artist to its ranks, California's Dubamine. The young producer has been active since 2009, with a string of digital-only releases, and String Up The Sound marks his vinyl debut with four tracks that trace direct links between roots, reggae, hip-hop, and bass music. The EP features the vocal talents of Jamaica's Blackout JA, London's Brother Culture, a long-standing voice in the sound system community, and DC-based Carlton Livingston, a Jamaican legend best known for his work with the Greensleeves and Jah Life labels. String Up The Sound is a meeting of styles and generations.

The EP's three vocal tracks -- 'Nicodemus', 'String Up The Sound', and 'Good Morning Jamaica' -- offer sureshot summertime anthems with memorable hooks over production that blends the best of DMZ's eyes-down philosophy with vocal-driven contemporary dub reggae in the vein of Mungo's Hi Fi. The release is completed by the instrumental 'Murda Style', a subtle and powerful forward riddim inspired by dub techno and a minimalist aesthetic reminiscent of Rhythm & Sound. This debut by Dubamine combines bass weight, legendary voices, and sound system aesthetics to please multiple generations of bass-loving fans.

One Instrument Session series presents the Indonesian artist, Fahmi Mursyid. His mini-album includes 6 tracks that have the ability to take the listener on a warm, experimental journey of varying timbres.

The artist has always had a personal interest in traditional Indonesian instruments, specifically from Sundanese culture, the second largest Indonesian ethnic group, native to the western part of the Island of Java. Paying homage to this source of inspiration, he has chosen to use Indonesian instruments for almost all of the tracks on the 12’’. Considering the strict guidelines One Instrument gives the artists, Mursyid has succeeded in getting the most out of his chosen instruments. With each of the 6 different acoustic instruments he has eluded clichè and surpassed physical limitations to shape a bold, alternative musical language.

All tracks are recorded with only one condenser microphone. Composed and produced by Fahmi Mursyid. Mastered by Giuseppe Tillieci at Enisslab Studio, Rome Original artwork by Alejandra García and Marco Ciceri.

BT57 sees Markus Gebauer AKA Interviews making his debut on Brokntoys.

Having left a lasting impression with his previous efforts on labels Ortloff and Bitterfeld, here the Berlin-based producer showcases his throbbing blend of Italo, EBM and electro on a 4 track EP designed for primetime club action.

Master craftsman James Welburn’s new LP, Sleeper in the Void, marks the 50th Miasmah release.The six years after his monumental debut have bred six tracks Welburn brings to fruition with the help of past co-conspirators from the Norwegian underground scene - Tomas Järmyr (Motorpsycho, Zu, Barchan), Hilde Marie Holsen (Hubro Records), and vocal artist Juliana Venter (W/V, Phil Winter).

On Sleeper in the Void, Welburn expands the domain of his sound, unveiling surprises until the very end of the album’s 36 minute playtime. While the character of the record is unmistakably his own, the tracks veer into many different territories, including a banging foray to the dancefloor.

The LP begins slowly with Raze, where Järmyr’s ritualistic cymbals introduce layers of Welburn’s signature sculpted bass drones and noise, building into a heart-wrenching epic of a track. This is perhaps the closest we ever get to Hold - Welburn’s previous LP. Falling from Time immediately surprises with it’s subdued mechanical techno beat, stark and cold as a glacier. Welburn’s texture-work is the star of the show, creating curious nooks and crannies of drone adorned with eerie melodies straight out of oblivion. This sense of wonder shines through to the album’s title track as well, where Welburn and Järmyr build another patient, echoing, and deeply cinematic piece, the drum patterns slowly shifting around a metallic hum that evokes the vision of church bells, ringing out under tonnes of seawater.

Sleeper in the Void feels like a story in two parts, rising lethargically, but with gargantuan power. The second begins with the momentous In and out of Blue, where Juliana Venter’s disembodied, spectral dirge takes center stage among the furious drums and bassy riffs, reaching a full crescendo with seconds to go. Parallel marks a release - Hilde Marie Holsen’s nostalgic soundscapes, pristine as glass, meeting the distant thunder of Welburn’s strings on the horizon. And finally, Fast Moon ends the record in a most surprising way - a tribal industrialized banger, complete with vile distorted beats and every other spice in demand on a blackened dancefloor.

Welburn’s Sleeper in the Void is a generous shapeshifter. Every inch of its soundwave breathes emotion and imagery - an invitation to take a dive and linger.

Kink Gong is back with his unique take and re-interpretation of the music he’s been recording and documenting for years in the South East Asian highlands.

Zomia Vol.1 takes the conceptual idea of ZOMIA, proposed by James C Scott in The Art of Not Being Governed, an Anarchist History of Upland South East Asia, to construct its very own mythological soundscape inspired by a semi-utopic region where state rules don’t apply. Zomia might be (almost) gone but Kink Gong is keen keep its spirit alive by releasing a series of albums celebrating the region’s quasi mythological features.

‘’Zomia is an idea, a concept that, not so long ago, there were two very distinct worlds in southeast Asia, the valley VS highland/hinterland, the civilisation VS the primitive, paddy rice VS slash and burn agriculture, Buddhism VS Animism, fixed territory VS movement/migration, written system VS oral culture, the state VS anarchy, property VS squat, controlled population VS autonomy, bricks VS bamboo and wood and, at my level museumified traditional mainstream music VS real emotions/songs of devastated lives and/or gongs ceremonies with buffalo sacrifices, extreme heat in the valleys VS shade in the jungle. I could go on and on but let’s not forget that ZOMIA is disappearing fast, if not altogether already. How many of the people I’ve recorded are still alive?

As you might know, before composing new music from my own ZOMIAN experience (from 2001 to 2014 in Cambodia, Laos, Vietnam, Thailand and China) I had to find those musicians, be able to communicate with them, record them as good as I could with very limited finances and gradually release a collection of 160 CDrs. It is very important for me to make sure you to listen to the fantastic original recordings before or after you’ve listened to this experimental reconstruction I called ZOMIA!

Expect more volumes to come, this is my biggest source of inspiration, and the reason why I’ve been involved for years in constructing a mythological experimental musical ZOMIAN soundscape.’’
Laurent Jeanneau, Berlin 2020

One Up, DJ & Beatmaker from Nantes, France, has a passionate love for Soul, Funk and Hip Hop, releases his first album Heritage, which represents a musical heritage from all the meetings and travelling experiences who built him artisticly.
This album results of the collaboration with Slapback group, with 10 banging tracks which feet perfectly for dancing background and also if you do stunts with your car !
One Up has performed all over the world, in the biggest breakdance battles, like Adikal Force Jam
in Singapour, Floor Wars in Danemark, Evolution in New York, Arka Battle in Mexique et in France
with the classic Hip Opsession from Nantes or Battle of The Year in Montpellier.

Swirling layers of OST-style sound design, dreamy choir vocals andtraditional Chinese folk combine across eight dynamic and transportivetracks on Birdy Island, the latest album by Beijing-based producer/artist,Howie Lee, due out in April 2021 on Mais Um. Fresh off the back of several high impact, club-centring album releases on Maloca, SVBKVLT and his influential, Do Hits label, on top of remixes for artists includingLawfawndah, Charlie XCX & Sophie, Lee presents his most organic andexpansive project to date. Written, produced and recorded entirely by Leeat the back end of 2018 (with the exception of the album's resident four-piece choir made up of rising Beijing artist, Fishdoll, Shanghaisinger/producer, Yehaiyahan and West by West, with Lee himself alsoincluded), Birdy Island's almost exclusively acoustic yet broad soundpalette threads continuities between ceremonial Taoist music, early Buchla synth experiments, and FWD nights at London's Plastic People.

Blue 7" Black 12"

Emilio Acevedo, the man behind Lasser Drakar is a proper Electronic / Indie veteran. Being involved in several projects since the late 80´s. Founder of the band TITAN with which he has put out four albums in which they have collaborated with figures like Gary Newman and Egyptian Lover. With his duos “Sonido Lasser Drakar” and “Maria Daniela Y Su Sonido Lasser” he approached dance music in his own high energy pop way always with a touch of humor. “Back in 2006, when I had recently opened my first little bar in Playa del Carmen “Corvette Ninja”, Emilio came to town to perform live with Maria Daniela to La Santanera, where I was a resident DJ. Besides his performance there, he agreed to do a solo DJ set at my little place, I was super flashed by the music he was playing which included some amazing covers and references . When he finished playing I had to ask what all that was… he told me most of it was un edited material he had produced basically just to DJ… I was even more flashed… Ten years passed and we met again in Playa del Carmen having dinner before a show where he was playing with his band and I was Djing… I asked him about that music I was so flashed about a decade ago and he told me he still had it, most of it just in those CD´s he used to play, still unreleased… I asked him if he could send it to me to play it and so he did during the next weeks… Every time I would open a file I would be amazed and every time I would play those tracks, the reactions were amazing and often people on my side would ask me what the hell was that… So at some point I had to ask… “Would you like to release this on our Label??” Lucky me, he was up for it and here we are now in 2019 releasing his first solo material under the Lasser Drakar name, the tracks he produced between 2001 and 2004 which in my opinion happen to be more modern than lots of the things you find these days.”

Malaizy is a new moniker from one of our best pals in Glasgow. After seeing her play live a couple of times, we were desperate to release just an ounce of what her genius distorted mind had to offer. We're buzzing for this as it genuinely sounds like nothing we've heard before.

** 140gr Vinyl // limited edition // introduction text written by the artist on the back cover// die-cut hole in the rear // printed in cmyk **

"Ayni is the immersive debut ep of Sara Berts, producer and composer based in Turin, who self-described the record as a gift from the plants and for the plants.

The field recordings flowing through the whole record come from the Peruvian Amazon forest, where she spent 3 months in 2019 while seeking personal healing.
All the other sounds come from the Buchla Easel and were recorded in Italy during the suspended time of the 2020 strict lockdown.
Two different times and spaces linked together through isolation and uncertain feelings for the future.
However, Ayni doesn't contain any element of darkness but is inspired by a sense of redemption and healing arising from these events.
A tense but positive attitude flows through all the tracks of the ep, giving back a feeling of harmony and peace.
A thoroughly immersive record that deserves a deep listening to explore and appreciate all the different shades of sound and emotion it contains."

Judging by the massive success of THE ORB's latest longplayer MOONBUILDING 2703 AD (KOMPAKT 330 CD 124) with critics and fans alike, we're not the only ones who can't get enough of the trippy electronica from pioneers Alex Paterson and Thomas Fehlmann which is why we were truly thrilled to welcome the duo on the 2016 instalment of our POP AMBIENT compilation series with the joyously meandering cut ALPINE DAWN. However, this was only one piece of a psychedelic puzzle, with the full ALPINE trilogy now getting the attention it deserves. Spiritually and texturally akin to ALPINE DAWN, ALPINE MORNING starts off with actual cowbells and looping synth pads, changing lanes several times and introducing a relaxed downbeat flavor mid-track. This serves as an ideal primer for centerpiece ALPINE EVENING, which comes comfortably grounded in a heavy-duty rhythm section reminiscent of classic Kompakt stomp.

Third release of greta wohlfahrt. two tracks from empty spaces in 2020. first side is a electro filterzap beat driven 12/8 bassline. the track has been mostly done in a live session with ms-10 sequencer controlling korg ms-20 synths. EDP Wasp Synth is chime in for some diffusion. the flipside `tanzlustbarkeiten` is a slow droning mass of darkness breathing for live under concrete rusty dungeons.

Greta wohlfahrt is both the labels name as it is the name of an unknown, invisible collective of electronic flâneurs and boulevardiers.

Numero Group: A.R.T Wilson: Overworld. A new age album that draws as much from ethno-groove, Chicago house, and G-funk, as it does from primitive percussion and ’80s library music. Relaxing, gentle, and warm, the 10-song ambient suite was made for a multidisciplinary modern dance performance described as “Neo-Paganism, Pop Divas, YouTube, Yoga, and Death Metal side by side in a live performance that searches for transcendence in the most unlikely places.”

Cabaret Voltaire is Richard H. Kirk and ‘Shadow of
Fear’ was the band’s first studio album in 26 years,
released in 2020 to critical acclaim.
‘Dekadrone’ delves deeper into Cabaret Voltaire’s
arsenal of “harsh rhythms and threatening
detonations” (Classic Pop).
A brand-new drone album on CD packaged in a
gatefold card pack and white double vinyl in a
gatefold sleeve with full colour inner bags and high
definition audio download. (‘Dekadrone’ is
presented across the double LP as four ‘Phases’.)
“‘Shadow of Fear’ is a brash and confident
rebirth… Richard H. Kirk has chosen a good time to
revive the Cabs’ ominous industrial funk” - Uncut
(8*)
“Masterclass in shapeshifting disco… clinches these
industrial shadow-dwellers’ influence” - Mojo (4/5)
“Kirk is intent on pushing forward, ensuring that
the hints of familiarity never come with an
accompanying tang of comforting nostalgia.” - The
Guardian (4/5)
“A lot has changed in the past 26 years, but what
hasn’t altered is Cabaret Voltaire’s knack for eerie
but danceable post-punk.” - NME

You Know What It's Like is an album for inbetween days, and occupies inbetween states: plain-speaking pop, disorientated by dub. Psychedelic folk delivered with (post-)punk economy. Drifting in space while still tethered to the ground. Astral tones blurred with earth sounds: wood, bone, breath, skin, dirt. Ending and beginning, dying and becoming. Longing for adventure and an unquiet life. Struggling to get out of bed.

This is Carla dal Forno's debut solo album, following time in cult Melbourne group Mole House and an earlier association with Blackest Ever Black as a member of F ingers and Tarcar. Her voice is an extraordinary instrument: both disarmingly conversational and glacially detached. It has something of the bedsit urbanity of Anna Domino, Marine Girls, Antena, or Helen Johnstone - stoned and deadpan - but it can also summon a gothic intensity that Nico or Kendra Smith would approve of. This voice is the perfect embodiment of dal Forno's emotionally ambiguous songs: their lyrics rooted in the everyday, observing and exposing a series of uncomfortable truths. This voice asks difficult questions of singer, subject, and sung-to.

And of course there are no simple answers. Singles 'Fast Moving Cars' and 'What You Gonna Do Now' weigh up claustrophobia against loneliness, inertia against acceleration, doubling down versus taking off, the title track acknowledges the provisional nature of love and real' intimacy, then decides to brave it anyway. By the time we arrive at the startlingly sparse 'The Same Reply', the impermanence of all things is something that can no longer be tolerated, and the sense of dejection is absolute.

The vocal-led pieces are interspersed with richly evocative instrumentals, like Eno's Another Green World reimagined in shades of brown and blue. Smothered in tape-hiss and reverb, the seasick synthesizer miniatures 'Italian Cinema' and 'Dragon Breath' channel the twilit DIY whimsy of Flaming Tunes and Call Back The Giants. 'DB Rip''s drum machine and bassline are pure Chicago house, but then its dark choral drones nod to Dalis Car's dreams of blood-spattered Cornwall stone. 'Dry The Rain' drinks from a stream of eldritch, home-brewed moon musick that runs through Coil, In Gowan Ring, Third Ear Band, even the Raincoats' Odyshape, and into the woods.

Wondering and wandering. Wounding and consoling. Looking forward, looking back. Saying it like it is, making it up as we go along. It can't last forever. You can't have it all. You know what it's like

French composer and multi-instrumentalist Christine Ott returns to Gizeh Records for her fourth album ‘Time to Die’, the sequel to the highly regarded ‘Only Silence Remains’ (2016).

‘Time To Die’ is a musical fresco in eight chapters, a sensory journey between the world of the living and the dead, for which the musician weaves a unique dramaturgy between contemporary classical and electro-acoustic music.

The title track picks up the story where ‘Only Silence Remains’ left off ... Like it’s centrepiece; ‘Disaster’, the beloved cinematic text here is read by Casey Brown. Ott seeks to offer strong sensations, without artifice, whether by the power of her compositions on the piano (‘Brumes’, ‘Horizons Fauves’), or by intuitive arrangements mixing her unique practice of Ondes Martenot with a maelstrom of Jupiter8, Monotrons, Timpani and Tubular Bells as on the first track. In addition, Ott captivates us with her harp playing on ‘Chasing Harp’, by her aerial singing on ‘Landscape’, or even on the airwaves on ‘Comma Opening’, which ends a triptych of songs after the versions published on ‘Chimères (pour Ondes Martenot)’ (NAHAL 2020) and on ‘Volutes’ from her side-project Snowdrops (Injazero 2020). These two previous records have been praised by critics, especially in the best records of the year according to The Guardian.

This expressive and spontaneous impetus, leitmotif in her musical production, takes a new form within ‘Time to Die’. Through the notes disseminated in an endlessly reinvented minimalist heritage, the interpretation is the ultimate musical glue allowing the pieces to come to life, thereby making this repertoire and its composer-performer unique. A universe where music - despite the album's title - never dies.

We finally share these few words from the talented American musician and videographer Fredo Viola, with whom Christine has forged long-distance correspondence since the first lockdown. Listening to the record, he wrote her these few words, which he allows us to share here:

"Stunning, terrifying, magnetic, delicate, painful and uncanny... It’s like discovering a bizarre object hanging very low in the sky, something beautiful but unfathomable, just out of reach. The way I see the album is as a series of quite cinematic meditations on the theme of death and dying, changing prismatically, up to that incredibly delicate and beautiful conclusion.” Fredo Viola

CZN stands for copper, zinc and nickel the raw path of materials used by percussionist and sculptor Joao Pais Filipe, composer and drummer Valentina Magaletti (from the great Tomaga) and producer Leon Marks. This is ritual music for the whole family.

Recorded in Porto at Oficina João Pais Filipe.
Mixed by Leon Marks
Mastered by Enrico Mercaldi
Artwork by Nicola Giunta
Sleeve by Patrick Keuthen

Master Italian minimalist Donato Dozzy meets percussionist Daniele Di Gregorio on the first trip for Maga Circe Musica, a new label endeavour between Dozzy and Alicia Carrera ‘Buchla & Marimba’ extends Dozzy’s increasingly experimental vectors into ‘floor-adjacent forms of rhythmdriven minimalism that hearkens back to Steve Reich’s phasing rhythmelodies and the kind of sublime experiments explored by Daniel Schmidt & The Berkley Gamelan, also converging influence from the jazz genius of Don Cherry and the organic electro-acoustic works of Jonathan Fitoussi.
But for all that wealth of influence and wide-ranging inputs, the results are effortless enjoyable and selfevident, rippling with a gentle, lysergic magick that percolates between the six parts, from the polymetric pointillism of ‘Sessione 1’, to the freckled lilt of ‘Sessione 2’, finding a spell-binding sort of West African cadence in ‘the 3rd, and practically dematerialising into stereo-pinging widescreen on the final two parts.

Der Ausnahmeproduzent Flying Lotus legt nach seinem vielbeachteten Debutalbum "Los Angeles" den Nachfolger vor! Auf "Cosmogramma" weitet er das Spektrum der integrierten Stile in Richtung Space-Jazz aus und lädt ein zu einem kosmischen Trip voller unendlicher Liebe und Begeisterung für Musik in all ihren Variationen.

On behalf of rediscovery records, it is with great excitement that we announce the Hyaline EP Extended by Human Mesh Dance. New York native and multi-talented media artist Taylor Deupree, was the man behind this electronic act. Taylor was a fixture in the Northeastern American electronic music scene in so many ways. From art design for Instinct Records entire first decade of discography to being a part of legendary live acid techno act Prototype 909. He was also one half of the highly regarded Seti ambient project and by the late 1990’s thru today, he has run 12k records to over 100+ ambient releases from artists around the world. rediscovery focuses in on his debut Hyaline EP from 1993 from early on in his career (which we added 2 additional Human Mesh Dance tracks never on vinyl). A post-rave audio glimpse into the bedroom sound of the Aquasphere; Taylor’s home studio that helped give birth to the sound of Instinct Ambient. Chill out on the verge of the new millennium. Spacey melodics, futuristic visions and sci-fi themes were the inspiration for a new brand of deeper sounds that challenged listeners on couches instead of warehouses. The analogue verging on a digital sunrise having some re-define their definition of ‘what is trance?

Venturing off course from his Post-Punk / Dark Wave project,The Soft Moon, LosAngeles born composer and multi-instrumentalist Luis Vasquez, embarks intonew territory withA BodyOf Errors,a bold reimagining of the soundtrack genre.With this album, Vasquez felt the urgency to break away fromTheSoftMoonrealm and deliver an even more intimate, self-reflecting body of work,while further unveiling inner demons & vulnerability. He continues to explore hisnotorious angst and visceral pain, but places them in the context of his ownphysical being, creating the deeply personal, yet relatable and compelling odditythat isA Body Of Errors,which Vasquez describes as a collection of themes toliving in the human body.

Opening track “Interno” with its crushing synthesizers, is a blast off into theabyss of self. Sinister gasps introduce “Poison Mouth” stomping you withrelentless torment before spiraling into oblivion. Halfway, we reach themechanized rhythms and throbbing cardiac pulse of “Surgery” expressingVasquez’s phobia with the body itself. “No Longer Human” with its hallucinogenicflutter and distant cries, imagines a fantastic universe beyond, with a nod to David Lynch’sTwin Peaks. The only lyrical appearance onABody Of Errorsis“Used To Be” a gut-wrenching wall-of-sound ballad romanticizing the strugglebetween one'sgood side & bad side. Pulling you into armageddon,A Body OfErrorscloses with “World On Fire” an epic post-apocalyptic battle-storm paintedvividly through symphonic devastation.

light pink (rosé) vinyl
After building his name as a member of the 4-headed hydra Club Cheval (Bromance) with Panteros666, Sam Tiba and Canblaster, Myd is now one of the rising figures of the celebrated French household Ed Banger Records. After his EP ‘All Inclusive’ and with his first album due to drop in the near future, he releases the sunny track ‘Together We Stand’ alongside remixes from his fellow Sam Tiba, Bullion, Radio Slave and Tom Gandey with a sole limited light solid pink vinyl edition.

Following the release of the spacious Six Rooms EP on his own newly-minted Akita Club label, rhythmic master Nico returns to Midnight Shift to fuse the mind and body.

On this latest missive, he crafts a space inhabited by wayward rhythms, urgent percussion and lead lines that feel like they’re about to cave under the pressure of The Groove. From the rain-brain dance of ‘The Driving Rain’ to the mental massage of ‘Elements’, a neat transition straddling both 104 bpm and 155 bpm, complete with directions for …something.

Four explorations of nonplaces in the fourth world. Experiments in rhythms that come close to falling apart, held together by a backbone of bass.

All tracks written, mixed and produced by Nicolas Guerrero Artwork by Olmo U. Aguirre.
Layout by Gramrcy.
Mastered and cut by Simon from The Exchange.
Full-coloured printed sleeve with original artwork from Olmo U. Aguirre, finished with limited edition coloured vinyl.

Lothian Buses’ is an EP of genre collisions with Proc Fiskal amalgamating his twinkling, caffeinated grime sound with the rhythms and sounds of other genres, without ever overthinking it. To kick off, ‘Thurs Jung Yout’ is a kind of shoegaze drill with strings and gentle tones swelling and dissipating against busy drill beats. ‘Baguettes’ is a more classic Proc sound, a galloping rhythm against a sparse melody that was a quick fix up for a show that turned out well. ‘Choco Frito (Calamari)’ was influenced by the good life, DJing in Portugal in the sunshine and hearing Kuduro played out. The latticing drum patterns nod to the style, dropping into a sunny accordion chorus with a plucked guitar line. ‘Scarab Aloph’ is Proc's style compressed, full of micro-glitches, tight drum fills and incidental drop-outs across a pretty melody, while ‘HopeTak2’ is his percussive, breezy take on funky house with smiley melodic stabs. Finally, ‘Mullit Madollock’ takes the sonics of airy Bukem-style atmospheric jungle, an instantly recognisable inspiration that's not been as foregrounded in Proc’s work before, refitted and updated with grime-inspired melodic bass kicks.

Producer duo Hudson Mohawke and Lunice stare at the moon for too long, get abducted and return just in time to deliver their second EP ‘II’. Following the release of the mysterious ‘Serpent’, a lunar chart that was decrypted by fans in minutes and a dangerous Radio 1 Essential Mix, TNGHT’s crescent moon is appearing once again from behind heavy clouds. It has been seven years since Hudson Mohawke (Ross Birchard) and Lunice’s (Lunice Fermin Pierre II) prodigious debut which accidentally changed the sound of the pop music caught in its wake. The pair of bedroom-producers-cum-superproducers hail from Glasgow and Montreal and have aligned once again on a record which aims to chew up and spit out every influence across a single 12”.

Since the early days of electronic music, white label records have been inextricably linked to DJ culture and the ways in which underground music has been disseminated. unknown - untitled draws on the white label concept withholding details about the producers behind the tracks and leaving listeners to draw their own conclusions about what they’re hearing.

The new concept label will focus primarily on vinyl releases, with previews of the tracks available online, but information about the artists only to be found within the record sleeve itself. Several weeks after the vinyl is out, there will be a digital release that reveals who was behind the tracks. The roster will range from new and emerging producers to more established artists looking to explore new sounds.

The label's first release, presents three gorgeous slabs of UK schooled techno steeped in psychedelic textures and sub-low pressure. With online personas often eclipsing the focus on music itself, here lies a return to form.