Beats Vinyl New Releases - News

Florence based party collective Tropical Animals have been heating up the Tuscany nightlife for the last 9 years. By introducing exciting artists like Avalon Emerson, Ross From Friends or Interstellar Funk to the Florence crowds, the Italian crew have been honing their tastes and the jump to starting up a label was a natural step. In 2018 Tropical Animals released three EPs from Whitesquare, The Cyclist and DJ Octopus.

Whirlwinds of synths push back against basslines dipped in tubs of drowsy funk, as universes of psychedelia unfold. The four tracks from 'Surrounding Areas' capture a distinctively Italian spirit, one that was born to soundtrack the warm summer nights of Tuscany but that will very certainly do an excellent job elsewhere too.

The pioneer producer of all things electro swing and
Balkan beats comes up with a brandnew EP full of new
tracks, remixes and edits for the likes of Boban i Marko
Markovi, Savages Y Suefo and Barefoot Basement.
The vinyl edition is limited to 250 copies, so be quick!
Ulf Lindemann aka dunkelbunt, troubadour & world
traveler is one of the pioneer producer of Balkan Beats
and Electro Swing. ..

Egoless has been causing some serious waves far beyond the shores of the Adriatic sea of late. His production style is deep and heavy, modern yet warm, analogue and quirky. By far some of the deepest instrumental tracks signed to Scrub a dub. Often vinyl loses out when it comes to bonus tracks on digital downloads. Not anymore, there is a hidden track that exists only on this vinyl and Egoless' hard disk recorder.

The third number of path of orbit record.

This time with a great various artists composed by 4 different tracks made by Nemo Vachez, Araki Corp. aka GrooveGuy & Lapucci, Luca Piermattei with the alias L.P. And Robbenspierre

You can find in this release 4 different kind of music which clearly reflect the musical appeal of each artist.

Radical protagonist of “feral gore feminist ASMR”, Ronce delivers a truly shocking debut album based on the female form and the violence that comes with it: surveillance, self disgust, anger, touch, desire (or lack thereof). It’s no doubt among the most disturbing yet arresting pieces of experimental music released in recent years, highly recommended listening if yr into Frederikke Hoffmeier, Perila, Maja Ratkje, ELpH/Coil, Kevin Drumm, Sam Kidel, Rashad Becker.
Cathartic or deeply discomfiting, depending your disposition, either way ‘Malignant’ sounds quite unlike anything else in the contemporary field. It follows from the French artist’s now-impossible to find 7” ‘Lolita / Acteon’, issued by the Dawn label in January 2020, with a steeper and starker interrogation of its themes;
abuse, power dynamics, and how it felt to be a 20 year old woman visible only under the gaze of men, and experiencing, as she says “the visceral need to escape it, to escape the hands and the eyes and crawl out of the physical body; rising above.” Yet for all its excoriating harshness, the album is ultimately a positive gesture on how to navigate trauma and eventually come out of it. While the process was not easy or enjoyable, it was vital for the artist and, by turns, should be considered crucial listening.
Recorded in the months leading up to the first lockdowns of 2020, the ten tracks see Ronce continue to adapt the production techniques of ASMR - close miked vocals and hyper-tactile foley - in a dark détournement of ASMR’s semi-erotic fetishisation of the female voice. The results, in Ronce’s own words, form “a toxic, thorny maze holding all the rage and bitter curses that had to be purged in order for me to move on.” Her thoughts manifest as “a mix of primal fantasies, revenge and mourning”, exploring the limits of the frequency spectrum between sibilant highs and guttural drops, with vocals occupying a range between frankly petrifying giggles and subvocalised whispers, to Enfield-haunting croaks and bloodcurdling shrieks, each illuminating structures that shapeshift from liminal, barely-there, to bone-crunching technoid reflux and charged electrostatic forcefields.
In light of pandemic circumstances that have arisen since its recording, the masochism of ‘Malignant’ may only feel to compound the world’s woes, but let’s be fair; there’s never a good or easy time to broach this topic, and the sense of vulnerability, insight and ingenuity that Ronce brings to her work is hugely admirable, if not vital listening for a world currently reassessing its principles.

Originally released in 2015. Ltd repress

The nutty barrage of jungle, footwork and electro-chaabi badness in ’All Caps’ forms the long overdue followup EP to ZULI’s world-taking debut album ‘Terminal’, overcoming delays due to the robbery of his laptop to unleash his most deadly dancefloor moves yet.
After a pair of standout EPs in 2016-17, ZULI’s debut LP ‘Terminal’ was hailed an album of the year by The Wire magazine and lit up playlists across the world. He was due follow up with a club-focussed EP but, shortly before it was ready to be sent for mastering, some chump robbed his laptop and repository of recordings, so he was forced back to the drawing board, rebuilding all his soundbanks from scratch. A few years later he’s prepped ‘All Caps’; a hot-blooded and witty brace of breakbeat chicanery intersecting voices of local MCs, his friends, and randomers at gigs, with traces of electro-chaabi - the road-level sound of Arabic North Africa - for an utterly thrilling new side that makes up for lost time.
Acknowledging inspirational cues from UK jungle via his peer and label boss Lee Gamble, ZULI performs a sort of genetic manipulation of jungle’s amen and subbass building blocks, adapting their codes to noisy,
lush, and playfully aggressive, mutant ends resembling sections of DJ/Rupture or Mutamassik mixtapes from 20 years ago. Coming hot and furious with the red-lining amens and gibber-jawed vocal chops of ‘Tany’, he flings bodies between gasping footwork recalling Ueno Masaki or Rian Treanor in ‘Bassous’, to cyberpunkish steppers grot on ‘Penicillin Duck’, while taking wickedest aim at Afro-fetishists in the straightjacketed computer funk and electro-chaabi bursts of ‘Bro! (Love it).

The second 10” vinyl release from the label and this time Mr Time (from Krome & Time fame) hooks up with Missing to fuse together their 90’s roots into a fresh jungle soundclash. Missing was an artist that use to record on Krome’s Tearin Vinyl label back in the mid-90s and both of them hail from London’s Hackney borough, an area infamous for jungle pirate radio. These guys breathe those original vibes. After the duo signed a tune to Hospital this year, they wanted to make another jam for Sub System to reflect their youth. The flip side - ‘X Amount Of Dubs’ - Missing helps cement the Sub System Sound; Bouncy ragga riddims, sound tape MC liks and heavy, melodic bassline’s set over unmistakably jungle breakbeats. Two heavy slabs of riddim!

Repress

A brand new decade and Valve Recordings returns with the release of one the biggest drum & bass dubplates of the last few years. Now a staggering 22 years old the original ‘Hard Noize’ is classic Dillinja who brought in Bristol’s finest Break for the remix and the result is an absolute show stopper. Instantly recognizable, it gets the rewind every time. Also included is a new belter from Break, the Valve sound inspired ‘Tubes’ that thumps seriously hard.

* 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.
* We reach the penultimate Deep Seven No.9 that never made it to vinyl back in 1993. This is now available to own and settles the speculation over the missing 9th release that has accumulated for over 25 years. Ant Miles's last Hardcore production under the guise ‘Ironik’ comes in the form of ‘Feel the Feeling’. Uplifting original vocals feature over pumping basses and funk breaks capturing that ‘93 Hardcore vibe. The flip ‘Inspiration Station’ again features original vocals encompassing the Junglistic Hardcore flavours emerging from that era.

Black Truffle is thrilled to announce Backfire of Joy, a previously unheard recording from Phew, John Duncan and Kondo Tatsuo, documenting a concert at Tokyo’s Hosei University in 1982. Though the fertile exchange of ‘zines, tapes and records between the Japanese underground and the Los Angeles Free Music Society meant the artists were familiar with each other’s work, this performance (occurring on Duncan’s first visit to Japan) was their first meeting and only performance as a trio. Duncan is heard on his signature shortwave radio set-up, while Kondo performs on synth, tape loops and echo-drenched piano, providing a spacious backdrop for Phew’s astonishing performance of spontaneous, free-associative song moving between Japanese and English. A testament to the unhinged exploration of the 1980s experimental underground, the trio careen wildly between crashing percussive tape loops, deluges of shortwave noise, insistent piano figures and playful synth melodies. On the B side, we are treated to a remarkable ten minute sequence moving organically from spaced-out synth and radio textures to a stunning finale of improvised balladry centred on piano and voice, unexpectedly broken up by electronic interjections. Beautifully recorded in crunchy vintage fidelity, Backfire of Joy arrives accompanied by archival photographs and newly authored liner notes from all three participants.

we are proud to present our second vinyl release

hot and freaky techno music from der totmacher, dj ze migl, chip tronic, dize7, ulf kramer and labelhead nox
but be careful...heat could warp or melt the record

blue vinyl, marbled with black! limited to 200 copys!

10 years after founding Schmob Recordings, its time to take the next step!
We took some great tracks from our net releases and one bonustrack (previously released on gaintrax) and put them on vinyl!

Ulf Kramer, Sane and founder Nox show you what Schmob Recordings is all about!
Fine and unorthodox tracks from the representatives of nonconformist sounds!

Allow these enchanting freaky tracks to lead you into their maelstrom of chaos and disorder.

It’s time to "Remove the Barriers"

• 180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE
• INSERT
• 2-LP SET FEATURING REMIXES OF THEIR CLASSIC
HITS “FOOLS GOLD”, “ELEPHANT STONE”, “ONE
LOVE”, “SHE BANGS THE DRUMS” & MORE
• REMIXED BY A GUY CALLED GERALD, PAUL OAKENFOLD, JUSTIN ROBERTSON, UTAH SAINTS,
GROOVERIDER & OTHERS
• BLACK VINYL

The Remixes is a compilation album by The Stone Roses, which features remixes by various producers including Utah Saints and Paul Oakenfold. Various techno luminaries ply their skills reworking some of those early classic songs, and it is immediately clear that the Roses, even beyond the genius of their songs, were a preeminent dance band.

The Remixes on black vinyl includes an insert.

ORIGINALLY OUT WITH 'IL GIAGUARO' MAGAZINO
Fully authorized exclusive release from 1999, limited supply…

incl. dl code

Premieres from Data Transmission and Bolting Bits. Early support from Hospital, Huey Morgan, Rupture, Fanu, Rob Luis, Anthony Kasper (Fokuz), Red Rack'em, Bandcamp Weekly, etc.

150 copies pressed on 180 gram vinyl. Picture shows the HF021VFELT edition which comes with 'Nuthin' But a Jungle Thang' die-cut felt sleeve insert (in assorted colours), with Heard and Felt embroidered fabric tag. HF021V edition is the same 180g vinyl without the felt sleeve insert.

With music from Jonny Faith's recent Night Lights EP appearing in Grand Theft Auto and best of 2020 lists including Gilles Peterson's, you might think Jonny would continue to mine his take on hip hop and broken beat. Well, all in good time. He's been ready to enter the jungle for 20 years, and he's not waiting any longer.

Now based in Melbourne, Jonny first got involved in music in Edinburgh as a DJ and turntablist in the 90s, getting hooked on jungle, drum & bass, hip hop and the hybrids of these championed by the Mo'Wax label. Formative experiences included hearing DJ Hype spinning in Newcastle, seeing the Roni Size/Reprazent live show with two drummers and hanging out at cult Edinburgh club night Manga, where residents G-Mac and DJ Kid hosted the likes of Marky, Grooverider and J Majik.

Jonny was keen to start making his own sounds, signing up for an electronic music production course. But it wasn't quite what he was after.

'The course turned out to be more house-oriented,' Jonny recalls. 'Sampling wasn't on the curriculum, and the students weren't allowed to touch the Akai S900, the sampler used in lots of the early jungle classics.'

When Jonny did start releasing his own productions a few years later, he was starting to explore the experimental beat scene around the time Flying Lotus and Hudson Mohawke (another Scottish turntablist) were starting to make their mark.

Jonny continued to widen his sonic palette, adding elements of dub, jazz, funk, electronica and broken beat, and picking up fans like Radio Nova Paris, KCRW, Vice and Clash Magazine along the way. But he's never been more than one degree of separation from his jungle/D&B roots. He continued to buy and play the music, did the odd D&B remix and snuck sonic elements and techniques into his tracks at various tempos. Over the years his releases have shared labels with the likes of Peshay, Om Unit, Drumagick, Reso, Kid Drama and Danny Scrilla.

Now, more than 20 years after those early experiences in Edinburgh, Jonny unveils his first jungle/D&B EP, On Lock. And it sounds like he's been making this music the whole time. In a way, he has.

The single 'Open My Eyes' bursts out the gate, chopping not only the breaks and the soul for a tune that sounds like Amerie's '1 Thing', or some Just Blaze chipmunk soul, reimagined for the 174 BPM crew. Jonny started this one as a hip hop beat for a live routine on his MPC, but it only really came together when he reframed the groove around a D&B rhythm. Next up, Jonny tries a similar trick on his own boom bap tune 'Stay in Your Lane' from the 'Night Lights' EP. His new Step Off Mix totally recontextualises US MC Lady K's slinky soulful rap and hooks with a tough and funky junglist groove. One for fans of the old Roni Size/Bahamadia collab. 'Create' then spaces things out just a touch, with atmospheric but propulsive drumfunk. Vinyl bonus track 'Nuthin' But a Jungle Thang' layers cascading amen breaks, timestretched vocals and a massive double bass-line over the wah guitars and synth whistling of a G-funk era classic.

With early support for Jonny Faith's take on jungle/D&B coming from Hospital Records, Rupture (Rinse FM) and Fanu (Metalheadz), Jonny is ready to be welcomed (back) into the scene.


b A2: Stay in Your Lane (Jonny Faith Step Off Mix) feat. Lady K


b A2: Stay in Your Lane (Jonny Faith Step Off Mix) feat. Lady K

One Million Eyes was born out of a need to start again. As the duo previously known as Tempelhof - where they worked alongside musicians such as Gigi Masin - Luciano Ermondi and Paolo Mazzacani experienced a pivotal and personal moment in their lives which inspired a reset in their approach and the need for a new musical outlet. It would be easy to try and describe such a transition in terms of wanting a new music style or a new ambition, but simply put, they wanted to get back to enjoying making music again. As they explored the instruments amassed in their studio and drew upon their upbringing amongst new-wave and rock, any ties to their previous output were forgotten and inhibitions were lost. Brama, their first album as One Million Eyes, was born. With this newfound freedom of artistic expression clearly evident, Paolo and Luciano created a classic Balearic record, reminiscent of that energy, storied mysticism and longing to return to a place full of good memories. As the sun disappears below the horizon and the final track closes out the afternoon's haze, you're left wondering whether this trip ever happened or was ever quite what it first seemed.

* 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.

* Deep Seven No.10, the infamous final 12” from Deep Seven that never reached a full release. Only a short promo run hit the shops in 1993 before the label closed for good. ‘Release’ brought to the series a continuation of the huge tracks that graced local label ‘Contagious’ in the early 90’s. As time passed, ‘The Jungle’ / ‘Musical Movements’ reached cult status, exchanging hands for hundreds of pounds when a copy surfaced on the market. The rarest of all the Deep Seven releases, with an additional version of ‘The Jungle’ that was not included on the original press. Remastered from the original DAT and presented on our 180g vinyl, this final 12” completes the entire Deep Seven back catalogue.

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

*Repress*

Ruffhouse dropped their debut on Ingredients in October with 'The Foot / Bypass' to much acclaim. Already touted as a force to watch, their follow up is as good if not better!
'Demand' really shows their ability to make progressive, forward thinking music and it's the unpredictability of 'Demand' that makes it a stand out track. 'Division III' is equally as impressive, room shattering drums & almighty stabs. Pressed onto 300 limited edition white vinyl.
* DJ support comes from Break, dBridge, Loxy, Skeptical, Dub Phizix, Fracture, Doc Scott TRACKLIST: A: Demand || B: Division III.

Higgler's third instalment is a must have in your Jungle Techno and Breakbeat arsenal. This is Yelsew’s Higglers debut delivering two tracks that fly the rave flag with great aptitude. This EP masterfully fuses the old with the new, creating two classic break techno DJ Tools.

Received radio support from “Interplanetary Criminal – NTS”, “Saoirse – BBC Radio 1” and “Andy Hackney – Rinse FM’

Limited Edition

Z@p's expedition into ideal acoustic universes of 'Sonic Utopia' continues on Melliflow with the second part of 'Vapours Of Utopia'. Two special tracks selected from the vaults on this 10" to make for a standout limited edition package.

light purple vinyl

"Music to a point is directly associative and always carries stereotypic and archaic values. In opposition to real life physical sounds electronically created sounds and music throw you back to the beginning of sound - the sine wave. To go from there is a welcome challenge and a lot of fun which both expresses well in the album."
- Current Value

Tape

Dylan Henner is back on Dauw with his new album "Great Prairie Plains: studies of American Minimalism". The album is a celebration of two pieces of music that he loves and have been hugely important to his musical life and education.

The album starts with an arrangement of Terry Riley's In C. During his school-time, Henner was allowed by his music teacher - with plenty of persuasion, in an environment of mostly much straighter classical music - to study this piece. He not only had a deep familiarity with it, but also the pdf scores that he transcribed for his homework. The arrangement was created mostly with the marimba, as an instrument that can layer very deeply without muddying the frequency range and also includes some synths, piano and a VST choir.

“I tried to balance my boundless admiration for the piece with a personalised arrangement. It would be pointless to copy Riley's original - it's too good - but I can at least try to do well by it.”

Alongside In C is an arrangement of Su Tissue's 2nd Movement, from her near-mythical "lost" album Salon de Musique. After trying to buy a copy of this record for years - they are so scarcely found he suspects he never will – Henner wondered if the next best thing would be - instead of owning a copy - to create his own copy. He started this arrangement with as much faith as he could. According to Henner, Su’s work is too rare to warrant changing, but instead should be honoured with autencitiy.

“It's not until the end of the piece that my arrangement begins to take a different shape to Su's. Once I started playing along on the piano, the rest fell into place.”

Dylan lives in Brighton, works as a photographer's assistant for his day-job and plays analogue synths, tuned percussion and cello. Last year Dylan released well-received albums on Dauw and AD 93 (fka Whities) among others. Even though he is a relatively new name, with these albums he already came to the fore as a promising artist within the electro-acoustic field.


a 01. In C [Terry Riley]
[b] 02. 2nd Movement [Su Tissue]

[a] 01. In C [Terry Riley]
[b] 02. 2nd Movement [Su Tissue]

* 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.

* New Decade's remix of 'Cold Fresh Air' is the first new production to grace the 'Reloaded' series. The owners of local label 'Out Of Romford', which released Desired State's 'Dance the Dream' back in '92, were the perfect choice for this project. Twisted amens layered with classic breaks and thunderous subs keep that authentic mid 90's vibe, whilst bringing a fresh take on one of the labels biggest tracks. Paired with a previously unreleased '94 VIP mix that was found in the DAT archives, we give you a fresh 12" of this seminal track on our 180g heavyweight vinyl.


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

After the huge success of the well-received Sacrifices EP by Distance, Belgian label DUPLOC keep the momentum hurtling at a blistering pace with the imminent arrival of Kuji EP, a rough and tough 4 track project from rising producer Mungk.

A defining member of the hardcore techno scene in the early nineties and stretching his influence across a range of sub genres, from jungle to house music, there’s not one section of the cultural shifts since then which Nookie hasn’t seeped his influence into. Whether it’s been pivotal moments on imprints such as Labello Blanco, Reinforced, Moving Shadow or Good Looking, he’s proven the span of his creativity with every track he’s released across a plethora of labels. This continues with a brand-new single on Metalheadz, extending across an array of styles and a natural progression from his acclaimed remix of Goldie’s ‘Inner City Life’.

The Rage mix of ‘Kaeya’ has already received support from radio icon Pete Tong as his 'Essential New Tune' which sets the standard for this release. With deep, heavy sub bass and pounding kick drums skipping underneath the track, softened slightly by its vocals this is a formidable record which speaks of the current climate and proof that club-orientated tracks are still having a seismic effect on listeners. The D&B mix flips the tempo, dipping between each note sequence with a lulling sense of security, meanwhile closing the single is its ‘96 rework, standing out through its rolling breaks and reminiscent feel.

They each pull together a seminal standalone offering from Nookie, and one which will reidentify fans with his commitment to musical

exploration as well as the impression he’s had throughout his three decades worth of history, now proudly displayed under the Metalheadz banner. And this is just the start.

First released by Cazzo Film in 2001, ebo hill’s Bonking Berlin Bastards has long achieved the status of an underground punk porn classic. Like the Cazzo productions of director Bruce LaBruce, hill’s vision was both ahead of its time and a playful distillation of 90s and early-2000s Berlin Zeitgeist: queer, industrial, hypersexual, exhibitionist and fueled by electronic music. The story is told in large part by the soundtrack, to be released for the first time on Ostgut Ton sublabel A-TON. The music follows a group of squatters, punks and drag queens as they fuck, party and stumble their way through an empty city at the turn of the millennium. Approaching these themes more through location than plot, the film’s narrative freedom is also a narrative of freedom; between chance encounters and sex in public, atop the maze of roofs in the city’s former East, bent over bridges and moaning in ecstasy at oncoming traffic, pants down in telephone booths, packed into sex clubs, in the shadows of abandoned factories and techno clubs lost in time. Composed by improvisational techno trio AeoX and noise / industrial producer Rouage aka CNM (respectively), the music spans a broad range of appropriately pounding industrial, weird techno, noise, ultra-stoned ambient, improvised dub and electro. It’s a sonic spectrum that connects Berlin’s queer hardcore techno and squatter party scenes from which AeoX and Rouage emerged, drawing a direct line between the likes of Berghain-forerunner OstGut (a primary meeting point for the film’s cast & crew) to the more industrial, breakcore and noise- oriented independent party collectives and locations who provided multiple settings for the film, including Grüne Hölle and Stellwerk.

*Artists:* CNM / Rouage (Kathinka): Born in 1975 and raised in East Berlin. Co-organization of subcultural events since 1998 in Berlin, Potsdam, Leipzig and Barcelona. Experimental music, collaborations, exhibitions and audiovisual shows since 2000.

AeoX: Active between 2001 and 2007. Originally a quartet, then a trio, the group eventually shrank to two permanent members: Alex.E and Hanno Hinkelbein. The latter founded Null Records, where AeoX released two album and numerous EPs. They also released on Mental.Ind.Records founded by former OstGut resident Cora S. Musically, the group experimented with combining improvisational hardware techno, breaks, traditional instruments (guitar, clarinet, piano) industrial and metal.

Ursprünglich 2001 von Cazzo Film veröffentlicht, hat Bonking Berlin Bastards von ebo hill längst den Status eines Underground-Punk-Pornoklassikers erreicht. Wie die Cazzo- Produktionen von Regisseur Bruce LaBruce, war auch hills Vision seiner Zeit voraus und ein spielerisches Destillat des 90er- und Anfang-2000er Berlin-Zeitgeists: queer, industriell, hypersexuell, exhibitionistisch, angetrieben von elektronischer Musik. Die Geschichte wird größtenteils über den Soundtrack erzählt, der auf Ostgut Tons Sublabel A-TON zum ersten Mal veröffentlicht wird. Die Musik folgt einer Gruppe von Hausbesetzern, Punks und Drags, die ficken, feiern und durch die leere Stadt um die Jahrtausendwende streifen. Bonking Berlin Bastards erzählt diese Themen mehr über die Drehorte als über die Handlung. Die erzählerische Freiheit des filmischen Narrativs ist gleichzeitig eine Erzählung von Freiheit: Von zufälligen Begegnungen bis hin zu Sex in der Öffentlichkeit, auf Dächern im früheren Osten Berlins, sich über die Brüstungen von Straßenbrücken beugen, trotz und wegen des Verkehrs stöhnen, mit heruntergelassenen Hosen in Telefonzellen, in überfüllten Sexclubs, im Schatten aufgegebener Fabriken, zeitverloren in Technoclubs. Der Soundtrack wurde sowohl vom Improvisationstechnotrio AeoX als auch von Noise-/Industrial-Producer Rouage aka CNM komponiert und spannt einen weiten Bogen von explizit pumpendem Industrial, schräg klingendem Techno, Noise, ultra-stoned Ambient, improvisiertem Dub und Electro. Das musikalische Spektrum verbindet Berlins queere Hardcore-, Techno- und Hausbesetzer-Party-Szenen, aus denen AeoX und Rouage selbst hervorgingen und zieht dabei eine direkte Linie zwischen dem Berghain- Vorgängerclub OstGut (ein wichtiger Treffpunkt für die Darsteller und Crew des Films) und den eher Industrial-, Breakcore- und Noise-orientierten Independent-Partykollektiven und -Locations wie Grüne Hölle und Stellwerk, welche mehrfach als Drehort und Kulisse des Films auftauchen.

CNM / Rouage (Kathinka): 1975 geboren nd aufgewachsen in Ost- Berlin. Co-Organisation subkultureller Events seit 1998 in Berlin, Potsdam, Leipzig und Barcelona. Experimentelle Musik, Kollaborationen, Ausstellungen und audiovisuelle Shows seit 2000.

AeoX: Aktiv zwischen 2001 und 2007. Ursprünglich ein Quartett, dann ein Trio, dann verkleinerte sich die Gruppe auf zwei permanente Mitglieder: Alex.E und Hanno Hinkelbein. Letzterer gründete Null Records, auf dem AeoX zwei Alben und zahlreiche EPs veröffentlichte. Ebenfalls Veröffentlichungen auf Mental.Ind.Records, welches von der ehemaligen OstGut resident Cora S. gegründet wurde. Musikalisch kombiniert die Gruppe improvisierten Hardware- Techno mit Breaks, traditionellen Instrumenten (Gitarre, Klarinette, Klavier), Industrial und Metal.

The C.A.N.V.A.S label assemble a cast of mutant pop oddities featuring warped takes on Gaelic-language mumblecore cloudrap, modern shoegaze and computer noise from Elvin Brandhi, Lugh, and Olan Monk, Nadah El Shazly, Billy Bultheel (Anne Imhof), Alpha Maid and more.
With ‘Apocope’, the exploratory label interrogate the limits of pop music’s meaning in the age of a slow burning apocalypse, and under the shadow of a rising hyper-pop zeitgeist. The compilation’s title literally means “the omission of the final sound of a word”, as in the way people naturally elide or trim words to fit the flow of speech, and with it, conveys more meaning than the literal words themselves - a sense of style, time, and place that pop music has long been key in shaping. In this context, the artists draw very canny links between the onomatopoeia of shoegaze and mumbecore rap, between lonely bedroom blues strung over nearly a century of amplified woes, but expressing a sound very much for the here and now of the scorchedin-advance 2020s.
As with the label’s super smart 2019 set ‘Cipher’, they live up to their acronymic moniker with a set that metaphorically unpackages far more than is immediately obvious to the eye/ear, unfolding along linguistic, sonic, and philosophic vectors with a penetrating perception of pop music growing under the mainstream.
They embrace onomatopoeia as a profound form of precognition in the likes of Elvin Brandi’s wickedly unintelligible, but palpably fraught, vocal gurns on ‘FRIDGE! Ez virus’ and in the mangled autotune of her ‘Cekik’ cut with Hulubalang, while Olan Monk appears to adapt Irish Gaelic lyrics to mumblecore cloudrap with results that brilliantly follow along a line from A.R. Kane to Spaceghostpurp and Future.
Factor in the diffracted blooz of Alpha Maid; a bombed-out beauty by Billy Bultheel (key player on the soundtrack to Anne Imhof’s award winning ‘Faust’); and the bittersweet flux of Nadah El Shazly’s hyper collage of Egyptian pop and computer noise in ’Fl3ln’; and it’s possible to hear the future collapsing in on itself, but also galvanising listeners to comprehend the present and find hope for what comes next.

For DSD024, Wilfy D joins the Dansu Discs family with his ‘New Lockdown Soul’ EP.

This 6 track EP takes you on a journey of soulful 2-step, a unique sound that made Wilfy D burst onto the scene in 2020. Crew member Yosh wraps up the EP with his Killer remix of ‘Make Up Your Mind’.

«'The question is,' said Alice, 'whether you can make words mean so many different things.' 'The question is,' said Humpty Dumpty, 'which is to be master — that's all.'»
Lewis Carroll: Through the Looking-Glass
ɅV (phonetic transcription for ‹of› or ‹off›) is a twelve-inch vinyl record consisting of spoken words, which can be used as a DJ-tool to compose an artificial dialogue.
It makes use of 32 monosyllabic words on each side which were collected from the website of the New York Times (newspaper, formal language, mainstream, liberal) and a subforum of the 4chan messageboard entitled Politically Incorrect (online messageboard, informal language, subculture, reactionary) in winter 2018/19. Recited by two synthetic voices, they mirror two opposing extremes of current online debate in the materiality of a vinyl record.
This work aims to let contrasting positions of political discourse talk to each other, while stripping the language from its context to generate new text.
Mixing two copies of this record in a DJ-setup is recommended to construct unpredictable connections. To multiply the possibilities of meaning, it contains ambiguous and homophonous words only (avoiding hate speech), arranged in lists, text planes, rhythmic compositions plus four locked-grooves on each side. The artwork, designed by Jan Klöthe, features all words in phonetic transcription as well as graphic scores of all ten tracks.
ɅV is at the same time a post-digital take on sound poetry as it is created due to the current landscape of online debates and their ideologies. In the combinatorial filter bubble of this record, looped words become a writing method that may produce fragmentary narratives or arbitrary mantras.
ɅV is released by collective and label Research and Waves as initial part of the collaborative research platform Attune that critically examines digital (re)formations of media, specifically the use of language and the emancipatory possibilities of poetic intervention in current political debates. For the release Research and Waves commissions a series of works and texts that use the record as a tool to (re)situate the speech of the sources through processes and gestures such as remixing, sampling, cutting, mashing, quoting, covering, morphing, or fading.
Both the NYT and the 4chan subforum, which act as examples for a political and cultural divide around identity and class politics, are put on the line for critical discussion. By (re)connecting the missing dots between the words and their sources these fragments of speech can be appropriated for a cross-cultural conversation about forms of oppression such as racism and white supremacy, patriarchism and neoliberalism.
Andreas Bülhoff (sync zine, Library of Artistic Print on Demand, SLU&ERS) and Marc Matter (Institut für Feinmotorik, The Durian Brothers, Salon des Amateurs) first met for a collaborative sound poetry performance at Poesiefestival Berlin in 2018, resulting in an ongoing artistic research of which ɅV is its latest manifestation.

It's been a very long time coming, but finally I can say the joint Skeleton release from Antidote and Threshold is here and it exceeds all expectations.

This project started way back in the Summer of 2019 after a long chat with Antidote about him having his own Skeleton EP. To say he was excited and felt honoured is an understatement.

He immediately started working on something fresh that he thought would be a good fit for the label, but unfortunately, in October 2019, before he could fully finish the track he was sadly and unexpectedly taken from us. As well as leaving a void in our lives, he also left a void in the release schedule and I still somehow wanted him to be part of it.

Lullabies For Insomniacs presents 'For Leena', a collection of unreleased pieces composed between 1991 & 1998 by Dino J.A. Deane for the choreography of Colleen Mulvihill. Gatefold Sleeve
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Dino J. A. Deane began his professional career, at the age of nineteen, as a musical arranger and multi-instrumentalist (trombone, flutes, keyboards, percussion). He worked in funk bands around Los Angeles before moving to San Francisco in the mid 1970's, where as an improvising artist he became involved in the diverse communities of dramatic theatre, modern dance, free jazz and punk rock.

In the early 1980's Mr. Deane pioneered the use of live-electronics, live-looping and live-sampling in three distinct genres that heavily informed his later compositions: As a member of art-punk band 'Indoor Life', touring and recording with fourth world pioneer Jon Hassell and as an electro-acoustic percussionist in the Conduction orchestras of Butch Morris.

During this period Mr. Deane also worked as a sound designer for the theatre, with directors Sam Shepard, Julie Hebert and Christoph Marthaler. He also maintained a presence in the world ofmodern dance, creating and performing compositions for former Olympic gymnast Colleen Mulvihill.

The couple met in San Francisco in 1979 through his good friend Bruce Ackley, whom was commissioned to compose a score for one of her solo pieces. Colleen, was than a member of the Margaret Jenkins Dance Company and was planning to move to New York City to set out on her own as a dancer and choreographer. Their paths crossed again in 1980 when Dino moved to NYC with Indoor Life, during this time they began a long term relationship both on and off the stage, which continues to this day.

Radio Mars is very happy to present you this new artist on the red planet and in the electronic scene!

This guy has a great talent and his future is bright!
His music is complicated to describe.

... For sure it’s ghetto and it comes from the heart - Listen!
(I’m really missing the words …).

Exhausted Modern's debut full-length titled The Year of the Rat is a proof of the thought-provocation that author's name generates. Released on his own Endless Illusion imprint, the album doesn't have all the answers, it simply offers Exhausted Modern's perception of the modern times and also the energy to do something with them. The title, borrowed from the Chinese zodiac calendar, doesn't slip to mere esoteric prognosis, it fittingly and provocatively comments on broken mechanics of society, capitalistic hierarchisation and emotional frustration of its victims. Despite the dystopian character of Exhausted Modern's sound, which ranges from fast melancholia through suspicious calmness to slowly bubbling rage, it doesn't feel like the end of the world. It's critical artistic statement of a person who despite seeing all the darkness, also sees the way out of it.

3 months on from the release of his debut album, Friske returns to Metalheadz for a one-off single showcasing some of his best work yet. Set to be released this October, Friske displays his much-loved production traits and attitudes towards drum and bass music via the amen-riddled 'Untitled Killa' and the intergalactic journey that is 'Persevere', this is a part of Friske's discography too good to miss.

The Goldie Award winning producer / dj debuts on Alpha Pup with a
four track EP on orange & black splatter vinyl. Across 15 Hours To LA,
Holly uses otherworldly synth tones, dissonant staccato, heavy low end,
and frenzied digital drum-work, providing a synthetic journey where
technicality and style meet at a unique crossroads.

It’s now time for the new Era of Tenderness. There’s no need to hide your feelings now, cause it’s time for bright emotions, so you can be free.
The third release of 10010 label is a record from the future KSKY is looking forward to. Follow him & you’ll be there, too, but not for long, though.
There are 6 tracks inside filled with laconic tales, private moments and deep pictures the author has seen, felt and told.