Beats Vinyl New Releases - News

Lydmor's new album 'Capacity' is a musical maze full of alluring mysteries. At the same time, it is part of a process of liberation, which is about opening oneself up and discovering one's capacity. For her previous album, Lydmor travelled to Shanghai. But on her new album, Lydmor has mostly travelled deep into herself. 'Capacity' is a contrasting musical work where fiction and reality merge into a multifaceted sound universe. It is the electronic pop artist's most personal, complex and conceptual album to date. There is almost a David Lynch'ish cut about 'Capacity'. The album is like a winding maze where it is difficult to decipher what is real and what is an illusion. Like a book with countless narratives. Without conclusions. Ambiguous. Full of alluring mysteries, dreams, reflections and messages about gender, identity, love, guilt and liberation. Rich in contrasts: Black/white. Silence/noise. Weakness/strength. Fiction/reality. Labyrinth/compass.
Multiple media has compared the quirky voice to the likes of Grimes, Kate Bush or Björk but inevitably the comparisons fall short. (Kaltblut Magazine) - With brutal honesty, unbelievable vulnerability and yet dreamy, she sings the soul out in her pulsating electronic pop songs. The soft, bright voice is deceptive. Denmark's "hidden gem" is a must-listen. (Flux FM) - She is every bit as innovative as Madonna ever was when she started out. Lydmor ticks all the boxes; the girl has everything. For my money she’s the most ground-breaking, inventive artist in Europe right now, possibly in the world. (God Is In The TV, UK) - A unique artist who somehow manages to combine sophisticated and subtle balladry with strident electronic pop, I’ve declared previously that I believe she is only one step away from becoming a big name. Perhaps the feelings are supposed to be mutually inclusive, as the song swings musically from simply cold to complexly hot. It is one that does try to combine both sides of her song writing persona, the introverted balladry and the more elaborate, extrovert electro-pop. (Nordic Music Review) - Revolting pop pathos, primed with pumped up beats. (Negative White, Switzerland)

Makcim & Levi are here with their first full-length album, dœiотсюда. Farewell, from here. The two grand inquisitors of minimal have found their parting ground. A first and a last. Their debut long player is also the first release on their new label ml rec. It slides through the deeper sections of dancefloor groove, passing around joyful swing like sweets. Encrypted messages from Russian satellites. Sizzling hats and crushed videogames jittering around. And yet, bellowing from the balcony, new ideas, beats and cutting edge sound design that show a side of Makcim & Levi we haven’t seen untll now. If this was the end, then what has just started?

Seattle’s Profit Prison is back with a new 6-track EP.

The solo work of Parker Lautenschlager, previously in local hardcore and black metal bands as well as power electronics acts, was debuted by Dominick Fernow’s Hospital Productions in 2017 and his first full EP Six Strange Passions was released by Avant! approximately one year ago. Inspired by Franz Kafka as much as Kraftwerk, Profit Prison achieves a cold minimalism that speaks to the nightmarish dystopia in which it was created, even more so in the light of the political events that shook the US and Parker’s very hometown recently.

His new Dreams of a Dark Building continues on the dark path of its predecessor, mixing catchy synth melodies and gloomy atmospheres, all strengthened by 70’s disco-like Hi-NRG electronic beats for the perfect dungeon synth pop outcome.
The opener Cleric sports a riff that could have been written by the evil twin of Gershon Kingsley, A Premonition sounds like Ken Laszlo had joined the dark side. 120 Days is the main single of the EP and it’s just melancholically addictive, In This Hour Of Loss has got synths that would make Moroder proud. We could go on but we bet you got the score by now. If you’re in for the best umbriferous synth music, look no further.
Artwork by London-based talented young artist Hila Angelica.

RIYL: Kraftwerk, Experimental Products, Das Ding, Autumn, Fata Morgana.

For AI-21, Italian duo The Abyss Within Us enters the fold. The project, consisting of Claudio Porceddu (Claudio PRC) and Stefano Ferrari (menion), combines lush ambient textures with beguiling mysticism. Originally performed in Ankali, Prague, the rich and expansive ‘Life in a Circle’ constitutes a 2-part journey deep into darker, farther places. Chasmic frequencies hark back to an ancient ritualism, punctuated by uplifting moments breathing with elegiac grandeur.

Craigie Knowes continue their long-running War Child fundraiser series with a new 2x12" release featuring tracks from Eluize, DJ Python, Stellar OM Source, Innnershades, No Moon, The Burrell Connection and more. From ambient and downbeat through to techno and electro, the release spans the sounds that Craigie Knowes have embraced over the last 5 years. The fourth installment of the project also sees a completely new sleeve and center label design by Kyle Morrison. All profits donated to War Child UK, a charity helping children in areas of conflict around the world.

Hot on the heels of its debut release, Montreal’s Chambre Noire is back with its second record: an EP by Québecois artist Vromb, a veteran producer around since the mid-90s, known in particular for his releases on Ant-Zen. Over the course of five tracks on vinyl (six in the digital version), the artist’s sounds seem to take on physical shapes, like living origami: constantly mutating as they open, close and transform into something else. With attention to movement and boundary-challenging textures, this EP is ready to ensnare listeners in a variety of contexts, from club environments to more contemplative environments.

Off the heels of a few successful digital compilations, newly found LA based label For The Heads proudly kicks off their vinyl series with a 4-track collaborative EP from Subtle Mind & mrshl. All 4 of these cuts bring freshness and originality to the ever-growing 140 sound and are a meticulous blend of styles given both of the artist's virtuosity and creative ability.

First, "Built The Same" sets the pace of the EP with luscious chords and a prolific melody all wrapped together by it's enticing low end. Next, the title track "Can You Hear It" is a weighty number focused on it's orbiting sub-bass and crisp percussion with a switch up that is sure to get any dance moving. On the B-side, an exceptional and unparalleled fusion of both modern synth-bass oscillations with the classical UK style groove and step of some jungle and garage is evident in "When The Rain Comes"; all of this pieced together nicely with a jazzy saxophone sequence. Rounding out the EP, "We're Alright Now" features a radiating, encircling melody that is sure to grab the attention of it's listeners with punching low end and soulful vocal shouts.

It's A Funny Old World, And Yet Again, The Black Dog Have Provided The Soundtrack. Our Fast-approaching Dystopia Has Been Envisioned And Documented By The Band For Decades. Now, The Black Dog's Two New Albums, Post -truth And Black Daisy Wheel, Translate Their Growing Horror Into Some Of Their Most Accessible And Impactful Music, Translating Our Manufactured Reality Into High Energy Dancefloor Constructions On Post -truth, And Reflective Ambient Excursions On Black Daisy Wheel.

Long Familiar With The Tropes And Pitfalls Of Esoteric Undergrounds, In Both The Pre- And Post Internet Eras, The Black Dog Have Ventured Deep Into Contemporary Conspiratorial Cultures With A Trenchantly Critical Eye. In The 80s, Conspiracy Theories Were A Tonic For A Sceptical Mind, A Stimulant To Agile Thinking. Today, They Have Become The Stock In Trade Of Mainstream Political Influence. The Scene Has Morphed Into A Rabbit Hole Where Nothing Is 'really' Real, Everything Is A Hoax, And Everyone Is Out To Get You. The Mindset Is Beyond Paranoid, The Discourse So Far Post-fact That Only Opinion And Assumed Identity Matter. Arguing Against Proven Science Is A Part Of The Entry Criteria, And Wilful Pedantry Its Standard Currency. The Impact On Mental Health Is Corrosive: Fear, Uncertainty And Doubt Multiply And Replicate Until The Most Ridiculous Theories Are Invented To Explain The Most Basic Things: Tarmac, Banana Skins, Duvets. Auto-suggestion Is Rife, Where Willing Victims Drink Bleach (mms) At The Behest Of Youtube Videos, Flat-earthers Are Taken Seriously, And The Manufactured Fearful Believe They Are Being Gang-stalked For Finding Monsters On Pixelated Screens. The Distinction Between The Real World And The World Of An Auto-hoaxer Is So Blurred That Reality Melts Away; You're Only Ever One Personal Detail Away From Being Doxxed, At Which Point Reality Bites Back, Hard.

You Couldn't Make It Up, Even Though That Is Exactly What The Conspiratorial Fringe (now One Sharp Corner From The Mainstream) Always Do. The Fact That There Are Real People Involved In This Scene Creates A Real Sense Of Pathos And Anger Which Is Deeply Embedded In The Music On These Two Albums. As Soon As You Start Engaging With People In The So-called 'truth Movement', One Minute It's Painful, But The Next Can Be Genuinely Funny; These Are People Who Are Both On Edge And Upon The Edge Of A Larger Social And Political Reality That, For Worse And For (even) Worse, Defines Our Times. Hence These Two Very Different Albums. Black Daisy Wheel Is Reflective, Often Intense, Frequently Compassionate; While Post -truth Was Written While The Black Dog Was Fully Engaged With People Whose Paranoia Was In Full Swing.

Welcome To Our Disinformation.

Limited To 500 Copies - 180g

Decha’s Hielo Boca LP was released in early 2019 and quickly was embraced by many as an exceptional experi- mental yet very personal and soulful piece of art. Artist Viktoria Wehrmeister (half of renowned duo Toresch along- side fellow Düsseldorfian Tolouse Low Trax) is already working constantly on her sophomore album for Malka Tuti that will come some time in the near future. In the meantime, longtime fans of Viktoria, many friends of the label asked to participate in the remix project that fol- lowed Hielo Boca. On this record we will present 4 remixes that are as imag- intive, inspirational and clever as the original composition. Tapan, Eva Geist, Khidja & Philipp Otterbach took upon themselves to reconstruct Viktoria’s ideas in very surpris- ing, intriguing and “out of the box” ways.

Nach der Veröffentlichung seiner "Dreamzone EP" verbrachte der gebürtige Finne Jaakko Eino Kalevi das vergangene Jahr hauptsächlich damit, Shows und Festivals von Europa bis Japan zu bespielen. Letzten Sommer veröffentlichte der finnische Workaholic zudem seine "Yin Yang Theatre EP" für das Beats In Space Label des New Yorker DJs & Radio Hosts Tim Sweeney, die mit ihrem bohemen Disco-Sound erneut aufzeigte, wie vielseitig Kalevi sein kann. Die zweite Hälfte des Jahres 2014 mixte Kalevi sein fertiges Album dann in New York mit Nicolas Vernhes (The War On Drugs, Run The Jewels) und zog anschließend nach Berlin. Sein selbstbetiteltes Synthie-Pop Album erscheint Mitte Juni auf CD und Vinyl via Weird World/Domino Records.

An extremely rare album left by Detroit-based jazz keyboard player Johnny Griffith known for the album "Together, Togetherness" on RCA. An album covering "From The Music Connection" with Freddie Redd Quartet and Jackie McLean. The Music From "The Connection" was composed by jazz pianist Freddie Redd for Jack Gelber's 1959 play The Connection. This first recording of the music was released on the Blue Note label in 1960. It features performances by Redd and Jackie McLean Jack Gelber originally planned for the play to feature improvised music performed by jazz musicians who would also play small roles in the production. Freddie Redd, however, persuaded Gelber to include his original score. Redd re-recorded the score later in 1960 as Music from the Connection.

In 1974 The pianist Johnny Griffith, who was a member of the prestigious Motown rhythm section "Funk Brothers", covered the album "The Connection" by Freddie Red as a whole album, playing electric piano here, which really changes the vibe of the music - and the players are supposedly a host of Motown studio musicians - playing jazz here, but with a nice funky soul undercurrent. Originally released on Detroit Geneva Label.

Pianist Johnny Griffith can be heard on classic Motown sides, as well as on recordings from other Detroit-area labels. Like Motown's other pianists, Joe Hunter and Earl Van Dyke, Griffith's had an extensive musical background.

Signed to Motown's Jazz Workshop label, he recorded the albums "Detroit Jazz" and "The Right Side" of Lefty Edwards. When the march of the Motown hits began, Griffith started playing on sessions for their R&B/Pop acts. But rather than signing a work-for-hire contract with Motown like other musicians, Griffith remained a freelancer, doing other dates and sessions in New York and nearby Chicago.The Motown hits that Griffith played on include: Marvin Gaye's "How Sweet It Is (To Be Loved By You)", his celeste trills are heard on "Mercy Mercy Me (The Ecology)", adding Wurlitzer electric piano on both Gaye's "I Heard It Through the Grapevine" and the Temptations' "Ain't Too Proud to Beg", organ on the Supremes' "Stop in the Name of Love and organ and shotgun effects on Junior Walker and the All Stars' "Shotgun.

Griffith's non-Motown hits are with Edwin Starr, Jackie Wilson, The Chi-Lites, and Young-Holt Unlimited's "Soulful Strut" In the '90s, Griffith was still active on the Detroit club scene.

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Fallow presents his debut EP on the freshly established Chow Down label - 6 typically epic and emotive tracks from the semi-infamous Manchester-based DJ & producer. On side A Fallow serves up 3 gigantic grime instrumentals with all the bravado, theatrics and outrageous samples the genre has to offer. The tracks are as cinematic as they are energetic, weaving pulse sounds, choirs and dreamy sino samples into breakneck dance-floor gear to great effect. On the flip Fallow adopts his DJ Chalice moniker to explore his softer side. Still bursting with colour and melody, the tracks are as indebted to sunny dancehall records as they are a raw UK sound. Peppering carefree mallets and flutes with angelic chipmunk vocals, Chalice still captures the producers' unique ear for bold melodies and vivid sounds.

Kid Drama returns to his label for the first time this year after the well received Ideal Form EP, he continues with his trademark infused mix of autonomic and 90s tech step to create the 2010 Again EP.

smokey vinyl / label sleeve / ltd 10"

Radikal Guru joined forces with Tenor Youthman to raise their voice against injustice that’s happening in the world today and encourage people to stand up for their rights! #beyondtheborders

There was a rumble which echoed as it emerged from the murky depths of the cave. Deep down in the tomb below was the sound of distant drums which banged and roared with pride and promise as they began to wake the dead from their long slumber. Few had ever imagined that they'd rise again, the stories told of ancient ruins and magical creatures had long been deemed irresponsible nonsense told to scare children and for fireside tales. Now, it seemed as if they were wrong, very wrong indeed...

Ramses is set to release a new EP on Dill Dodos Recife (serie of Discolored Field’s label focuses on club reflections), a Lyon based record label with a promising future. The EP is a weird, mutated assortment of heavy hitting club sounds and low end weight.

3x12"

"Mothership" is the first, triple-vinyl, collaborative effort of Midnight Shift and Voitax which comes in the form of an ambitious various artists compilation. This delicate 15-track project siphons talent from across the globe. The outcome is a collaboration of 30 like-minded artists in unusual, yet intriguing pairs. Classy, open-minded and futuristic, "Mothership" provides the perfect platform for multi-disciplined artists to find an exciting new middle ground. Percussive Bristolian techno sits comfortably next to dystopian electro. Heady, broken techno cuts are balanced by equally tough, uplifting electronica. Innovatively and confidently blurring lines between house, techno and its functional counterparts, "Mothership" provides a window into the musical upbringing of our hand-picked talents.

Legendary pedal steel player Susan Alcorn presents her music as curated and arranged by cellist and composer Janel Leppin. This recording is from a live performance from her residency at Issue Project Room in July 2012. Leppin’s arrangements and curation emotes the brilliance, transparency and resonance of the pedal steel guitar. Through this ensemble, the mastery of Susan Alcorn's compositions shine.

Susan Alcorn has taken the pedal steel guitar far beyond its traditional role in country music. Having first paid her dues in Texas country & western bands, she began to expand the vocabulary of her instrument through her study of 20th century classical music, visionary jazz, and world musics. Struck by the music of Messiaen she began transcribing classical music from recordings and scores on her instrument. Soon, she began to combine the techniques of country-western pedal steel with her own extended techniques to form a personal style influenced by free jazz, avant-garde classical music, Indian ragas, Indigenous traditions, and various folk musics of the world. By the early 1990s her music began to show an influence of the holistic and feminist “deep listening” philosophies of Pauline Oliveros. As her records gained a cult following she moved to Baltimore, MD. She performs internationally and is a key figure in the free improv scene in the US.

Janel Leppin is a core member of the Washington, D.C. experimental, jazz, punk and improvisational scenes and is a celebrated visual artist as a weaver. DownBeat Magazine describes her as “An absolute virtuoso”, NPR Music says “instrumental intimacy swept up in arrangements that cluster around her voice, as delicate and as imposing as a sheet of falling ice.”. Janel leads and writes for her free jazz sextet, Ensemble Volcanic Ash “a rarity..ahhh-vant garde at it’s finest." -Capital Bop. Leppin and Alcorn also recorded the composition “Thick Tarragon” by Eyvind Kang from the album Visible Breath on Ideologic Organ. Leppin appears as a string arranger on many recordings on labels from Dischord Records to Sacred Bones.

In 2019, the power-acoustic musician Francisco Meirino presented A New Instability a commission for the venerable Ina-GRM in paris. Of course, this institution is the pre-eminent center for the research and study of electro-acoustic music dating back to founding of Groupe de Recherches Musicales in 1958 by Pierre Schaeffer. To this day, Ina-GRM continues to be at the vangarde of the electro-acoustic composition, and it is quite an accomplishment and very appropriate for Meirino to receive such a commission.

This recording for A New Instability condenses the 32-channel original piece down to a still very active stereo version. here, Meirino continues to amplify and refine his compositions that walk a fine tightrope between raw expressivity of brutalist noise and conceptual rigor of more academic pursuits. Such a work ranks him in with the likes of Zbigniew Karkowski, Dave Phillips, Puce Mary, and Illusion Of Safety.

Field recordings from a kendo dojo in his hometown of Lausanne, Switzerland cast a pugilistic, combative arch to these recordings which snap, burst, explode, and erupt with utterances of men and women engaged in hand-to-hand combat. Searing frequencies build, swarm, and amass out of these episodes rise to psychologically tense crescendo that rupture at their heights, quickly turning attention towards a violence that originates from within. It is as if the objective observations of those martial arts recordings are sublimated within a subjective experience of psychic unease, disquiet, and imbalance.

A New Instability is another magnificent chapter in the ongoing body of work for this accomplished composer of electro-acoustic noise.

Apulati Bien is back on Promesses with an 8 track EP called ‘RER TRACKS’. All sketches of these songs were formerly composed in early 2017 during Apulati's RER journeys (Paris suburban train) on an iPhone 4 using field recordings from the phone and the iMPC app. Then put together and re-arranged some years later in his Brussels studio. Each song is like the soundtrack of a different train journey, bringing eclectic vibes between de-construct dancehall, mutant dub and dark ambient. "OUEST" and "Oz" contain vocal featurings (also recorded on a phone) from Mexican artist Vica Pacheco and Haitian MC Damoreless Zoekila.

- Limitierte rote 2LP+MP3 Downloadcode im Gatefold Sleeve und neuem Cover Image und Linernotes von Simon Green. Inklusive bedruckten Innenhüllen und einem 12" Art-Print mit dem Original Cover.

Ninja Tune veröffentlicht eine Jubiläumsausgabe zum 10. Geburtstag von Bonobo’s Klassiker „Black Sands“ angekündigt, womit bereits ein ganzes Jahrzehnt seit der Veröffentlichung des gefeierten bahnbrechenden Albums des Produzenten und Multi-Instrumentalisten Simon Green ins Land gezogen ist. Das Album hielt einen einzigartigen Moment fest - es wurde von Kritiker*innen bewundert, erklomm die Spitze bei den Alben des Jahres von Resident Advisor und DJ Mag und verkaufte sich bisher weltweit über vierhunderttausend Mal.

Beeinflusst von den unterschiedlichen, bassbetonten Strömungen der britischen elektronischen Musikszene zu der Zeit, passte Green diese sich entwickelnden Klänge kunstvoll in seine eigene, umfassendere Vision ein. Die bleibende Bedeutung der Platte ergibt sich aus der Tiefe, die er in diesen Kombinationen fand, rasselnden 2-Step-Rhythmen und druckvollen Subbässen, gepaart mit sorgfältig ausgearbeitetem Songwriting und üppiger, brillant umgesetzter Instrumentierung.

Zehn Jahre später ist die Platte der wichtige entscheidende Schritt in Greens hintergründigem, aber unaufhaltsamem Aufstieg zu einem der größten Elektronikkünstler unserer Zeit. Inzwischen kann er sich mit sechs Alben rühmen, darunter das karrierebestimmende 2017er-Album „Migration“, das Platz 11 der offiziellen Albumcharts in Deutschland erreichte und zwei GRAMMY-Nominierungen erhielt (ebenso wie seine 2019er-Single „Linked“), außerdem spielte er ausverkaufte Konzerte auf der ganzen Welt und brachte seine kultisch verehrte Live-Show an mehreren Abenden hintereinander in den Alexandra Palace (auch bekannt als „Ally Pally“), zum Glastonbury Festival, auf das Red Rocks Amphitheater in Colorado oder ins gigantische Berliner Fahrradstadion, dem Velodrom.

Cyan85 teamed up with Wuh for a dreamy-electro record under the CYWU moniker

DJ Swagger and LUZ1E team up to present you DJ DOOM, a collaboration project set in (post-)apocalyptic sceneries and theme-based productions. DJ DOOM will appear in all sorts of horrific predicaments to fight his way out. This time he got abducted by evil extra-terrestrials which were attracted by his spaced out beats. Will he ever come back home? What will he do to fight back those aliens??

Sheffield born, London based producer Mella Dee fronts up the 7th Manucci's Mistress EP. A dark techno/house/bass 2 tracker with a remix from Will Berridge.

“It’s not easy to transform a jam into a proper tune that haunts forever. The two Glaswegian friends MR TC and Lo Kindre are in possession of that special skill that can transform spontaneous tuned-in music into something significant without losing the gut feeling along the way.

As solo artists they have released on labels like Optimo Music, 12th Isle and Against Fascism Trax, and together released 'The Storm EP' in late 2018 on Vienna's Neubau. Now they continue their collaborative work on PHASE001 – an EP that also marks the launch of their own label that listens to the same name. The start-up brings four analogue tracks that courageously link cold waving synth-shocks, neon-light nonchalance and haunted spoken words; deep hypnotic musical witchcraft that peels itself out of the history of dark electronic music with a pulsating and haunting atmosphere.”

- Words by ML

A reflection on modern life glimpsed through theprism of communications technology, ‘u,i’ wasrecorded almost entirely over VOIP (voice over internet protocol) apps like Skype. Using voices
extracted from personal video feeds and instrumental performances (cello, flute, violin, clarinet, organ), these were sent between their
studios in Berlin and Montreal via VOIP and rerecorded whilst playing with bandwidth reduction to colour and accentuate its flaws and distortions.

Fascinated by the way technology materialises memory, and by “the sound of its failure, pushed to its limits and breaking apart,” Johannes and Olivier have been collaborating for 20 years, working on numerous film projects together. Olivier previously worked under the Ensemble alias, in which Johannes participated as mixer, arranger
and co-writer. Ensemble’s 2000 debut (on Aphex Twin’s Rephlex label) led to Björk drafting Olivier to remix several tracks and to co-write ‘Desired Constellation’. After two further Ensemble albums on FatCat, Olivier’s own-name debut was released on 130701 in 2017.

For fans of Akira Rabelais, Johann Johannsson, Max Richter, The Caretaker, A Winged Victory For The Sullen, Grouper, Abul Mogard.

Cascade Symmetry is the culmination of an intense and transformative year-long period. It is an ode to new beginnings and the disintegration of the past.

Recorded and mixed September - October 2017 in San Jose, CA; additional recordings and field recordings taken September 2017 in South Korea.

Gear used: Eurorack modular synthesizer (Mutable Instruments, Make Noise, Orthogonal Devices, Intellijel, TipTop, Ladik, Malekko Heavy Industry, Mannequins, Qu-Bit Electronix, Doepfer), Novation Peak, Korg Electribe 2, Elektron Analog Heat, Strymon El Capistan, Hosa Technology Cables

Initially released on tape and digital through the artist on November 6, 2017.

The Alternative Futures EP is the second release from London based DJ/Producer duo Suburban Architecture. Drawing heavily on influences from one of Drum & Bass's most innovative eras, the mid to late 90s, the duo's productions place a contemporary spin on sounds rooted in this golden era of dance music.

Picking up where 2019's "Visions" EP left off, this new 4 track EP delivers another collection of sounds that meet at the intersection of nostalgia and modern production.

"Final Call" marries Jazz Fusion with dreamy vocal samples and atmospheric pads to match, all at a lowered tempo which harks back to the birth of the "intelligent" sound.

"Future Jazz '95" meanwhile is a stepping jazz-infused roller that invokes memories of DJ Pulse, Jazz Cartel et al.

On the flip, atmospherics lead the way: "Chinatown" provides rolling drums over layers of lush pads and melancholy horns while "New Horizons" throws a nod in the direction of Bukem's early "Good Lookin" releases with arpeggiated chimes, rousing vocal samples and the all important rolling Amen to close

In support of their forthcoming Bob Moog documentary Electronic Voyager, Waveshaper Media have produced a compilation LP of Moog recordings from the 1960s. The first compilation of its kind, Electronic Voyages: Early Moog recordings 1964-1969 contains tracks by Robert Arthur Moog, Herbert Deutsch, Joel Chadabe, Lothar and the Hand People, Intersystems, Ruth White, Max Brand, and Paul Earls. All of these tracks, released here on vinyl in an edition of 1000 copies, have been scarcely heard and difficult to track down, with all but three of them previously unreleased on vinyl.

Bypassing the Moog synthesizer’s backseat appearance on key pop recordings by the likes of the Beatles, the Doors, and the Beach Boys, Electronic Voyages aims to highlight the diverse approach of 1960s musicians and composers who adopted the Moog as their primary instrument; these recordings all feature the Moog synthesizer front and centre. Beginning with an “audio letter” (The Abominatron) from Bob Moog to his musician-muse Herbert Deutsch, demonstrating some of the first Moog synthesizer prototype’s capabilities, Electronic Voyages veers from avant-garde and electronic soundscapes, to psychedelic madness and summer-of-love pop. In the 1960s, the Moog synthesizer was a new, groundbreaking instrument, and its use was completely uncharted territory. The pioneering use of the Moog on all of these recordings sounds fresh today - you can sense the wide-eyed exploratory delight unfolding, and the disparate results range from endearingly naive (Lothar and the Hand People, Paul Earls) to downright eerie (Ruth White, Intersystems).

The musicians and composers behind these Electronic Voyages may have been among the first to adopt Moog synthesizers, but the fact that they so readily found within them expressivity, heart, and a means to translate their wondrous sense of discovery, speaks far more to Bob Moog’s visionary invention and enduring legacy.

For DSD023, Bailey Ibbs serves up a killer with his ‘Gurl’ EP. The A side delivers 3 Bailey originals, each serving up a different mood best suited for the dance floor. Where the B side provides 3 completely different flips of ‘Gurl’ delivered to you by Groovy D, Denham Audio & AK Sports.

One side ragga drum and one side ragga drum with french featurings!

Past Inside The Present is pleased to announce Repetition Hymns, a double album from the enigmatic Black Swan. Comprised of 19 vignettes, the relatively short tracks impart a strong forward momentum despite the 80-minute runtime. Repetition Hymns is thus particularly well-suited to the temporal distortion of quarantine, in which each day feels like an endless repeating loop. Our bleeding hearts are in need of drone like never before. In the decade since the release of In 8 Movements, Black Swan's 2010 debut, the anonymous producer has built a reputation for his unique brand of tape-based symphonic drones. While the author behind the moniker remains hidden, Black Swan is still able to surprise and captivate. The dark symphonic deconstructions of those early works have slowly evolved, making space for lighter textures and tranquil meditations on sound, expanding the palette of tones while staying true to an identity in flux.

Malfunctioning speakers, & digital dreamscapes, SQUIRRELS ON FILM's 4th release explores the outer reaches of techno with impolite, reckless abandon.
Psychedelic sound explorer Its Own infinite Flower, who was
responsible, along with head squirrels Solar & C.l.a.w.s., for San
Francisco underground punk rave/happening Hostile Ambient
Takeover, unleashes his first official release, The Plumes of Love (ARE BLACK!). After contributing a track to 2017's Spacetime Continuum/ Juju & Jordash curated Air Texture V compilation, this four track EP of abstract tech-noise brings the sounds Its Own Infinite Flower refined in the basements & warehouses of the Bay Area's underground music scene to the wider world, whether it's ready or not.
'Drone, Drugs 'n' Dissonance' creeps into life as a thunderstorm of
white noise, out of which a cold-rave pulse somehow metastasizes into something resembling techno, although this is a deformed, uncivilized, unwanted mutation, separated at birth & raised in a toxic wilderness. It builds slowly before turning up in a rage of digital distortion, a black metal dub party held at the edge of a melting glacier. 'Oh, Empire of Roses' is a Dada Phycho Jazz Electro number. Dissonant synth chords snake around each other in a playful ouroboros of manic future funk, never knowing if it's starting or stopping, coming or going. Relentless bass throbs through the track, which almost threatens to bubble into classic acid electro before fizzling out. On side two there is 'Devotion to a Peacock Angel,' an angular breakdance groove for the characters in the bar scene in Star Wars. Electro dub rhythms keep stay grounded as everything else rips apart in all directions over the course of the track. On 'Misfortunes of El Dorado' a soundsystem bangs in the next room, only the deepest bass escaping, shaking reality until it's torn apart in waves of distortion, a classic techno synth string wandering over the top of everything in a full blown Techno Jazz Odyssey.

SQUIRRELS ON FILM continues its adventure at the edges of techno
with the mind bending stylings of Its Own Infinite Flower's debut EP,
fitted with another beautiful hand-drawn, full color sleeve by New York artist Bert Bergen. The Plumes of Love (ARE BLACK!).

2 jungle and one solid raggatek for the finish... Don't miss that roots parl !! Authentic brlloy stuff !!

Zombies are undead by nature and these ones seem to be not only not dead, but very much alive and active:
ZOMBIES IN MIAMI is a project created by Canibal & Jenouise and despite the name they are not crawling around Miami, but shining out their light from Mexico. The couple became one of the most prominent members of Mexico‘s vital electronic scene over the last decade. You can call their sound a rhythmic and synth-driven house and techno hybrid, with a disco and balearic twist, which is held together by the oh so sweet Italo Drama.
As the living dead always seemed to be a big inspiration for Italian filmmakers, the love seems mutual and the movie scores rubbed off on the other end as well. After highly acclaimed EPs and tracks for such diverse labels as Gerd Janson's Running Back, Jennifer Cardini's Correspondant, Prins Thomas's Internasjonal as well as Hippie Dance or Bordello A Parigi, now it’s time for the great couple’s first album: "2712" on Permanent Vacation. The vast experience of Zombies in Miami as a long lasting music production team, as well as
performing live acts around the world (which brought them to the some of the best clubs and festivals on this planet) culminates in 8 tracks that perfect their futuristic retro sound. An ideal match for Permanent Vacation! You probably won't find a better combination of Italo arpeggio lines, house pianos, disco drums as well as sun kissed and mythical soundscapes for your summer soundtrack.

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythmobsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro- Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity.

Recorded over 2017-2019 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo. Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play.

‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy.