Beats Vinyl New Releases - News

Parallel zu seinem Mini-Album "Night Melody" veröffentlicht der Londoner Elektronik-Songwriter Ryan Lee West aka Rival Consoles eine limitierte Neuauflage seiner EP "Sonne" auf gelbem Vinyl.

Die 12'' war erstmals 2014 in die Läden gekommen. Der Titelsong beginnt mit einem "sehr subtilen Set von Melodien, welches sich fast gänzlich ohne Überzeugung wiederholt, um dann schrittweise einer riesigen Collage an Farbe und Kraft Platz zu machen", um es mit Wests Worten auszudrücken. Indem es sich nicht auf einen konventionellen Beat verlässt, ist dieses Stück ein erstklassiges Beispiel dafür, wie ein analoger Synthesizer die Kraft und das Moment einer ganzen Rhythmusgruppe erschaffen kann.

Von den verzerrten Wellen in "3 Chords", gleichermaßen wachsend und schrumpfend, bis hin zu den sich kontinuierlich beschleunigenden und verlangsamenden, rhythmischen Wellen in "Recovery", bilden der Moog Voyager, Prophet und ein altes Bandverzögerungsgerät den Kernsound der EP. In Songs wie "Helios", "Haunt' und "Think Tank" ist West wiederum live an der Akustik-Gitarre oder dem Schlagzeug zu hören

Seven Swiss artists & collectives sharing the same passion for music came together for a unique collaboration. The result is a sequence that evolves through rhythm and each contributor‘s colour of sound. Artists involved: Melodiesinfonie, Jack Pattern, Lexx, Look Like, Alma Negra, Manuel Fischer, Les Points.

If you draw a map of electronic music today, you will come to realise that Switzerland still represents a blind spot for many people. Even if you see from the inside the many talented artists romping about in such a small space, you have to admit that interest from the outside is virtually non-existent. Therefore there is only one way: Teamwork! The MEGAMIX is a statement for it.

REPRESS!

10th Anniversary Edition - LTD Col. 2LP

TEEBS veröffentlicht Vinyl Reissue seines kultisch verehrten Debüts und Durchbruchsalbums „Ardour“ an, welches vor 10 Jahren erstmals via Brainfeeder veröffentlicht wurde!

Am 11. Oktober 2010 veröffentlichte Brainfeeder das Debütalbum eines 23-jährigen Ex-Skaters, Malers und Musikproduzenten aus Chino Hills namens Teebs (wirklicher Name Mtendere Mandowa). Der Titel "Ardour" bedeutet großer Enthusiasmus, Liebe oder Leidenschaft und war eine treffende Beschreibung für seine von Natur aus warmen, üppig texturierten Beats. Er ist ein unbestrittener Klassiker im Brainfeeder-Kanon und gilt weithin als ein wesentliches Kapitel in dem sich ständig weiterentwickelnden Puzzle der globalen "Beat-Szene”. Auf „Ardour“ (10th Anniversary Edition) finden sich neben den Hits wie „Why Like This“ oder „Gordon“ sechs neue Songs auf der D-Seite, die bis heute unveröffentlicht blieben. Teebs, der seine Wurzeln beim "My Hollow Drum"-Kollektiv, Dublab und Low End Theory hat, ist eine feste Größe in der Musikszene von Los Angeles. "Meine kreative Familie in LA ist so wichtig", erklärt er. "Sie ist ein Teil davon, wer ich bin, wenn ich nach draußen gehe und wie andere in LA mich sehen. Ich liebe das Gefühl der Gemeinschaft und versuche zu verstehen, wie ich darin nützlich sein kann.

Nach "Ardour" (2010) veröffentlichte Teebs "Collections" (2011), "Estara" (2014) und, nach einer fünfjährigen Pause, 2019 sein neuestes Album "Anicca" mit der Hilfe einer Reihe von Musikfreunden, darunter Panda Bear (Animal Collective), Sudan Archives, Ringgo Ancheta alias MNDSGN, Miguel Atwood-Ferguson und Anna Wise. Von allen Seiten gefeiert, gab Pitchfork "Anicca" eine glühende 7,8-seitige Rezension, in der Mandowas "mühelose, formwandelnde Tracks, die die Zeit stillstehen lassen" gepriesen wurden. Unterdessen beschrieb FADER die Platte als "zutiefst atmosphärisch... kühl und unheimlich"

From the city that brought you LSD comes a new album by Marco Papiro, a Swiss-Italian musician and graphic designer who has gained some notoriety with his album covers for the likes of Panda Bear and Sun Araw. 'Automare' is Papiro's seventh solo album, recorded on 4-track cassette, on hard-disk, in public and in private, entirely self-produced and now released on Nikolaienko's Muscut label.The five hauntingly evocative tracks offer a variety of atmospheres from surreal to arcane, from celestial to subaqueous. Synthetic sounds (some mature EMS, Moog and Roland) are combined with other assorted instruments (organ, shehnai, electric guitar and bass,) and emulsified through various time-and-space-bending devices. There are no percussions, with one surprisingly groovy exception, in which a drum machine is being generously treated with phaser and envelope filters - think of early Cabaret Voltaire with a North Saharan touch.



Papiro's handcrafted artificial vocals are anything but human, but all the more compelling: out of the fluorescent Plankton of the side-long opening track 'Rhenus Rebus' rises a siren's voice, reminiscent of Alide Maria Salvetta in Battiato's 'Campane', joined in a final mantra by an oboe borrowed from an inebriated Third Ear Band. Entering a chimeric karaoke bar, the title track 'Automare' makes the album even more bizarre by introducing a distinctive pop feel. Back to the abstract world, the following 'Polmonella' - a live recording with additional musicians Anthony Glass (aka Antenna Tony Monorail) and Markus Stähli (of Roy & the Devil's Motorcycle) - is a fevery exploration of cosmic territories in the manner of Harmonia, while the alien articulation of 'Incom' sounds unlike anything else ever recorded.

LTD Edition!

Can wurde 1968 von Irmin Schmidt, Holger Czukay, Michael Karoli und Jaki Liebezeit gegründet. Die Gruppe nutzte und überschritt gleichermaßen alle Grenzen der ethnischen, elektronischen, experimentellen und modernen klassischen Musik.
Ege Bamyasi lässt den Dunst fallen und schlägt von Anfang an mit einem scharfen Schlag zu. Das oft als das "intensivste" Can-Werk bezeichnete Album Ege Bamyasi, wurde zum Teil durch den Erfolg der Single "Spoon" unterstützt, der Proto-Synth-Pop (oder Synth-
Rock) Song war die Titelmusik der beliebten deutschen Fernsehserie Das Messer und erreichte Anfang 1972 die Deutschen Top 10. Das bekannte Album enthält auch den Track "Vitamin C", laut Pitchfork ist es "...immer noch der beste Funk, der je aus
Europa kam." Kürzlich erschien das Stück auch in den beliebten Serien The Preacher und The Get Down. Can's starker Einfluss hat nie nachgelassen, und ihre Handschrift zeigt sich in den Bands, die ihre Bedeutung anerkennen - von Portishead, James Murphy, New Order, Factory Floor, Public Image Ltd, Mogwai, Kanye West und Radiohead - sowie in anderen Disziplinen wie bildende Kunst und Literatur.

- "Can ist die revolutionärste Band aller Zeiten" Stephen Morris (New Order)

Erhältlich in limitierter Auflage im grünen Vinyl inklusive MP3 Downloadkarte

Now it can all be revealed: The curtain call for the first new recordings from St. Alban's Clubroot in nearly a decade and the the series the artist has ruminating on since last sited.

A smorgasbord of sounds and moods are offered up on Eliphino’s first Hypercolour release since 2013.

Hybris is an American born, Czech based electronic musician who's been lighting up the scene with his energetic productions since 2010, appearing on Metalheadz for the first and only time just a year later.

We're delighted to present a new high-octane single from him in 2018 that will appeal to dancefloors globally as well as the more experimental purveyor, something that Hybris has continued to do so well with his unique brand of sonic artillery.

For the second release on his emerging Dark Knight imprint, Dutch producer JLSXND7RS has teamed up with Croydon cult hero Rocks FOE for the two-track instrumental offering “Warren & Justin”, available both digitally and on 12” vinyl.

It's been 4 years... definitely time for our 4th Kaijurelease.

Mushrooming into Red Laser Corp's continuing & stringent program of providing the best modern Manctalo (TM) and related flavours, Luca Dell'Orso follows up his taster session on Red Laser EP9 (RL28) with a fully realised solo EP.

Based in Holland and obviously taking in the might of European dance influences that surround him, 'A New Paradigm' spawns a new natural genome, between Italo disco, Belgium new beat and our own, homegrown synth jizz that we've championed from the start. In short, rickety old drum boxes jostle with that favoured analogue machinery that powers all the big bombs from our infamous discotheque!

Hammered to death off Pharaoh Brunson's battered stix, the tracks here were snowballing on dancefloors so much before lockdown, the .wav was actually starting to see some binary wear and tear, so we chivvied along the pressing plants to get it on wax pronto; and despite much of our beloved industry suffering setbacks and turmoil at the moment, we've managed to beam it down to your decks just in the nick of time. Get in!

A wild obsession with big gated drums, jagged arps and darkly vocodered vox characterizes the EP; with moods veering from all-out, popper-huffing nihilism into star-gazing wanderlust with spontaneous combustions of nearby neutron stars thrown in for good measure.
Four tracks that epitomise our label's musical agenda: rugged and rumbly, charged and electric. Kinetic and mad functional, nocturnal body music with a head full of nitrates and a coital throb down under.
It should find perfect habitat at any late nite dance n drug den once we're allowed to get up close, sweaty and start reaching for the red lasers again...

We Are Pleased And Proud To Be Releasing A New Album By Mayerling, roche'. Following "cut Up", His Debut Album Full Of Fruitful Collaborations, Sylvain Bombled -founding Member Of Mayerling- Is Back From A Long Introspection And Gives Birth To A New Album, Still Under The Influence Of German Founding Fathers Harmonia Or Cluster, And Refined Electronic Music Such As Aparat Or Boards Of Canada.


More Electronic And Adventurous Than Its Predecessor, "roche" Sets Synthesizers And Analog Sequencers At The Heart Of The Album. Vocals Have Almost Completely Disappeared, In Order To Captivate The Listener With The Graphic Powers And Cinematographic Qualities Of The New Tracks That Come To Light Throughout The Listenings, Just Like Ambient Hymns.

The Production And Richness Of Details Take The Listener To Lonely Arid Lands, Striking As The Sunstroke Of Midday Sun In The Valley Of Death.

Experiences Ltd. cradle gorgeous downtempo vibes from Dan Rincon aka NAP on the highly collectible label’s first 7”, following from treats by Perila & Ulla’s LOG, and the cream of the new ambient scene
Dan Rincon plies a fine line in textured electro-techno as half of Ambien Baby with pivotal producer D. Tiffany on his Isla label, however ‘Íntima’ reveals a more sensual side to his style, adapting early ‘90s chill out room vibes with seductive rhythms in a way that beautifully whispers the sound of 2020.
The ‘Íntima’ original features Rincon reciting text written by Julia De Burgos, a Puerto Rican poet, in drowsy delivery over dreamlike pads and a dembow groove that surely recalls the sexy suss of DJ Python’s ‘Mas Amable’ album as much as Photek’s seminal ‘Into The 90’s’ classic for Metalheadz. The B-side extends the pleasure for beanbag dwellers to finish their spliff, switching out the vox for deep blue sax lines by Davie Biddle and landing in lowlit DJ Krush trip hop zones.
Unmissable.

Another two poignant songs about life as it is, with ups and downs.... catchy minimal synth melodies with very personal dark lyrics. Both tracks were written and produced by Lidia Fiala and Per-Anders Kurenbach back in 2015.

With this first release on DEMO TEST, his fresh off the press new label, Roy Vision reinforces his penchant for the musical trends proper to the English Culture.

The EP « Le Point 16 » follows the logical evolution of the leading 90’s genres in the UK spectrum of electronic music, influenced by ethereal melodic chords and raw rhythms, and confirms that House and Jungle are not that distant from each other.

Title of the EP is influenced by auto racing, more specifically the 24 hours of Le Mans, this legendary car race that Roy Vision’s father won exactly 40 years ago.

The METATRON is now out! A live album which publish as the ninth reference Faith Disciplines, a label dedicated to industrial, experimental electronics and noisy shit, which has already released notable references, such as German Army/GeAr or Group. METATRÓN has markedly tekno bases, some of them more teknopunk, kind of Suicide with a rockabilly Alan Vega, or others more minimal similar to Bruce Gilbert’s Dome. But for me the coolest part of the project is the set: piezoelectric microphones makes sound to a 1.8-sheet stainless steel as a bass drum, a stainless steel board with a group of thin galvanized plates, reverb springs, industrial trays and many rivets that serve as “melody” in addition it uses a few accessories such as cages, a drill, steel strips, threaded rods with washers with the same metric, spoons and others. All this sound mass is processed by cheap pedals and pedalboards (digital microprocessors) for guitar, such as the ZOOM GFX-707, or the ZOOM G3XN, with this one, several LOOPS are built in an artisanal way (manual mode) composing the horny danceable bases. No musical instruments, no computers, synthesizers, sequencers or shits (listen, all that is very expensive) is necessary to start to make some beats to dance.

Formed in '92 with voice, distorted bass and drums. Band's symbol comes from a sign placed on witches graves, which is jolly. The assurance of the old sound sustained through energetic expression rather than shallow noise. Two MC's through Energeia, 'Simon Dreams In Violet' ('93), 'Dreaming The Lost' ('94).' Had Mick Mercer's 'Hex Files: The Goth Bible' been published a year later he would have added: 'and the self-released MC 'Follia' ('95) on their own label Interior Deus.'
25th anniversary limited edition vinyl of 341 numbered copies. Comes with a 16 pages insert also including digital album + bonus track.

An AKO favourite Specialist X returns to AKO10 after the debut release which kicked off the series. Comes with two amazing tracks that will not leave you disappointed.

Fischgeist was recorded in a former water tank in Berlin-Prenzlauer Berg in August 2019. The nineteenth-century brick building consists of five layered circles, with a spiral staircase in the middle leading up to an exit to a hilltop. Inside, it’s humid and cold, the temperature always around 8–10 C°. The building’s acoustics produce a long reverberation that lasts up to 20 seconds.

‘One day between recording sessions, a man, a passerby, wanted to look inside the building. He told me that it used to be full of fish. For a second I imagined a huge round aquarium with loads of fish swimming around in circles. Then I realized that he meant dead fish were kept there, to be sold on markets during the GDR era. But the image of fish swimming in the space stayed with me.’

In conversation with the space of the water tank, Tomoko Sauvage searches beyond the limits of her self-invented ‘natural synthesizers’: porcelain and glass bowls, filled with water and amplified with hydrophones.

While she continues to develop some of the classic techniques heard on her previous album Musique Hydromantique (Shelter Press, 2017) – hydrophonic feedback (Kinetosis Study) and ‘fortune biscuits’ (porous pieces of terracotta that emit tiny singing bubbles) (Deluge) – here new elements are combined with delicate gestures to make curious noises: stroking bowls’ surfaces to imitate the voices of sea mammals (Metamorphosis), drawing dots and circles by rubbing stones against stones underwater (Exit) … The underwater amplification of quasi-inaudible sound is even more magnified in the air by the echo of the water tank. Not only tiny bubbles, but also micro-movements of the bones and veins of the hand holding the sonorous objects in the water, are intensely amplified – sounding like a tempest on the opening Deluge. Sauvage’s longtime research into hydrophonic feedback develops with her new obsession with natural harmonics and sympathetic resonance. In Flying Vessels, the percussive notes of struck bowls resonate and turn into feedback loops before decaying, fueled by electric signal gain. Kinetosis Study is a sonic etude on fluid dynamics – the flow velocity, pressure and density of manually shaped water waves directly controlling the aquatic synthesizer’s parameters.

August, when the mid-summer Ghost Festival is held, is traditionally known as the Ghost Month throughout East Asia. The spirits of the dead visit their living families, who welcome them with feasts, dancing and music. Miniature lantern-laden boats are released in rivers, to help lost ghosts find their way home.

Animated by formless matter – water, electricity, sound – Fischgeist celebrates a phantasmagoric journey, as the souls of aquatic lifeforms find their way out of the labyrinth of the water tank.

Credits
Composed, performed and mixed by Tomoko Sauvage
Recorded and produced by bohemian drips prior to ‘Speicher’ festival in Berlin, August 2019 (binaural recording with a KU-100 dummy head microphone)
Mastered by Andreas Kauffelt in Berlin
Cover drawings by Baien Mōri (1798-1851)
© Tomoko Sauvage and bohemian drips – all rights reserved

Sometimes, what seems “to be” ... isn’t. And what “was” actually wasn’t. What’s "in" is sometimes out. And what was thought to be "north" is sometimes south.Similarly, up until now, there just wasn’t enough ... of TOO MUCH.
That’s how its been, ever since dynamic-duo TOO MUCH — Rich Morel & Ian Svenonius – let the world listen in on their once-in-a-millenia electro-beat gobstopper “PATENT LEATHER” (MERGE RECORDS); the monster hit which defined dance floors since its release in 2019.
“PATENT LEATHER” a bewitching blend of lechery and love, was tattooed on the brain of every loitering lothario in every night-club, roadhouse, and streetlight latrine in both the free and not-so-free worlds.It was so incessant; it shook houses down, burned parliament, and crashed the stock market. Dancers everywhere pleaded for more.
TOO MUCH have finally relented and deigned to give the heaving, begging, prostrate mass a new mess of motor-robot rhythm rockers. Yes, that's correct. TOO MUCH have a full length record and they call it ... “CLUB EMOTION.”
CLUB EMOTION is nine songs of pure ecstacy perfectly suited for the club, the car or the closet.Its a pure joy to listen to in one’s bedroom or at the beach. On a stroll, at a drive-thru, or while careening through the astral-plane, looking for a ro- mantic rendezvous.

It’s time for another dose of Classic Symptoms and this time get ready for an NHS trip back to the years of 2003-2006.
The fourteenth instalment of the exclusive release series which sees extremely limited vinyl presses of Hospital classics, has drawn for four untestable originals from Logistics, Q-Project, London Elektricity and Danny Byrd.
First up is Logistics’ 2006 liquid-funk anthem ‘City Life’ originally featured on his era-defining debut album ‘Now More Than Ever’ supported by legendary figures including Fabio & Grooverider, LTJ Bukem and Andy C. Hypnotizing piano loops and deadly subs keep things rolling on this exemplary slice of fast soul funk.
Drum & bass all-star Q-Project is up next as his timeless banger ‘Obsession’ gets a 2020 vinyl revival. Originally supported by the likes of High Contrast and Friction, ‘Obsession’ still receives widespread rotation to this day as its unforgettable melody and groove assert it as a certified dance music destroyer.
“Fast Soul Music” is the brainchild of Hospital head-honcho London Elektricity and was initially featured on his 2003 album ‘Billion Dollar Gravy’. A clear cut example of the much loved loungecore sound, the uplifting London Elektricity classic influenced styles and the legendary Hospital “Fast Soul Music” compilations for years to come.
Signing back to Hospital Records in 1999, Danny Byrd’s musical endeavour has been commendable to say the least. “Soul Function” represents the classic sounds of Danny Byrd with 2005 dancefloor energy. Garnering support from pioneers such as Bryan Gee and Total Science, Danny Byrd’s drum & bass style continues to go unmatched.
Don’t sleep on securing your extremely limited press of four Hospital classics from the 2003-2006 era. This one is for the serious collectors - once they’re gone, they’re gone.

Waking the Dreaming Body is the follow-up to Tucson artist Karima Walker's 2017 standout album Hands In Our Names, which garnered praise from Pitchfork, MOJO, and Bandcamp. The album includes dense harmonic arrangements of synthesizer, guitar, piano, percussion, field recordings, tape loops and Karima's dulcet singing voice. The final result is a 40-minute dream-narrative of her conscious and subconscious minds that oscillates between the rich textures of her ambient work and the melody and poetry of her melancholic, Americana-tinged songwriting, their ebb and flow recalling liminal states of half-sleep where images and emotions are recalled and forecasted from the previous night's dreams. Night falls in regular intervals throughout the album, forming a natural dialogue between waking and dreaming.

Harry Bertoia's Glowing Sounds LP contains three versions of the same composition, each transferred at different tape speeds in accordance with the artist's instructions. This is the third LP to be released from Bertoia's extensive tape archive and it's the first, of many, to be released using instructions left behind by the artist himself.

Bertoia wrote the concept for this Glowing Sounds LP on a note in 1975 and slipped it into the master tape case where it sat unread for 45 years. The idea was simple, transfer the original recording at its original speed and two slower speeds. Bertoia noticed that the results, however, were profound.

Recorded on January 20, 1975 using two large gongs, Glowing Sounds is one of the most powerfully minimal recordings yet discovered in Bertoia's collection. The artist's note left with the tape indicated that it was recorded at a speed of 15 IPS (inches per second) but slowing it down to speeds of 7.5 IPS and 3.25 IPS were quite effective for enhanced playback. Side A features the original 15 IPS recording and the 50% slower 7.5 IPS recording. Side B features a 20 minute, ultra-slow version at 3.25 IPS.

Long, deep drones and powerful overtones define the sound of this recording. Comparison of the three speeds provides a revealing magnification of Bertoia's gongs, overtones and the artist's inventive approach to performance, composition and recording.

Bio:
Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

Tim Gick's already-warped patchwork editing of the entire Crazy Doberman output thus far turns increasingly glitched out across the splattered quiltwork of a nine track LP on Aguirre. Any coherent sense of time departs early on the A-side; kicked off with the familiar sound of the Dobes' synth throb and Love-cry woodwinds on top of completely fried electric guitar squiggling, all suspended in spiritual foam; then battered to bits on the greasy flat top of the record's b-side.

Ringing modular synth sirens evoke alarmingly huge Southern watersnakes swimming on top of Oconee river. Total trip zone across two sides: brownouts in the sequence of events, dubby fadeouts, and bright jump cuts in space. Teases of cartoon barrlehouse tickling on the keys of a farmhouse piano and tape melt psychedelia. The recording session in Athens, Georgia was a total "CHUGFEST" recalls Frank Hurricane, the Appalachian juggalo folkie king, who joined the session with the Lafayette, Indiana crew. The presence of Hurricane's own "Life is Spiritual" mirth bulworks the record with a muddy, barefoot hippy hopefullness, steadying the log flume through the notcturnal psychic murk toward the holy morning dew. (J. Russ)

Clear Black Splattered Viny

Iraqi-born, canadian sound artist Rita Mikhael aka E-Saggila turns out turbulent rhythms and synth leads in her debut attack for Hospital Productions, following on from releases for Northern Electronics, Bank Records, Opal Tapes and Aught Void. If yr into Hiro Kone and Drew McDowell, this one comes highly recommended.

‘Corporate Cross’ pulls out nine tracks of reticulated percussion, wavey synth melodies, breakcore and ambient washes that map an ancient, byzantine feel onto densely urban sort of post-techno/IDM structures. It’s all less rave-wise than E-Saggila’s releases for Opal Tapes and her own label, Summer Isle, exploring a more narrative based, sound-designer dramaturgy of ideas that takes in the polychromatic burst of ‘Redcloud’, hymnal trance riffs in ‘Replica’, and rolling dubstep on ‘Mouth In Reach’, thru to Synkro-esque half step scenes in ‘For The Butterfly’, and ‘90s cyber-hacker styles in ’Slowland’, with a soaring denouement in ‘Mantis Print’.

As she explains: “this album is a framework of placement and displacement of what I recognize as organic and instinctive. The constructed sounds draw a parallel between primalism and mechanization, where structure and disorder mimic themselves through these titles. a lot of these ideas are based off of the environment I come in contact with and the familiar expression and tone that is set into this album. It's a narration of transparent rhythms and patterns I see as natural, but to the listener is observed as ambiguous. corporate cross scans through the themes of novelty in human and animal, endemic and deterioration, and the sub-systems of our concealed environment.”

More heat from Berlin! (warehouse find)

Grace Ferguson is a Pianist, Composer and Sound Designer based at Eastmint Studios, Melbourne, whose works seek to position the audience in a space conducive to subjective inflections, inarticulate knowledge and felt encounters.

Her debut LP release 'Voler' (out on Music Company) was met critical acclaim and reached number #4 on the Australian Independent Record (AIR) charts. The album now gets a limited vinyl pressing in a custom die cut sleeve.

Underground garage music from U.K artists, Highrise & label boss Marc Cotterell

Waking the Dreaming Body is the follow-up to Tucson artist Karima Walker's 2017 standout album Hands In Our Names, which garnered praise from Pitchfork, MOJO, and Bandcamp. The album includes dense harmonic arrangements of synthesizer, guitar, piano, percussion, field recordings, tape loops and Karima's dulcet singing voice. The final result is a 40-minute dream-narrative of her conscious and subconscious minds that oscillates between the rich textures of her ambient work and the melody and poetry of her melancholic, Americana-tinged songwriting, their ebb and flow recalling liminal states of half-sleep where images and emotions are recalled and forecasted from the previous night's dreams. Night falls in regular intervals throughout the album, forming a natural dialogue between waking and dreaming.

Príncipe’s dreamiest act supply a special batch of fizzing electronic exotica and ambient vignettes echoing the Black Atlantic waves of Drexciya, Iasos’ blessed new age harmonies, and the windswept wist of Zoviet France On their prodigal turn to Lisbon’s finest label following 2018 album ‘Apologia’, the trio of Alberto Arruda, António Arruda, and Sara Eckerson aka Niagara distill their wide-ranging influences in sloshing rhythms and briny electronic textures with a sense of mystery that is patently their own.
Their music on ‘Filho & Pais’ feels more enigmatic than ever, largely leaving regular percussion aside and letting their spontaneous hardware jams froth and lilt with an enchantingly loose, rhythmelodic sensibility and natural ecologic.
Like the Atlantic Ocean they live by, Niagara’s music feels eternally in churning flux, shaped by the elements and lunar cycles, rather than human hands. The relative absence of urgent drums leaves each piece more fluid and expansive, as epitomised on the gorgeous lather of glinting synth voices in EP highlight ’46 x 92m’, and what sounds like them riffing on a Drexciya intro in the retrofuturist enigma of ’Tília’, while the salty spray of ’21:44’ sounds like an early AFX ‘SAW’ number found in a Cornish rockpool. However, their rhythmic intuitions lead them to some of the most beautifully elusive patterns resembling sea creatures scuttling around coral under gulf-stream
heated waters on the three ‘Ano-‘ parts, helping shares up the release as a wonderfully imaginative package holiday to warmer climes for those who need it.

Timelash is the evolution of Embassador Dulgoon’s cryptozoological sci-fi opus ‘Hydrorion Remnants’ converging with Corum’s surreal sonic mapping as ‘Beguiling Isles’. The combined cinematic vision jettisons listeners through a psychedelic wormhole far beyond the usual perception of known audio latitude.

Aguirre Records has gone all out to inject this tribal dino DNA double slab of wax presented as twelve expansive and mesmerizing tracks of historical mutations linking early communication developments with speculative astrobiological impressions heard as mysterious & riveting melodies that wash over dizzying percussive styles and suspenseful ambience.

A variety of unexampled sounds take shape throughout as tectonic tablature, reptilian choral movements, bubbling bioluminescence, tube calls, orogenic bells, crustacean chatter, lost continent scales, high plains drifting riffs, and primordial soup lapping splashes revealing to listeners a living mural that is ’A Morphology of Wonders'.

The conjuring of cratonic creature harmonics resonate wildly from this interdimensional duet, emerging as Neopangaea music of now

just a few in this bloody world...