Beats Vinyl New Releases - News

Debut release in a new 12" series from MUSIC FOR DREAMS and mastermind KENNETH BAGER. Two brilliant and brand new tracks coming out of the flourishing Copenhagen club scene. BJARNO & JESPER RUMMENIGGE remix American singer/songwriter SHELLEY SHORT’s acoustic cover of the old folk song "COO COO BIRD" (originally done for a label compilation from HUSH RECORDINGS in 2008. A poetic and beautifully melancholic track that could be filed under deep house as well as indie dance. Backed with "I HATE HATE (SANTIGA ORIGINAL MIX)" by RAZZY BAILEY. After some serious crate digging, SANTIGA & BJARNO came across "I HATE HATE", recorded by Alabama singer/songwriter RAZZY back in 1974. Immediately falling in love with the message and hook of the song, they decided to polish it up, giving it a sun-drenched, Balearic disco-feel perfectly suited for the summer dance floor. You hear the words 'anthem' and 'tune' thrown around a lot these days, but this truly is one.

WRWTFWW Records is profoundly enchanted to announce the full official reissue of Somei Satoh’s magnificent Avatamsaka Sutra inspired Mandala Trilogy with one additional never-released piece, sourced from original masters and available on double vinyl in heavy 350gsm sleeve with liner notes by passionate Japanese music connoisseur/collector/critic/dj Masaaki Hara.

Deep deep deep into the abyss…

The Mandala Trilogy blends Somei Satoh’s own slowed down Buddhist chant vocalization and early electronics to create a radiant and meditative atmosphere conveying serenity and timelessness. It includes three pieces recorded separately. "Mandala" was recorded at the NHK Studio of Electronic Music in 1982 and was included on the album Mandala/ Sumeru, released on Kojima Recordings’ ALM. "Mantra" was a NHK commissioned work, recorded at the same studio in 1986. "Tantra" was recorded at Victoria University of Wellington’s Lilburn Studios for electronic music and recording in 1990.

Included as a bonus is the 20-minute "Mai", a composition commissioned by harpist Ayako Shinoza-ki and recorded at the Kioi Hall in Tokyo on November 11th 2004. The piece was conducted by Tetsuji Honna and performed by the Kioi Sinfonietta Tokyo. Satoh says: "The harp is one of my favorite instruments. Also, by combining my affectionate percussion instrument, the chromatic gong and steel drum, with the harp’s most beautiful tone, I attempted to bring out a mystical sound." Alt-hough it is not an electronic music piece, the stunning composition elegantly complements the deep mystical world that Satoh expresses in his Mandala Trilogy.

Mandala Trilogy + 1 is reissued in conjunction with Somei Satoh’s Emerald Tablet / Echoes LP, also available on WRWTFWW Records.

WRWTFWW Records is feeling total bliss as it announces the full official reissue of two major works from the great Somei Satoh gathered into one LP: the mystic and meditative Emerald Tablet (1978) and Echoes (1981), sourced from original masters and available on vinyl with liner notes by passio-nate Japanese music connoisseur/collector/critic/dj Masaaki Hara.

Fall into the ambient vastness, let yourself go…

Originally released by highly respected label ALM, these pivotal pieces of late 70s / early 80s Ja-panese experimental music majestically showcase Satoh’s intuitive approach to composition and mastery of creating infinite worlds of sound from very, very little.

Emerald Tablet, recorded at the fabled NHK Studio of Electronic Music in 1978, is a spellbinding take on musique concrète meets tape music relying solely on sound harmonics from tubular bell, cymbals, and 'kin' (Buddhist standing bell) overdubbed endlessly, voyaging into vertiginous sonic depths.

Echoes was composed for the Mist, Sound, and Light Festival, a 10-day event organized by the hot spring tourist association of Kawaji, Tochigi Prefecture, held on May 20-29, 1981. It was played in the Kawaji hot spring's Ojika river valley, with 8 gigantic loudspeakers set up on hills surrounding the stream and connected to an octuple channel-tape system - thanks to a combined length of cables exceeding one kilometer - while artificial fog rose from a ravine and laser beams shot up on the mountains. Cinematic and resonating, this breathtaking piece from Somei Satoh is a transcending sonic experience.

Emerald Tablet / Echoes is reissued in conjunction with Somei Satoh’s Mandala Trilogy + 1 double LP, also available on WRWTFWW Records.

This latest work from Vanity Productions is a turbulence steadied to rest with care, and marks a critical high point in the project's evolution.As the nom de plume of Posh Isolation's co-founder Christian Stadsgaard, there is a deeply private yet fiercely empathic quality to 'Only the Grains of Love Remain.' Pirouetting between his collaborative work with Loke Rahbek as Damien Dubrovnik, as well as The Empire Line with Varg and Iron Sight, to name just Stadsgaard's most recent activity, the inwardness reserved for Vanity Productions is perhaps a necessary step. That the emotive experimentation should generate such a touching soliloquy is an arresting watermark, presenting 'Only the Grains of Love Remain' as the most eloquent work of the project to date.Following on from 'Mardini' last year, 'Only the Grains of Love Remain' takes a delicate and determined route through the terrain of Vanity Productions. Mapped with musique concrète's metrics, there is an uneasy sensation between guilty revulsion and cosmic longing captured in the moments of harmony. Dissolving these small bursts of clarity-through-agony is however not a matter of exploring intensity with volume, or other such devices and motifs. With an almost bitter precision, Stadsgaard continually spikes the grounding compositional elements with unnervingly distant patterns of crisp synthetic alloys. Where weighted, gothic passages are undone into peaceful plateaus, and there is a sense of coveted respite from the body's adrenal chemistry. Temporality is suspended, enough to solicit reflection.As the work coasts the mesh of decision/indecision, witness/actor, falling/flying, however it strikes, one gets the sense that the after-image of noise being articulated is in the end giving way to a greater cathartic broadcast that 'Only the Grains of Love Remain' documents: life, love, and thought.

Part three of Hivern Discs' Fragments compilation. While compilations tend to look backwards, 'Fragments' is far from being a retrospective. Since its launch in 2008, Hivern Discs has favoured a documentary approach, capturing the most vital and exciting sounds within its orbit at each particular moment. In keeping with the ethos of the label, this extensive compilation, comprising 29 new tracks across six 12?s, offers a panoramic glimpse of Hivern's present and gives indications as to its near future. The artists featured comprise both fresh and familiar faces; some of them have been a foundational presence since the beginning (John Talabot, Pional, Marc Pinol), others are recent acquaintances (Epsilove, Fantastic Man, Inga Mauer, Samo DJ). Together the compilation makes for a snapshot of Hivern's current identity, with a wide array of names and projects connecting the dots between the sounds, moods and ideas that continue to inspire and move the label today. Hivern was born a decade ago as a platform to celebrate a shared sensibility beyond any semblance of categorization. And that's what this collection of music is all about.

Gentrified Underground is back after its seminal compilation and exhibition on Drexciya last year. For its 3rd outing the label showcases blackmetal-, dungeon-synth- and acid influenced compositions by young polish producer Lumpex (Forbidden Planet). Cover by illustrations by
Elin Gonzales and Walid El Barbir.

Temple Haze joins the rows of Tal der Verwirrung label, presenting his four-track debut vinyl full of mellow guitar, ethereal vocals and an intriguing, nebulous ambience.

A1 Ethereal vocals blend into spheric ambience, lush piano fills the gaps left by a kick drum which is beyond all smoothness. Temple Haze creates a title track which starts as a blurry dream an unfolds into a well known, universal memory.

A2 Straightforward percussive delays and a gentle hum spread good vibes from the start, while catchy guitar riff melts together with a warm baseline, altogether creating an intriguing pull into the track's gravity field. When Temple Haze joins in with marvelously creamy vocals, the story takes another turn and brings us somewhere we have not been before.

B1 Temple Haze invites us to a moment of contemplation and reflection, we swim in a warm cloud of misty thoughts. There is no start and no beginning, only connections and loose ends.

B2 A gentle guitar arpeggio and organic drum cycles immediately bring the heat of the summer with all its tempting sensations. Melodic elements are slowly spiraling towards each other, like two birds dancing together in a dark blue sky.

On initial release, this EP was overshadowed by the two released on either side of it – how could it not be? Both The Journey and Gotta Believe were huge anthems all over the rave scene. But time has shown that this excellent EP deserves a second chance – both tunes are wicked glimpses of a bygone era, yet both stand proud in the history of hardcore, and now they have been beautifully remastered and rereleased!

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Belgian trio Bredren teams up with their long time collaborator Swift and Arkaik to deliver the deepness they're known for. The main track "Energy" sets of as a half step track but turns into a rolling monster and Swift's flow on this collaboration is impeccable! In 2014 released track "Mechanica" gets the remix treatment. Known for his distinct bass heavy sound Arkaik boosts Mechanica to a whole other level.

Having opened the scoring for DNO Records with an explorative ‘Broken Illusions’ EP back in February, Gelendzhik-based producer Kercha returns to the Brighton label with his ‘Fulminating’ EP.

Dial warmly welcomes Soela to be the first album release in 2020, the 20th anniversary year of the label and the latest addition to their artist’s roster. Soela’s debut Album Genuine Silk is an exploration into the deepest shades contemporary and House Music and Ambient. With a continuous stream of essential compositions, Soela creates a mesmerising undertow of enchanting atmospheres and moods. Soela aka Elina Shorokhova is a wanderer, passing through cities, clubs, landscapes and genres that all left unmistakable traces on this release. Genuine Silk marks the end of a three year long journey that started in Rostov-on-Don and ultimately led to a new life for her in Berlin. Three years that saw acclaimed and celebrated releases on record labels like Kompakt, Detroit Underground and Nerang Recordings.

With The Sound of Graz, the springfestival graz made it possible for local talents to fulfill the dream of their own vinyl record. Styrian artists could submit their club tracks in a competition. An expert jury consisting of the Elevate Festival, FAZEmag, Radio FM4, Radio Soundportal and GROOVE magazine, chaired by initiator Thomas Mussbacher, decided who would be featured on the album. Of a total of around 80 entries, twelve made it onto the album. In October the records were released in a limited edition of 1.000 copies. The proceeds go to the Styrian Children's Cancer Aid.

Caught somewhere between environmental sound studies and surrealist sonic architecture, SUGAI KEN helps mark the 30th release of Field Records with an ambitious new album. Commissioned by the Dutch Embassy in Tokyo, Tone River is the product of a year’s intensive work between artist and label, created in part to examine the relationship between Japan and the Netherlands with regard to water management.

While its doors to the Western world were closed during the 17th and 18th centuries, Japan kept abreast of Western science via a Dutch trade post in the bay of Nagasaki. When the country changed from a feudal society to a modern democracy through the turn of the 19th century, Dutch engineers lent their expertise to large-scale water management projects. One of the most prestigious projects of the time was the Tone River, which stretches 322 kilometers across Honshu, Japan’s largest island.

For this project, SUGAI KEN travelled to three points across the Tone River and used regular, binaural and underwater microphones to record environmental sounds, seeking to express the change in landscape of the river in its flow into the Pacific Ocean. On Tone River, these varied recordings are interspersed and juxtaposed with Ken’s distinctive take on synthesis, where raw and precisely sculpted textures and tones interact in stark, neutral space.

On this conceptually rigorous, yet beguiling and free-flowing record, SUGAI KEN glides between the elemental and hyper-synthetic in a flexible exploration of sound and story

Trinity Carbon returns to Art-E-Fax with 5 raw club weapons rooted in UK club culture. Born out of many late nights & early mornings gallivanting around Bristol, the TC project has been put into life after countless studio sessions at the new base in Berlin.

"For their first release, fledgling label Euphonic Rhythms launches with a 2LP fundraising compilation featuring the cream of the underground electronic music community. Artists featured include; Import, Christoph De Babalon, FARWARMTH, Gillie Mc Pherson, Ondness, Kepla, Jiinx + Sunun, Ausschuss, Withdrawn + Birthmark, Bobby Jewell, Best Available Technology, Proc Fiskal and Mya Gomez.

At least 50% of the profits will go to the Trussell Trust, Migrants Organise and Resourcing Racial Justice...the rest for artists."
180g, recycled vinyl 2LP. Comes in a recycled kraft gatefold sleeve. Mastered and cut by Helmut Erler at Dubplates & Mastering, Berlin.

Includes download code

40 mins of brexit gush from the Hair & Treasure crew. Recorded live at Archers Tower in 2019 at the frenzied soapy
heights of the media whoopee shit pie.

‘’Just the right amount of glue.’’

Rating 2.9.’’

"Use the Air" is a selection of works for the stage that have been created over the course of 15 years. Their origin in relation to choreography is difficult to put into a methodical formula. The productions were never about "dance music" in the classical sense, to which the dancers hang like puppet threads. The starting points were dj-ing, live improvisations in Jenny Beyer's OPEN STUDIOS (rehearsals with and in front of an audience), field recordings of work noises, the theater environment. The music was sometimes created independently of the choreographical development, sometimes closely based on the conceptual specifications and sources of inspiration (pictures, theories, philosophies) of the choreographer. It could change in the course of working together, sometimes as beautiful, but useless, disappear into the archive or find its space, sometimes in an unexpected place. What happened on stage remains hidden on this record. Therefore the selection was determined by the question of what could work without the visible action of dancers. Much of what has arisen cannot naturally be reproduced on a sound carrier: e.g. the sound of 40 mini speakers carried by the audience on a course through the theater in Jenny Beyer's "Fluss", installations with prepared records and record players in "Liebe" or the Stravinsky arrangements in "No 'Rait Of Spring" by Josep Caballero Garcia. Techno or Gabba tracks would have gone beyond the musical scope of this selection (the latter for Gloria Höckner's piece “Hard Cores in Soft Shells”). - Jetzmann About Jetzmann Jetzmann (Horst Petersen) was musically socialized by bands (e.g. Die Erde,visible in the film "Die Liebe frisst das Leben" by Oliver Schwabe), but the band idea was exhausted, so he started working solo especially on music for the stage, for contemporary dance and on radio work. At the same time there were publications, e.g. the setting of a Hölderlin text "Unter die Deutschen" (anti-info, 2007) or "Ein Fest" (harsh noise movement, 2017), contributions for compilations and collaborations (e.g. with the Aromaclub).

Fresh off the back of his latest installation of rollers and heavy hitters, FD drops in for a welcome visit to CIA. Already a firm favourite of the label, the producer’s recent form has seen him consistently stepping up through the gears, firing off a volley of dancefloor weapons and soulful cuts.

Jonny Drop's debut, Sub Plot, was the very first album release on the fledgling Albert's Favourites label at the beginning of 2016. The initial offering, a 7" of album favourites Mind Field and This Is The One had quickly been picked up on by the good people at BBC Radio 6 Music as well as some of Drop's personal heroes including Kenny Dope, Mr. Thing and Nightmares On Wax.

But when the infectious rhythms and warm production of the beat tape landed, its impact was greater than anyone at the label could have hoped.

Although Jonny never stopped producing beats in the following years, he was also kept busy as a drummer, playing live for Andrew Ashong, The Bongolian and Connie Constance, whose Boring Connie EP he also laid down beats for.

Then in early 2018 his band The Expansions delivered their celebrated Murmuration LP. All the while, with the support of his label family, Drop had been evolving his solo sound too.

'The Only Sound sees a huge progression in my writing direction, as I collaborated with multiple vocalists and musicians, instead of the usual 'one-man band' approach.

The development of these processes make this LP a steady departure from the beat-tape influence of my past releases, and hopefully, showcase the more original sound I've been working to achieve over the past few years.'

The new album is more atmospheric, emotional and expressive. It is filled with beautiful vocal performances, musical contributions from label partners and close friends Deoke and James O'Keefe, and inspirational London jazz composer, flautist and master saxophonist Tamar Osborn (Collocutor/On The Corner).

Voices here include Shea Soul, Grace Walker, former Myron and E soul man Eric Boss with his Lucid Paradise and Pendletons partner Ishtar, plus First Word Records producer/Golden Rules collaborator Sarah Williams White.

While there are thoughtful, down-tempo moments of electronica in abundance here, Drop brings his favourite elements of disco and soul into the picture too.

And there's no shortage of low end throughout. The Only Sound is a welcome next step from Jonny Drop, the sound of a beat maker not just finding his feet as a composer, but thriving in new territory.

Huey Morgan (BBC Radio 6 Music),

Music Is My Sanctuary premiere for All This Trouble, Bonafide Magazine premiere for Looking Glass
'A really talented musician, absolutely loving that" Lauren Laverne on This Is The One, BBC Radio 6 Music

Repress

This record sort of changed our life, and probably changed many of yours too. It was originally released as part of 12x12, a series of one-sided releases we started back in 2017 and which is still ongoing (lol). It’s a release that seemed to capture the imagination of pretty much everyone; it felt like it was licensed, playlisted and written about all over the place - we get asked about it constantly - pretty much daily - so chances are, you already know what we’re talking about. What we didn’t know though, until a while after it came out, was that ‘Grafts’ also had a b-side, a 20 minute piece called ‘Undo’ which was omitted because the series was one-sided. Yeah, we know.
Anyway, here it is: the extended, two-sided edition of Grafts, aka the greatest.
A sublime and quietly hypnotic work belied by steadfast conceptual rigour, Grafts (the A-side) is deployed in three parts of cascading yet plaintive multi-instrumental gestures, expanding on the processing and self-temperament techniques explored on Coverdale’s 2014’s A 480 into a more encompassing palette. Uncompromisingly distinct while redolent of modal minimalism, 70s new age, and folk music, Grafts effectively blurs distinctions between traditional composition and more open, overlapping genres that hover in the half-light between acoustic and electronic refinement.
Rather than anything grandiose or explicitly seductive, the effect of Grafts is best compared with the subtle intoxication of micro-dosing on LSD or the clarity afforded by quiet meditation, in a sense dilating the listener’s focus to a heightened awareness of the piece’s intricate peripheral tones as much as its melodic centre ground, with a beautifully understated, surreal resolution.
The piece flickers with gentle optimism, never at random, illuminating unseen spaces that quickly gradient into nothingness. ‘Undo’ - on the flip - is its previously unheard cathartic coda. A moment of contemplation, afterwards, captured in suspended animation. It’s breathtaking, beautiful.
Frames of reference are numerous and on the face of it largely disconnected here; The Köln Concert, Clare Fischer’s sweeping arrangements for Prince, the deviant pop instinct of Arthur Russell, the organic/synthetic love songs of Art of Noise, the meditative, almost hallucinogenic spiralling compositions of Philip Glass and Terry Riley, the intoxicated minimal romance of Erik Satie. All, and none of the above.

This mini LP is an explicit message from Lustpoderosa's sonic continuum. These 7 tracks show the deep connection of Marlene Starks' work as a writer and an artist to her role as mother and DJ in times when there is an urgent need to dismantle the patriarchy in our society and rave culture.
Marlene Stark is telling us much more than a great musical story with the symbolic title "Hyäne". Marlene wants to direct our attention to a reviled creature while she reflects on its literary and symbolic meanings. Although hyenas live in a matriarchal society, its transmutation can be perceived as the ongoing struggle of the non-male body in an androcentric world view.
Marlene Starks reinterprets the figure of the hyena in a very poetic, self-ironical and honest way, as shown in the tracks 'Hungry As a Hunter', 'Hyäne' and 'Language Of Old Woman'. It's a neo-ceremonial call to rethink established structures without missing out the turbulent landscape of today's politics.
From early trip-hop to post-rave elements, Stark combines her sonic adventures with an impressively nonchalant and colloquial vocabulary. Her voice, as well as the voice of guest singer Stefanie Mader, achieves a remarkable vocal structure that goes beyond the mainstream.
This is the contemporary body music for the next generation.

Hospital Records proudly present brand new music from all-star label mainstay Nu:Tone, the first solo release since his seminal ‘Future History’ album in 2014 which included timeless classics such as ‘Tides (feat. Lea Lea)’ and ‘’Til Dawn’.

For fans of Four Tet / Kaitlyn Aurelia Smith / Floating Points /Orlando Weeks.

A beautifully composed and masterfully produced album spanning deep alternative electronica, modern classical and concrète ambiance. An essential debut release from the collaborative duo featuring  contemporary instrumentation and a guest vocal performance from Orlando Weeks. Packaged in unique artwork by Diana Gradinaru.

Sami El-Enany & Dampé - Opix 
Sami and Joe (Dampé (Rinse FM) have been friends since college and collaborated on music and sound projects growing up. For the past few years they have drifted in and out of touch in London, catching glimpses of the other's work from afar. It took worldwide lockdown for the idea of the Opix LP to form. 
The sharing of a nostalgic photograph led to the idea of a new multiplayer online RPG campaign to pass the time and distract from cycles of bleak headlines, Instagram and jobs boards. That quickly transformed into remote music making and collaboration, bouncing material and reactions back and forth across the internet.  Early lockdown for them will be defined by these songs. Celebratory and escapist, a way of protecting themselves from the panic of the moment.
Sami’s focus has always been composition, working closely with directors, writers and artists to create bespoke scores and sound for film, TV, games radio, theatre and installations. Joe works in dance music, running venues, presenting a monthly show on Rinse FM and has released a series of club-focused Dampé records on Berlin’s Dirt Crew and London’s WotNot Recordings. You can hear the two contexts collide across the record to make a dreamy electronica with influences from the concert hall to the club via gaming and film. 
The music was made in two home studios with skyped-in recording sessions with incredible instrumentalists including jazz drummer Luca Caruso, Double Bassist Nina Harries, trumpeter Wilfred Petherbridge and songwriter and vocalist Orlando Weeks.
—
Sami El-Enany is a British Egyptian composer and producer whose work negotiates the fringes of modern classical, electronica and field recording. Alongside his own productions, he works closely with directors, writers and artists to create bespoke scores and sound for film, TV, games, radio, theatre and installations. Recent works include Tongue Tied, produced for BBC Radio 4, Deadly Structures, a sound-only first-person exploration game produced by the ICA and the BBC and to be released on Mac and PC this year, and the film score for Walking With Shadows, the first LGBTQ+ Nollywood feature film ever made, also to have a worldwide release this year.
Dampé is a studio project from South East London. On moving to the city he has been intimately involved in its club culture from running warehouse spaces and booking venues to hosting a monthly show on Rinse FM plus DJing and performing in groups across the city and Europe. Currently based out the Rhythm Section Studio and a home (boat) studio he’s working on a series of records following 2019’s debuts drops on Berlin’s Dirt Crew and London’s WotNot recordings.

Purple Vinyl

‘Μετά Το Ρέιβ’ is the original debut LP by Maria Spivak, a rawly expressive set of ambient synthpop inspired by her Cypriot heritage, and channelling mystic vibes from Lena Platonos to Drexciya
- very special stuff, indeed.
The latest addition to Ecstatic’s sprawling cabal, Spivak arrives fully formed with a quietly penetrative sound, layering her haunted but coolly melodic vocals and synth pads around barebones, DIY production that makes a virtue of “mistakes” and grit in-the-mix.
Lessons from ’80s post-punk to ambient-pop and trip hop inform Spivak’s music as much as her observations on Cypriot sociopolitics, culture, and nature. But the references are more suggestive than concrete, often imperceptibly woven into her songs with a fine sort of folk art filigree that feels timeless but directly effective within her field, recalling the low-key magick of everyone from Teresa Winter to HTRK, yet gauzily delivered from her own, enchanted perspective.
Spivak has worked towards this seemingly effortless style and conception of atmosphere for a decade, flowering from MA studies in Architecture in the UK, to develop her roots in Cyprus, where she draws on the energies of a small but active local scene, as well as the island’s agitated recent history, against a backdrop of myth-inspiring topography, that all help imbue her style of sound sculpture with a distinctive, quietly conflicted soul.
Her first bouquet of songs are intimate but prickly, ancient and futuristic creations, unfurling from primitive dream-pop in ‘Minus The motivational Speech’, to the nerve-tweaking chamber blooz of ‘Hardware Store Ballad’ with a deeply arresting, story-telling style that’s naturally brought to life in the music; from the ephemeral sensuality of ‘Sec’, sounding like Lena Platonos meets The Other People Place, to the haunted dancehall swoon of ‘Enough Throwbacks’, thru her title song’s seething/soothing synth candescence, and the lo-fi Cosey-meets-BoC beauty‘Σχεδόν Σίγουρα (with H4S).’

In what is proving to be a hectic year BTG are serving up a hectic EP from none other than the Dutch maestro TMSV with remixes from the currently prolific A.Fruit and BTG’s very own head honcho Bulu.

Ritalin Jam is just as frenetic as its name suggests and leads you on a twisted, ADHD riddled journey into cyber space. A.Fruit takes Ritalin Jam and makes it entirely her own with a deeper, darker but just as hyperactive feel.

On the B-Side we have Mountain (Wait Here) which is one of TMSV’s signature 140BPM bits that he’s known and loved for. Bulu then takes what was once a deep stepper and tears it up at 170BPM with a rolling yet broken feel.

This one comes with a warning, proceed with caution.

INFLUENCED FROM BANDS SUCH AS SUICIDE, D.A.F AND THE EARLY UK ELECTRONIC SCENE, ABSOLUTE BODY CONTROL WAS FORMED IN BELGIUM BACK IN 1980, INFLUENCING AND INVENTING GENRES EVER SINCE AND ACHIEVING AN UNDERGROUND CULT FOLLOWING THAT STRONGLY RESISTS NOWADAYS.

AFTER RELEASING A 7 INCHES, SEVERAL TAPES AND CONTRIBUTE TO MANY COMPILATIONS WORLDWIDE, THE BAND MEMBERS WENT SEPARATE WAYS, WITH DIRK IVENS AND ERIC VAN WONTERGHEM FINDING SUCCESSES IN OTHER INFLUENTIAL ACTS SUCH AS THE KLINIK, DIVE, BLOCK 57, S/HE, MOTOR!K, SONAR, MONOLITH, AND INSEKT. AFTER A VERY LONG BREAK RE-FORMED AGAIN AND RELEASED "LOST & FOUND", "TAPES 81-89" AND "WINDREWIND", WHICH CONTAINS NEWLY RECORDED VERSIONS OF THEIR BEST TRACKS. FOLLOWING THESE RELEASES, THEY HAVE RETURNED IN 2010 WITH THE ALBUMS "SHATTERED ILLUSION" AND "MINDLESS INTRUSION", A WHOLE NEW SET OF CLASSIC TRACKS BUT FEATURING MODERN SOUND RECORDING TECHNIQUES. IN 2016 "FORBIDDEN GAMES" HAS BEEN RELEASED, A SELECTION OF COMPILATION TRACKS THAT POINTS TO THE EARLY ROOTS OF ELECTRONIC POP AND INDUSTRIAL. IN 2020, 16 ARTISTS FROM AROUND THE GLOBE PAYS THIS DESERVED TRIBUTE.

TO ONE OF THE MOST INFLUENTIAL MINIMAL SYNTH BANDS OF ALL TIME.

The first trees trembled with constant little oscillations, junctions -disjunctions. A red light started blinking, half-buried in the snow. Deep in the Siberian forest, in the middle of the night, a girl with a Morse key, was running a shortwave transmitter off a diesel generator, sending messages toward the ionosphere.

Her hands moved closer together, without touching. The pulsations became almost innumerable, incredibly elongated, hollowed out in the middle, like little pinnacles, but she knew that someone, thousands of miles away, would decipher her message. In a dimly lit hotel room, in a subterranean vault, he would build the bridges, channel the frequencies. Forming, unforming, and re-forming the lines, the waves, and the words."

First a party, now a record label, Off Beat tap into a rich vein of British sonic history. Their inaugural release is an embodiment of their love of UK Bass culture and promises a productive future.

London-based Breaka has been making waves since 2018 and shows no sign of slowing down. From his releases on Desert Sound Colony's Holding Hands imprint and the impressive work of his own label, to his contributions to the rambunctious Leeds party Stretchy Dance Supply.

Breaka initiates the label's catalogue with the aptly named 'The Startup'. The track is lathered in distorted bass modulations and a warm, undulating sub that sits under a snappy UK bass groove peppered with pitched vocal samples.

On the flip, 'The Ambush' is full of jungle-inspired sound design. With its 130 bpm think-break drums, drifting birdsong samples and snarling 808s, the track is reminiscent of early Good Looking Records 12"s.

DJ Support
Minor Science, Animistic Beliefs, Al Wooton (Deadboy), Barely Legal, Otik, My Nu Leng, Borusiade, Benji B, B Traits, Laksa, Sicaria Sound, Chungo, Miss Jay, Henry Greenleaf, DJ Fart In The Club, Ciel, De Grandi, Madam X, John Osborn, Dr Banana, Om Unit, Mor Elian, Solid Blake, Realitycheck, Kelly Lee Owens, Kellen303, Franklin De Costa (Mother's Finest), James Zabiela +more

As always with Hell Yeah, the next release comes from an artist label boss Marco fell utterly in love with before forming a close musical relationship. His name is Calm, and this summer he releases his eighth studio album, by Your Side. It is an effortlessly evocative long player and magical ten track trip into soothing sonic waters, glistening harmonies and horizontal rhythms.

Calm is legendary Japanese artist Fukagawa Kiyotaka, someone who has been making deep house, ambient and downtempo grooves since the late nighties, and always teasing spine tingling emotions out of his machines.

Damon " D_m-Funk" Riddick is the epitome of funk. Ever since
debuting on Stones Throw in 2008, D_m-Funk has become one of the genre's most passionate proselytisers. In 2013, he released a celebrated album in partnership with hip-hop's Snoop Dogg, 7 Days of Funk. Fresh for '15, D_m returns with a solo project nearly six years in the making: Invite the Light. D_m's partnership with Stones Throw includes everything from his 2009 LP Toeachizown and Adolescent Funk, a 2010 anthology of early productions, to 2013's 7 Days of Funk. As always, D_m flexes his multi-instrumentalist talents by handling all the production but still makes time for guests including rapper Q-Tip, the father-son duo of Leon Sylvers III & IV, and funk giant Junie Morrison of the Ohio Players, who opens and closes the album with dire warnings of what could happen in a world without funk. Rest assured, D_m is here to make sure that never comes to pass. As he puts it, "funk is the underdog, the black sheep of black music," and if that's true, D_m-Funk is its shepherd.

Ginno Russo follows up summery sizzler She Is On Fire with his full debut vinyl 12' for MOM. The Valencia based DJ and producer presents a stylish four track EP. It is entitled Travelling Around Zambia and features rhythms and beats inspired by Africa. Russo has been an active DJ since he was 17, with DJ residencies in Valencia and the surrounding region, as well as frequent trips to the Balearic Islands. Due to this experience, Russo knows what works on the dancefloor. Therefore it is no surprise that all four tracks on this EP are built for club play. However, the fun rhythms and ear catching grooves also make them suited to other occasions. Lio is a powerful and uplifting opener. It features steady textured beats, a stylish keyed groove and rising strings. Dubby is a relentless follow-up. Exploding chords and a live bass take centre stage over not stopping beats. Rosas is a funky number for the dancefloor. Textured percussion and powerful synths work the groove here alongside looped vocal fragments. Poble finishes off the EP with a vocal winner. Call and response sung vocals are laid over a powerful bassline and strong beats. This is a fine debut EP from Russo.

One of the most influential bands in the last five decades, Kraftwerk virtually established the blueprint, the source code even for electronic music. Founded by classically trained musicians Ralf Hütter and Florian Schneider-Esleban in Dusseldorf in 1970, the band has informed and inspired a diverse range of genres and artists including David Bowie, Björk, Afrika Bambaataa, and Joy Division. This early live performance, in Soest, Germany in Winter 1970, broadcast on WDR-TV displays the band in superb form. Arguably, the future of electronic music, trance, techno, ambient - started right here.

First release on the freshly launched label Anomalies comes from one of its co-founders Ramon Babot aka La Màquina Corrupta. Lead track “Dilluns Blau” – which stands for Blue Monday in Catalan – is a techno track not specifically built for the dancefloor but that can also work on it. A rather moody pad appearing at mid-length of the track reminds us that our serotonin will not last forever and that Monday might come soon. Second track “Gent de Poble”, which means “Village People”, features a relentless bassline that can be as intense as some of those people who live in a small town. On the B side, “Concepte Innecessari” provides the perfect soundtrack for self-introspection in the form of a not so conventional groove. The last track on this EP is “Consells de Mare”, a beautiful electronic lullaby that your mother would sing for you if she were a synthesizer.

Griffé is back with a new uncompromising release. For this second EP, the Corsican born P.O presents his very first (almost) solo record. Eminent member of the duo Solär Sound System with Jimmy Batt (who comes to lend him a hand on the powerful A2 track "Reveille toi").

For this release, P.O offers 5 tracks oscillating between several styles, flirting with EBM, break, techno and many others. There are tracks designed for the dancefloor as well as the UFO "I Don't Feel Anything" which comes as a breath between the other tracks. The whole is linked by a dark and powerful atmosphere, common between each track and which will give the title of the EP, aptly named "Dark Phase Cylcle EP".