Beats Vinyl New Releases - News

One of our proudest accomplishments of 2019 was releasing the very first 170bpm tune from Donato Dozzy. Predominantly known as a Techno artist / DJ, Donato’s musical career is increasingly diverse. From his collaborative work with Neel as Voices From The Lake to his experimental ambient solo works, and his recent LP for Raster alongside Eva Geist stretching into synth pop, the maestro effortlessly reshapes any chosen sound with his distinctive touch.

New full length album by France’s most singular contemporary composer. Reflecting on ancient culture’s use and reverance for emblematic monuments which most often represent myths and stories, the album’s narrative has been infused with such symbolic and depicts an envisioned mythology, unfolding through it’s 10 aural pieces. Franck Vigroux‘s music is unique and comprised of tectonic tension, pulsating rhythms and abrasive analog textures like few can produce. Applying his own calculated personal signature in his sonic explorations his distinctiveness comes not only by his unique approach to sound but also by his incorporation of new media practices and performing arts into his A/V work.
Mastering by Denis Blackham.

Double Vinyl Edition of 500 copies in matt laminated Gatefold Sleeve.
10 Tracks. Running Time 55:10.

Red Vinyl Repress

Perc Trax is proud to announce Breaking The Seal; the debut album from Ghost In The Machine. Having already hit hard on the label with their "One Louder" (2017) and "King Dead" (2018) EPs now the time has come for them to expand their range even further across the ten tracks that make up Breaking The Seal.

Frank Nitzinsky & Nils van Lingen began collaborating as Ghost In The Machine in 2016, first releasing on the Genosha Basic label before working with Perc Trax. As remixers they have turned in acclaimed rerubs of Paula Temple's Joshua & Goliath and Perc & Truss' Leather & Lace whilst their DJ performances began in their home country of the Netherlands but soon took them across Europe including making their Russian debut recently in Moscow.

From the extended scene setting intro of title track "Breaking The Seal" to the genre fusing antics of "Combo Breaker", "Form Of Steam" and "Nexus 96" these 8 tracks build on the established Ghost In The Machine sound, but add something new to each track, taking their sound in directions we've not heard from them before and which we might not have expected.

The second record in the three-part Grumptronix series contains 2 highly-sought-after electro tracks, 'Black Orchid' & 'Pocket Rocket', produced in 1996 as the only release on the Erotic City sub-label, Silicon Audio. The precision-engineered machine funk rhythms have since become one of the 'holy-grail' electro records that have evaded collectors without the financial-clout to bow to sharks. Both reissue tracks are drum machine-driven with their sights set on the horizon of electro and sound design and still sound as relevant today as they were breath-taking in the mid-'90s. The B-side offers two previously unreleased and unheard tracks produced around the same time - lost in time until recently re-discovered on aging DATs. 'Subfactor' moves and sways behind galactic pads and electronic rhythms while 'Dub Sea' transports the listener to the depths of an icy ocean, filled with low frequencies, that is most definitely located outside of our solar system. All tracks have been mastered from the original DATs with care and love by the ears and hands of Simon @ The Exchange.

JAMES FREUD is not the deceased singer of the Australian New Wave band 'The Models". JAMES FREUD is not a young art-school dropout with an affinity for electronic music. JAMES FREUD does not live in Berlin - He seems to come out of the blue and it is hard to say whether his production is analogue or digital, whether it is sampled material or sound-design. Because of the strange maturity of his work the tracks seem to come from both the past and the future. Thanks to the digging-qualities of DJ GOOD NEWS (who runs the Hamburg POEM-label) a selection of JAMES FREUD's oeuvre is now brought to light through the 12 '5-Track Extended Play' - To cut a long story short: Mental futurism is wise optimism.

Kodiak Bachine is a multidisciplinary artist and one of the truly pioneers of electronic music in Brazil. He first formed in 1980 the legendary band Agentss considered to be the very first Brazilian electronic group. In 1982 he composed and recorded 'Eletricidade' with the use of a Minimoog Model D, Moog Liberation, Crumar String Ensemble and Vocoder. This track could be considered as the first techno-pop in Brazil. It was also used on a video-art awarded by different festivals. 'Espirito Das Maquinas' is a re-version created the same year.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates its 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* In 1994 Ant Miles launched his own imprint to accompany the vast amount of material coming out of the RAM HQ studio. The first 2 releases were white labels that formed Ant Miles’s alias as Liftin Spirits and the label itself as Liftin Spirit Records. We have selected our favourite tracks from these first 2 releases to bring you a remastered from DAT 4 track E.P which also includes the previously unreleased track ‘Blood Moon’.

Native Cruise’s new release is just in time for the summer, bringing a relaxed take on house that laps at your ears like a warm sea. We’re happy to have got some of his time - he’s been releasing on No Bad Tapes, Fruit Merchant and YAM Records. He pitches the release as “a mixture between house, tribal and balearic not sure what else”,so it’ll be hard to file neatly, but we are glad he’s made this lovely EP.

With signature acoustic drums, synthwork, breakbeats, and soundscapes, Polynation offers a highly spirited electronic EP with hints of trance, electronica, and krautrock. Arrangements are key - opening track Wildeburg is an 8-minute piece that moves in all directions, yet it feels like one cohesive work: a melancholic homage to the festival fields. Coral, the b-side of the release, is split into two parts. The first version continues where Wildeburg left off, eventually concluding with a beautiful synth-led anticlimax. The second part of Coral is a modest, alternative take of the original mix. The track Wildeburg is named after the Dutch festival Wildeburg where Polynation played one of their most memorable shows last year. We send our love to the crew, founders, and everyone else involved.

The world may have come to a halt these days. However, Todh Teri & his international bunch of merry pranksters never stop digging the rich Indian cinema music back catalogue. With Deep In India Volume 7, they have emerged & presented their best work for a globally keen audience.
The first on this record - Sampadan 22 - is an italo cut, reminiscing the glittery disco divas of the 80s & beyond. The disco fever continues with Sampadan 23 where brand new disco prankster La Jawab reworks the quintessential Indian cinema classic track - with an ever cascading French touch.
Todh Teri slows down the platter with Sampadan 24, and turns up the acid on a deeper interpolation of a 90s Bollywood chartbuster. And finally with Sampadan 25, Deep in India repeat offender Kone Kone flips nostalgic Indian dreams into head nodding boom bap beats.
Brand new music for a brand new world - waiting to fill your bodies, minds & soul - with that funky goodness that you need.

The Healing Companies first compilation. Four tools for the pit.

The MinimalRome "Urbi et Orbi" franchise debuts in 2006, juxtaposing Rome-based producers to others around the globe ("urbi et orbi" can be translated as "to the city and to the world") featuring -- in time, amongst others -- Legowelt, Rude 66, Mick Wills, Andrea Benedetti, Ra-X, Polysick, The Exaltics. This fourth chapter delivers a vinyl EP compilation with monster electro tracks by Teslasonic, Plant43, Cosmic Force and Microthol, plus a couple of synthorama joints by Heinrich Dressel and Sonobe.

Beautifully Designed 1LP, 180g Vinyl Press kit: Following his Extended Play EP on Other People last year, Jream House is the turbulent and spiritual debut LP of Mark Hurst aka A Pleasure. Blending mathematical composition with an unrestrained studio experimentalism, the sound of A Pleasure charts a space where formative influences confront the most immediate performative impulse. Using a process of numerical transposition, the names of personally significant bands and composers are converted into drum patterns. He then lets loose, improvising around these structures with a variety of traditional and unorthodox instruments: bass and guitar, bowed cymbals, drum machines juggled like turntables, blowtorch on aluminium, to name but a few. With his influences as start-points, he builds rhythmic structures literally in their namesake, blasting their hulls with walls of noise, monolithic basslines and any other jam-yielded shrapnel. Despite the chaos and complexity of the process, the results sound neither clinical, nor garbled. The tracks always find their way to an emotive melody or strong groove. Lush guitar strums and yearning keys ride the high-speed beat of Slow Channel", which seems to soar through cloud-cover as one snaking mass. The Order of Things' folds a cosmic guitar-part into a backdrop of heavily side-chained noise. Arthur Russell' features a neck-snapping rim-shot and crushed snare that splash up the bits of an elegiac vocal part. Through violent and idyllic atmospheres, Jream House jettisons its inspirations like landing shuttles, always in search of new ground. These are songs, not just experiments.

Nightmarish R'n'B, Bassrock and arcade inspired action by Abdul. Very low business risk. Brought to you by Funkycan & Max Gee

Universalist is the first album by ACT! Baroque, kaleidoscope electronics; material sound for a disembodied world. The energy is optimistic and posi - even naive - a statement of unity in the age of psychic dislocation.

10 Tracks of phosphorus midi and brittle digi textures feel indebted in spirit to the masters of psychic jazz as much as the physical euphoria of the club. Above all, this album belongs to the catalogue of Halocline Trance, yet subtle references connect it to a larger lineage of free sound. The empty, divine heaviness of songs like Ecstatica / On Patrol invokes Yusef Lateef's Little Symphony, while the computerized spontaneity of Lava Valley feels somehow connected to Yasuaki Shimizu's Music for Commercials. Non-musical sounds and evocative melodies sit side-by-side - new psychedelia for love and life in the digital jetstream.

ACT! is a project from Toronto-based musician David Psutka. Building on a diverse body of releases as Egyptrixx, Ceramic TL, Anamai and various other collaborations, ACT! denotes a new chapter of creative output from Psutka and the Halocline Trance label. Universalist follows a prolific string of releases in 2017 with Anamai - What Mountain; Ceramic TL + Ipek Gorgun - Perfect Lung; and Egyptrixx - Pure, Beyond Reproach, and synthesizes recurring themes of materiality and the unifying potential of sound.

discotech WAX is back with it's 2nd release on the imprint this time exploring the realms of house and minimal with two of Europe's finest current exports Alessio Viggiano & Nick Beringer.

Vinyl only / printed sleeve

Supported by //
Leon / Archie Hamilton / Rich NXT / Varhart / Lauren Lo Sung / Burnski / Michael James / Seb Zito / Janeret / Franck Roger / Dela Swing / Kepler / Alexis Caberea / TIJN / Halo Varga / Vice Versa / Ed Herbst / The Willers Brothers / Niko Maxen / Tommy Vercetti / Bobby / DJ Caspa / Milou / Anna Wall / Pierre Codarin

This is the second Super Hexagon release. It's got three tracks from Alma at a total running time of 15 minutes and 32 seconds.

Dead-Cert dip their dusty digits back in Ami Shavit's precious archive for another hemispheric harmonisation of biofeedback techniques and hypnotic synth sonics following Finders Keepers'
reissue of In Alpha Mood back in 2015.
With an enviable private collection of synthesisers first started in 1972 during his travels to the US and shipped home to Tel Aviv, as an established kinetic artist, as well as a professor of both
philosophy an art, Ami's main focus was art that involved technology; in particular being able to give something mechanical an emotive angle.
As such he sought to combine his love of electronic music acts such as Tangerine Dream and Philip Glass and this new synthesiser technology with his interest in the relatively new technique of biofeedback - a process in which technology is used to relay information about the body's functions enabling a change of physiological activity in order to manipulate them. Combined with his understanding of of alpha brainwave (primarily attributed to a function of the brain that deals with relaxation), Ami embarked on an experiment with what he called Alpha Mood - a state in which the brain is working in relaxation and in which he used music as a means of helping induce his own meditative state.
With practically no formal musical training and working in complete isolation of the Tel Aviv music scene - with the exception of allowing cult prog nearly men Zingale and a handful of close friends to use his private studio - over the course of two years he recorded hours of experimental improvised music, or 'sounds' as he prefers to call it.
The fruit of that experimentation came in the form of a single privately pressed LP aptly titled In Alpha Mood. Part outsider electronic album; part physiological experiment; part work of art, it was limited to only 500 copies and distributed exclusively by a longtime friend, agent and owner of a small local record shop in Tel Aviv. Five 1/4 inch tapes (including the In Alpha Mood master tape) represent the only remaining artefacts of Ami's experiments - the rest having been either lost, given to friends or simply thrown away.
Undated and unannotated, these raw studio recordings proivde a rare glimpse of Ami at work in his attempts to perfect his technique and reach the plane of Alpha Mood.

Awake at an undefined hour. Floating between the realm of dreams and open awareness. Accept it — you're a headspace passenger. Talking to a machine is a thrill for a moment or two. You want to go out, need to get lost. It's still yet all under the surface ... but you know it's going to happen, eventually. What you need to do is: return to the same old place. What you think is:

I hope the roof flies off, and I get sucked up into space.

This is the debut album by Berlin-based musician and futurist Andre´ Uhl. Crackling noise, moody arpeggios, and haunting melodies tell tales of the hazy past, moving into the twilight of the future. Each of the 13 songs is a dark and cinematic piece on it's own - altogether combined a compelling story, here for the listener to explore.

The album is available digitally and on vinyl in a limited edition of 300 copies, including a booklet of 13 short stories by different writers like the Czech visual artist and poet Katarina Hruskova, Berlin-based subcultural magickian Daniel Jones, and the British novelist Chris Brownsword - each story inspired by one of the 13 songs. I hope the roof flies off, and I get sucked up into space is the first trueness presented by Neofakt, a new label for audio, text and visual art.

Mana Can Be Understood As A Powerful, Often Magical, Force Contained Within Objects. As These Objects Get Passed From One To Another, In A Cycle Of Gifting, They Retain The Spirit Of The Giver And Propel Themselves Onto The Next Recipient, Weaving A Network Of Social Bonds. In This Light, Mana Describes The Coming Together Of This Mixtape. The Exchanging Of Avant-garde, Traditional And Electronic Music--old And New--between Andrea Zarza, Curator At The British Library Sound Archive, And Matthew Kent, Founder Of Blowing Up The Workshop, Is What Makes Up The Language And Landscape Of Mana The Record Label, And Its Subsequent Arrival On A Cassette Tape For Queeste, Before Being Sent Onwards, As Our Gift To Listeners. Limited Edition Cassette Tape. Jelly Yellow Colorway. Comes In Resealable Bag With A5 Postcard Designed By Fallon Does And Mana X Queeste Sticker.

Reissue of the very first Birds Of Passage album from 2010. Minimalistic Lo-Fi Shoegaze meets experimental pop with drone influences.

For someone who thinks it's difficult to describe music in general, it's even more difficult to describe the soundscapes of BIRDS OF PASSAGE. The influences of Alicia Merz - the girl behind BIRDS OF PASSAGE - are her memories, breathless-inspiring cold winds, the smell and atmosphere of a spring day, smoking cigarettes, sunshine and shadows. As a mixture of all these elements plus a minimalistic experimental instrumentation you as well can describe her music: sometimes shy, sometimes more energetic ( fantastic frown') but always intensely and extremly private. Listening to her debut record "Without The World" is like sharing one long day with Alicia and her thoughts in the diverse landscapes of her home country New Zealand.

Alicia doesn't need the orotund spectacle of a band to evoke emotions - with the help of different, in a minimalistic way, used instruments combined with field recordings, she doesn't create specific songs - she builds up a mood. There's no typical song structure, there's no melody to chase after - but there's a development which absorbs you and which makes you start to think about elements you block out in your everyday life.

Amiga 600 music brotha !Low-fi hi-tech breaks on one side and a cool electro old school new wave house on the flip. Excellent and fresh music to dig 4 !

With roots in the early developments of modular synthesis and free jazz and revered amongst the most discerning collectors of international jazz, electronic music and American avant-garde, the experimental drummer known as Bruce Ditmas occupies a firm branch on contemporary experimental music's family tree. As the one time romantic partner (and artistic collaborator) of sound poet Joan La Barbara (later to be Miss Morton Subotnik) and the stand out session drummer for both Robert Mason's mutant synth Stardrive project and Gil Evan's legendary Jimi Hendrix tribute band, Ditmas is best savoured as the first recorded solo artist to utilise Robert Moog's lesser-known Moog Drum controller - an instrument which over the course of two 1977 independent LPs (Aeray Dust and Yellow) would become synonymous with his blooming reputation.
Raised in Miami, nurtured in New York City and willingly exploited internationally, Bruce's public life as a child prodigy-cum-world jazz crusader (drawing similarities with the likes of France's Jacques Thollot) has seen him spread his select discography over many imprints, including Joan La Barbara's own Wizard Label, Enja and ECM - socialising with sound designers like Suzanne Ciani and collaborating on projects penned by Annette Peacock, Paul Bley and his long running collaborator Enrico Rava. Spending the last thirty years travelling between America and Italy as a full-time jazz musician whilst working with inter-communal music initiatives, film directors and theatre groups, Bruce has retained the same maverick passion and macabre creative influences channeling brutalism, futurism, science fiction and psychological horror through his percussive mantra and avant-garde approach to instrument manipulation and recontextualisation.
These selected titles are extracted from various recordings made over the last three decades comprising field recording techniques and percussive manipulation resulting in gritty tonal soundscapes and angular sonic sculptures while drawing theoretical comparisons with European proto-industrial units like Germany's Faust, Swiss electronic jazz pioneer Bruno Spoerri, Czech sonic illustrator Milan Grygar and sprawling generation of Parisian musique concrète informed anti-melodic luminaries. Reflecting a lifelong career in active melodic drum exploration and vivid existential sound design, this record provides an alternative, darker, meditative, glimpse into the work of a proactive composer at his non-conformist best in the uninhibited confides of his own home analog studio.

Four intricate, sub-heavy, broken Techno and Electro excursions into imaginary worlds.

Recommended if you like anything from Conforce to Echospace, and you like things deeper than the Mariana Trench.
A return to form for Bokhari, who always provide interesting & off-kilter dance floor moments...

Mercurial pianist and experimentalist Chris Abrahams (ov The Necks) makes his first incision on 2016 with a delta of sublime concrète, keys, and whirling organ recorded between Melbourne and Berlin for Room40.

A definition of free exploration, Fluid to the Influence flows between rivulets of lilting piano, scarped strings, and paroxysms of atonal electronic noise that knows few bounds, but still appears coherent by virtue of his artistic flexibility.

Lysergic runs of organ calve into ecstatic, Mego-style noise scrabble in One-Liter Cold Laptop, and Scale Upon The Land lushes out to contemplative keys, whereas Receiver is a gyroscopic collage of sloshing electro-acoustic process and skittish percussion.

Trumpets of Bindweed blares head-spinning harmonic organ clusters and glissandi, whereas the spare organ drone space of The Stones Continued could be considered its inverse, and As Tranquil as an Apple melts music melody in fractal geometry.

If you like having the rug ripped and morphed from under your feet and wrapped around your head, this album is a joy.

Christer Bothén's new LP on iDEAL is a beautiful creation moving comfortably between improv, sound art and drone. Christer Bothén is a main character in the Swedish improv, jazz and world music scene. He studied music in Mali and Morocco in the 70s and collaborated w Don Cherry. Bothén has been active in bands like Bitter Funeral Beer Band, FIRE! Orchestra, Mats Gustafson NU Ensemble, Spjärnsvallet and Bolon Bata.

A Goal is an Image is City's debut LP for Rabit's Halcyon Veil, providing an elusive yet tangibly bittersweet testament to the Vancouver artist's hybrid of experimental metal and weightless electronics. Further to his Arcadia (2016) mix for Halcyon Veil, City distills that release's ideas into 11 naturally tempestuous takes on the digital zeitgeist, ripping away its hi-fi sheen to reveal a reactive ecology of overgrown, semi-organic textures and pranging rhythms wrapped up in chaotic harmony.
Getting right under the skin of his thing, Will Ballantyne has realised a mean contribution to the conversation around peripheral club music and its electronic production, morphing its perimeters between computer game and film soundtrack tropes, soundsystem-testing prangs, and styles foreign to the putative club experience. The effect is simultaneously hyperreal and severed from the daily grind; a simulacra of impossibility animated with physically reactive impact.
Across the album listeners are torn in and out of 'the box', perpetually reframing his sound between naturally elegant and digitally unreal environments in a way that resonates with the LP artwork.
He establishes this upending uncertainty with the gravelly whorl of field recordings, processed textures and floating, Coil-like harpsichord motifs in Provinces and Your Stream, harnessing a sense of struggle against gravity in the buckshot-riddled mass of Pain/Power and with searing trance riffs nailed into place on End Zone like Lorenzo Senni running a gauntlet of snipers.
City's experi-metal impetus bleeds thru most strongly in the glowering poise of Inevitable, and with needling bite in the towering recursive riffs of Ffaith, quite literally galvanised thru electronic process, leading to the record's most captivating, expansive pinnacle with field recordings and sample pack presets diffused into the otherworldly detachment of SAR and his trance dress-down, Immaculate.
As Halcyon Veil's first full length feature album, A Goal is an Image arguably epitomises the label's aesthetic - unflinchingly upfront and uncannily emotive - and gives voice to a true outsider spirit that will be recognised by anyone of a similar disposition.

Movente Is A Debut Lp From A Vital And Long Standing Figure Of Italy's Clubbing Scene Under A Brand New Alias. That Alias Is Cleptophonic, And The Album, Due In 2019, Is An Autobiographical Collage Of Experimental Trip Hop Sounds That Is Truly Immersive.

Under A Former Alias, Cleptophonic Has Spent Years Djing And Experimenting In The Studio And Has Made A Real Impact On His Native Scene As A Result. He Is A Very Delicate Person With Serious Attention To Detail That He Puts To Best Use By Delving Deep Into What He Loves: Playing On Turntables And Immersing Himself In A Sonic Realm Cuts Him Off From The Real World And Acts As Therapy For This Meticulous And Selective Person And Artist.

He Is A Master Of A Stylish Musical Collage Technique - Both In Sound And Images. As Such Movente Is A Collage Of Different Sounds, Sampled With The Turntables And Put Together With Logic, While His Passion For Collage Also Spills Over Onto The Album Cover, Which Is Made By Pieces Of Paper From Magazines, Newspapers And Comic Strips. The Result Is An Experimental Trip-hop Album With A Singular Sound That Puts Together Pieces Of Life, Sounds And Images That Are Meaningful For Him, Especially The Last Song, Which Is Dedicated To His Mother Who Sadly Committed Suicide A Few Years Ago.

There Is A Beauty And Delicacy To The Music Throughout This Most Excellently Escapist Album That Is Utterly Absorbing. Pads Swirl Round Louche Beats, Crisp Hits Ring Out Into The Night And You're Left In A Deep State Of Contemplation Throughout. There Are Warped And Shimmering Cuts, Dub Tracks Drenched In Reverb And Melodically Rich Broken Beats. The Whole Thing Is So Spacious You Get Sucked Right Into The Centre Of It All And The Thoughtful Moods And Deft Sonic Details All Making A Truly Lasting Impact. This Is An Exquisite Album That Encourages You To Really Get Lost In A Unique Musical World.

2024 Repress

Hotel Record is the second release from the duo/couple of crys cole and Oren Ambarchi, following on from Sonja Henies Vei 31 (Planam, 2014). Where their debut recording presented a disquieting portrait of the erotic dimension of romantic intimacy, the follow-up continues to explore the pair's simultaneously musical and romantic relationship in a more subtle fashion, presenting four long-form pieces that touch on the variety of forms the life of this couple takes: as a musical duo, as a pair of travelers to exotic locations, as opponents in a game of cards...
Each of the double LP's four sides presents a distinct sound-world, yet each manages to attain the same suspended, half-sleeping feeling, outlining a space where improbable combinations of the electronic and the acoustic, of extreme closeness and amorphous distance, occur with the gentle insistence of a dream.
The opening Call Myself calmly unfolds a fabric of long tones from electronic organ and guitar, combining the sliding, aleatoric effects of classic David Behrman with a more hands-on feel. Over the top of this slowly shifting tonal bed, cole's voice mutters unintelligibly into a Buchla synth, teasing the listener by suggesting a meaning that remains always out of the ear's reach. Francis Debacle (Uno) builds on the foundations of a heavily amplified session of the titular card game, overlaying vocal murmurs and exhalations and mysterious room-sounds to create an impossible aural environment. On Burrata, a palette of vintage 1980s digital synthesizer sounds combined with guitars create an irregular texture of lush chords and bubbling melodic details, into which cole's voice processed by a vocoder, is interwoven, reading fragments of romantic correspondence. Finally, on Pad Phet Gob, field recordings made in Thailand become an ambiguously acoustic/electronic rainforest, eventually giving way to a mysterious, wavering electronic tone-field punctuated by sibilant, popping mouth-sounds.
Carving out an intimate and human sonic space across a diverse array of compositional approaches, sound sources, fidelities and textures, Hotel Record is the latest dispatch from the continuing explorations of a unique duo. Ambarchi and cole reimagine electro-acoustic music, not simply as 'abstract' sound, but as a diary, a love poem, a dream.
Deluxe gatefold sleeve with photography by crys cole and LP design via Stephen O'Malley
Mastered and cut by Rashad Becker at D&M, Berlin February 2017

Never released before recordings from Logos Foundation live sessions in Brussels, May 7th 1977.When Paul Burwell and I started playing together just after Christmas, 1969, we found ourselves wrestling with a new language of sound, listening, actions, objects and space. At first it was music. We studied in the improvisation classes given by John Stevens at Ealing College in 1971-2, also took classes in African music at London's Africa Centre. Most of the musicians lasted only one or two sessions so we resigned ourselves to being a duo and worked out an approach to free improvisation that expanded from simple structures and instrument combinations. Decomposition, we called it. We had worked intensively together, searching for techniques through which to decondition ourselves from orthodoxies, devising exercises in listening and instrument building, studying esoteric organology, bioacoustics, environmental sound, raw musics and anthropology. We were both fascinated by phenomena like diffraction, propulsion, resonance, projection, masking and heterodyning, and by shamanism, the symbolically grounded agency of shamanic drums, animal-becoming and noisy costume, the shaman's capacity to enliven quotidian space with the commotion of discarnate audible entities from the spirit world. This recording is one of the very few that conveys anything of what we were about. Paul Burwell - percussion, whistles David Toop - flutes, home-made reeds, whistle About the Logos Foundation Belgium Flanders' unique professional organisation for the promotion of new music and audio-related arts by means of new music production, concerts, performances, composition, technological research and other activities related to contemporary music. This organisation has been founded in 1968 by Godfried-Willem Raes.

John Cohen aka Dead Fader first arrived on the label in 2016, with It Works 1 - a brace of warping, high energy electronic music compositions that while largely unclassifiable in genre, maintain a gloriously vibrant, emotive sensibility that owes much to early IDM excursions, and the more abstract tenets of the Krautrock genre. That said - the artist cites anything from Kanye West to Bach and back again as informing the decidedly experimental and potentially confounding work - and his latest offering for the Milan based label continues to riff on this open ended mesh of influence to great effect. The new LP, Jenny 153, runs out across nine tracks and operates at the fertile juncture between Classical and Club Music compositional structures, and examines the crossover points between the two disciplines. According to the artist, the work deals with themes of acceptance and an 'opening up' emotionally - and a palpable sense of catharsis runs deep through the recordings. Colourful and undeniably cohesive, in spite of it's rhythmic complexity - the recordings present a vital snapshot of the potential space that exists on the periphery of the dance music genre.

Ilpo Väisänen (Pan Sonic) and Dirk Dresselhaus (Schneider TM) retitle themselves die Angel for Entropien 1, their eighth LP of electro-acoustic music together, and the duo's debut for Shapednoise's Cosmo Rhythmic label.
Accompanied by skilled improvisor Oren Ambarchi on two tracks, die Angel model a complex physicality through raw, elemental inputs, exploring a flux of reactive feedback processes and mutating, unstructured sonic states generated from crackling fusions of electronics, drums, electric guitar and field recordings warped and riddled with FX.
Taking its title from both the Finnish word and German plural for entropy - in physics, the measure of thermodynamic disorder within a system - Entropien 1 renders seven examples of their kinetic systems in elusive action, keening from arrhythmic mulch to sloshing brownian motions and a brilliantly towering 15 minute exploration that tips into billowing, white hot feedback with scintillating effect.
The amorphous results document and describe a freeness of energy travelling from body to machine and diffused across alternating acoustic environments. Each player works as controlled, external variables which act upon and interact with the different acoustic conditions to tempestuous impact, convulsing between squashed, recursive diffractions in Roha, to the sublimated roil of jazz drums and electric guitar wail in Terminen Kevät, before harnessing sloshing feedback chaos in the combustible, diaphanous two parts of Entropia - both North and South - which bring the LP to its logical, compelling conclusion.
With the addition of Wold or KTL-like metal emulsification and lacquer-bubbling grain in Kitka, and Ambarchi's plasmic overdubbing in the burning plasmic plong of Silvaticum, the overall impression is like auditive DMT, dissolving the senses and the ego - simultaneously theirs and the listeners - to better snag us in the music's metastable potential and aid our unanchored exploration in those dimensions. Entropien 1 is dedicated to Mika Vainio.

Row Records is back with a heavy bass leftfield 4 tracker EP by DJ Durbin & Manu

Mad, hypnotic rhythms and darker ambient by DJ Neumann. Contactless over Bank Transfer. Zero EUR paid. Brought to you by Funkycan & Max Gee. Double 12 inch plus: locked grooves included!

DJ SONIKKU, based in the UK, who has been gaining popularity for his releases from labels such as Distant Hawaii and Lobster Theremin, and his hit re-edits of Donna Summer's "Bad Girls" from his own label Dilemma, will be releasing his highly anticipated new 12" EP "Supinboru" with some new songs inspired from his recent tour in Japan. His brand new EP will feature the video game music inspired title track Supinboru,' the rainbow-colored Electronic/Pop track Damage /Sonsho,' as well as a remix from the popular Japanese Electronic duo 80KIDZ, who had brought him over to do his debut shows in Japan together.

The ever-prolific Ed Upton aka DMX Krew is up next on Utter with 'Turn It On', a four-track EP of Level 42 cover versions. Yes, you read that right... as if 2020 couldn't get any stranger!

This is no exercise in irony though. This record is a true labour of love for Ed, a sincere tribute to a band he adored as a youngster. The original Level 42 tracks he has covered - 'Turn It On', 'Love Games' and '43' - all appeared on their acclaimed self-titled debut album way back in 1981, which also featured the talents of a young Wally Badarou and Atmosfear's Leroy Williams.

Ed has stayed faithful to the tracks' excellent arrangements, swapping out live instruments for drum machines and synths, vocals for vocoders.

The result is a record that retains the original material's brit-funk charm but with that unmistakable DMX Krew electro-funk and boogie flavour. It breathes new life into these classic tracks without deviating from what made them so catchy and fun in the first place. We hope they put a smile on your face too.

Limited 12" in fluorescent green sleeve.
Dedicated to Rowland 'Boon' Gould (1955-2019).

* Showcasing Electrosoul System's innovative style with the 'Flawless' LP. An album reinvigorating drum & bass experimenting with raw industrialised sounds and futuristic twists. With an abundance of originality, 'Flawless' demonstrates the refined skill of one of Russia's most exciting musical talents.
* Journeying through an eclectic set of tracks from the deep jungle trek of 'Time Traveller' to the hypnotic warehouse wanderings of 'Shadows', tempting the ear with the all-alluring vocals of Deeizm. Title track, 'Flawless' takes a trip through a daydream state, following through with the funk fusions of 'Past-Time Cruiser' before dropping into 'Harder Than Sox' for some relentless percussive pull-ins.
* Having begun producing from the mere age of fourteen, its unsurprising Electrosoul System has already had a successful string of releases on a number of well established drum & bass imprints, alongside running his own label KOS.MOS.MUSIC. Also remembered for his prominent appearance in Hospital Record's 'The Future Sound of Russia' compilation back in 2009, whilst fast-forwarding to 2015 Electrosoul System featured on Sunchase's 'Kolo' - a firm favourite from the stunning 'The Truth' EP. Impressing once more with this fine contribution to the Med School catalogue,  'Flawless' is set to excite the ears and open the eyes of Med School and KOS.MOS fans alike. 
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