Beats Vinyl New Releases - News

Mats Erlandsson makes his debut on the Swiss label Hallow Ground with »Minnesmärke,« at once a nuanced sonic exploration of the industrial and political history of his native Sweden and a deeply personal album. One of the key figures of the Stockholm drone scene, the prolific composer worked with The Kilimanjaro Darkjazz Ensemble’s Hillary Jeffery, violinist and long-time friend Gaianeh Pilossian as well as sound artist and frequent collaborator Yair Elazar Glotman for a two-part composition built around tuned sustained tones performed by electronic and acoustic instruments that were combined with field recordings in order to evoke a psychedelic state of reflection, a dream-like elegy for the acoustic properties of the former iron ore mine Ställbergs Gruva where the music has been conceived and recorded. Following up on releases on labels such as Hallow Ground label mates Kali Malone and Maria W Horn’s XKatedral imprint, »Minnesmärke« is Erlandsson's most accomplished work yet.

Originally a commissioned work by the Non Existent Center for a month-long artist residency in Ställbergs Gruva last Summer, »Minnesmärke« conceptually picks up on the socio-political and economic history of the Bergslagen region where the mine is situated. After mining operations had been on-going for decades prior, in the Industrial Age iron became one of the country’s largest exports, making the mining industry an integral part of the country’s progression towards a socialdemocratic welfare state in the years after World War II. With the rise of neoliberalism and the simultaneous erosion of the welfare state however, the mines around the region started closing, which resulted in the surrounding community losing its relative prosperity. Erlandsson’s interest in this story though does not exclusively stem from the historical significance of the mine, that has been re-opened in 2012 as a centre for cultural activities and critical thought. In fact, his grandfather was born and raised in the vicinity of it and thus his life - and, by extension, his grandson’s - was inextricably linked to its fate and the ebbs and flows of the industrial development in the area.

It’s no surprise then that the two parts of »Minnesmärke,« which translates to »memorial« or »monument,« is marked by a sense of dislocation and dissociation. »Working in Ställberg was a somewhat surreal experience from the point of view of a musician some one hundred years later,« says the artist. »Being in that environment makes you view time from the side - since the place remains the same it accentuates the deep chasm that separates my perspective from those of my relatives, while at the same time providing a form of intimacy with them.« This naturally shaped the recording process, which saw Erlandsson create an interaction between the acoustic and the electronic, the human and the machinic as well as the natural environment and the technology that has shaped it as much as it has been shaped by it. A combination of synthetic and recorded sound sources was processed by reamping it in various rooms of the vast mining complex. The resulting hybrid field recordings were transferred to tape and have then been treated extensively. An arrangement for Pilossian’s violin, Jeffery’s tuba and trombone playing as well as Glotman’s parts on double bass were recorded separately and similarly manipulated to create an expanded chamber ensemble with a wider range and an ability to transcend the usual temporal bounds of the instruments.

The outcome of this intricate working process calls to mind Phill Niblock’s most dense compositions, the iconic yet subtle work of Pauline Oliveros in the field of deep listening or even Jóhann Jóhannsson’s evocative examination of similarly politically charged topics on the »The Miners’ Hymns« OST amongst others. While Erlandsson shows his knack for creating emotive dynamics by bringing the acoustic recordings into a pulsating flow, the manipulated field recordings are used as a counterpoint throughout both parts of the composition, commenting on and fostering the ever-shifting dramaturgy of the record. Most importantly though, the 41 minutes are marked by a continuous tension that almost feels tangible. It’s the looming shadow of history, materialising in the form of a monument, a memorial for the past generations that have etched their hopes and aspirations into the walls of Ställbergs Gruva.

Attic Salt Discs proudly presents the official re-issue of the Belgian synth-pop evergreen ‘Love In Motion’ (1984) by 1000 Ohm. The band kicked-off in 1979 with their successful debut A.G.N.E.S. / Look Around and later on developed their style from New Wave to Italo-Disco influenced Synth-Pop (‘The Claim’) and a decade later even touches of New Beat (‘You’re The One’). ‘Love In Motion’ is a beautiful mixture of 1000 Ohm's repertoire. The release comes with remastered versions of the original 12″ version, instrumental and on top a DJ friendly ‘Vanzetti & Sacco’ edit.

Tape / Cassette

Trust = Success. Original Music written, recorded and produced by 2Morph in Warnitz. Fuer Kuki und Andi.

2 broken tunes, with one very The DEEP or Melvins style on the A Side, oldschool crossover Noisy/Industrial broken beats and one electronica hip Hop instrumental on the flip. Brain dance.

In summer 2015 Andreas Oskar Hirsch finished constructing the Carbophone, an electroacoustic invention pushing the concept of the African Kalimba or Mbira. Vertically set up carbon rods, metal bars as well as a rubber band gamut make up this plucking instrument which opens up a whole variety of sound possibilities and features rather particular overtones.

Initially, Early Carbophonics was produced upon invitation by Radiophrenia, a Glasgow based temporary art radio station run by Mark Vernon and Barry Burns, and the pieces were broadcasted for the first time in late summer 2016. Here, Early Carbophonics are compiled on vinyl, and in contrast to the digitally distributed tracks, the pieces are mixed into each other on the record. Sketches from the rehearsal room are combined with more refined pieces through editing processes, sampling and effects resulting in electronic music with a warm analogue lo-fi feel of its own. Straightly rhythm driven tracks are followed by ambient oddities like the promenade of an octopus or a probably senile shipwrecked robot that emerges from a castle moat and starts speaking to you with a haunting voice. Occasionally, the Carbophone is accompanied by some other instruments like a Morse key, a Moroccan flute or the Electric Palm Leaf.

4 Track Ep With A Remix By Sfv Acid & Other By Roza Terenzi. Good Music From La To Australia.

recorded and produced by christina nemec in vienna and horner wald 2016
mastered and cut at dubplates & mastering, berlin 2017

artwork by susi klocker

On her latest release, chra aka Christina Nemec is sketching out a psychogeographical map, that guides you to the border of the internal and external world - 'on a fateful morning' lets you enter a sphere where the imaginary and the subliminal cross. Evoking abstract images that transcend reality, chra installs an autarchic time-and-space-continuum of vague, nocturnal beauty. Pastose bass drones, airy ambient synths and processed audio-samples form a hypnotic stream that lets you enter an altered state of mind. By subtly intertwining musical and non musical sounds chra is weaving an intensely atmospheric, poetic tableau of emptied spaces left to our imagination. It's the pulse of arcane memories that is filling these sonic landscapes, operating deep within our subconscious.

'on a fateful morning' is haunting music to play in the dark - conspirative, uncanny, with a dystopian smack.

Dom (and his Roland s760 sampler) was once described by seminal magazine NME as the “Ridley Scott” of drum and bass. His epic early records helped form the blueprint of the scene today.

Originally releasing on No-U-Turn in 1994 and credited as one of architects of “Tech-step”. Dom was signed by the legendary Moving Shadow label in 1996 where he released 3 solo albums and a plethora of singles becoming their most prolific and influential artist in the history of the label.

Well known for his early alliances with school friends “Optical” and “Matrix”, Dom started his own label DRP (Dom & Roland Productions) in 2006 to collaborate with like-minded artists. Now 15 years in with an enviable roster from “Noisia” to “Amon Tobin” it is now the main home of Dom’s work.

Lost in the Moment is Doms 7th Album. In his own words “I wanted to make an album that gets back to the core of the elements I love about drum and bass. The timelessness of simple tracks! A sense of being lost in the subtlety of evolving soundscapes, rhythms and loops which hint at more complex detail and emotions. These are the things I find harder to find in this era of instant gratification and easily consumable music.”

Dom’s previous album Last refuge of a Scoundrel was signed to Metalheadz in 2016. It sold out on its first day. Mixmag gave it 10/10 and named it album of the year. It was runner up in DJ Magazines “Best of British” category across all genres.

“I had the honour of remixing all of the Bamboo tapes that J.Derwort ever recorded. Most of my mixes were approved by the master himself during the last days of his life in Oliva, Spain. For ‘Eleven’, I sampled from his last live performance at Jazzcafe Dizzy in Rotterdam on February 11th, 2018. He died on the day of the release of our latest Chi Factory album, ‘The Mantra Recordings’, on February 11th, 2019.
We will miss him, life will not be the same. Farewell soul brother!” Words by Hanyo van Oosterom.

Fresh from outings on Super Rhythm Trax, Killekill and Power Vacuum, Jerome Hill is back on his Don't label and presents 4 road tested tracks - each totally different from the last but with the common goal of striking out and injecting colour, fun and a good measure of "Don't" rowdiness into the Techno landscape. "Egg Roll" is a slamming broken beat Techno monster that has been extensively tested out in the field, "Scez princess" combines hardcore breaks with waspish synth riffs while over on the flip "I Know" hits hard with no messing around. The EP is finished off with the lumbering, stunted funk of "Mono Skank". Available on lovely blue marbled Vinyl.

First volume of Ear Clips series curated by Chez Emile Records. A various artists compilation focus on dance and mind music. This one go dig into disco, synth pop and Krautrock with 4 artists from Lyon. Leo, Guillaume Des Bois, Caissard DJ and Abschaum.

Boredom, anxiety, pain killers and frustration make a heady mix for both reflection and action. For three weeks I stared out of the window of the tower block onto the tall brick towers of the old asylum chimneys. The past was a strange land suddenly out of reach, the present confusing and claustrophobic, the future something I could only visualise and idolise.

From the balmy Autumn day of my release a light was switched on, buzzing urgently like a neon street light on my path. Life took on new vigour and meaning. Pleasures starkly illuminated, annoyances inconsequential. Old work was re-examined and appreciated. Machines were treasured and connected. My basement filled with ever greater warmth and excitement.

The toy towns of our inner minds are constructed of a million tiny building blocks of experience. But there's a freedom that comes from realising what might have been. Peace in reflection, untethered from the everyday distraction and I take pleasure in the hum drum. Unhampered by trends, untethered to a scene, stripped back to essential carnal influences and desires. Who are we but the sum of our experience.

'Everything Is Quite Now' meanders through a reimagined landscape of personal history, releasing musical fragments to dri* amongst soaring treetops, hollowed lakes and labyrinthine concrete structures, liberated from genre and form - alive at last. In these great expanses, light and dark are presented not as polar opposites, but as a limitless, unified whole.

References to EBM and industrial techno manifest within the sporadic percussive framework whilst gauzy ambient backdrops form an entire world of their own, constructed from the gentle hiss of a looping tape, the booming caverns of a muffled kick, the vivid distortions of a crystalline synth. In the depths of a misty forest, warmth permeates, absorbing inside it all of the darkness, pain, romance and beauty from before.

Prequel Tapes is a work of deep synthesis. Fragments of melody and memory orchestrated into densely layered tapestries; a deeply emotional study on a life characterised by a shi*ing relationship to electronics. The pieces serve as a chronology of desire and reflection, reconciling a nascent passion for industrial music with a history in the club. Oscillating between utopian to claustrophobic, the evolving synth work, deep techno atmosphere and traces of clangorous energy of early European ambient and industrial tell a distinctly German tale, forged between the forest and the autobahn.

Everything is quite now. What else can it be.

First time available on vinyl LP (with limited edition color variants - black and clear) and on digital formats.- Artwork packaging by artist J.S. Aurelius (Ascetic House) with reflective linear notes by Ragnar Grippe. - LP comes with download

Recorded between the release of Sand (1977) and Lost Secrets(1981), Symphonic Songs is a formerly unreleased work that chronicles the dynamic shift and development in experimental Swedish composer Ragnar Grippe's canon.

Following his seminal release Sandin 1977, Swedish experimental composer Ragnar Grippe worked on various art and performance commissions, often returning to Stockholm during the summer months to focus his efforts on his compositional practice. It was there at the famed EMS Studioswhere he began employing the Buchla synthesizer and the facilities multi-tracking capabilities as new instruments to map his mining of sound and movement.

During the late 1970's, Grippe formed a creative collaboration with choreographer Susan Buirge, specifically writing compositions for her works Restes and Tamis, thus pushing Grippe to start working in a more intricate studio environment. These passages inspired Grippe into a more complex layering process that focused more on placement and structure, rather than the aural floods and flourishes of his previous Sand album, eventually germinating in his first full 24-track composition entitled Orchestra.

After debuting Orchestra in 1980 at the Electronic Music Festival in Stockholm, Grippe holed up at EMS Studios with those lessons and the fussy Buchla synthesizer, in which Grippe affectionately recalls needed to be tuned and calibrated every 20-30 minutes. He emerged with a new commission for Susan Buirge later formally titled Symphonic Songs and used in her avant-garde theater piece Ci-Déla which debuted in Paris in 1981.Symphonic Songsshowcased Grippe's sound au courant, pushing dense against sparse, calm into cacophonous, using each track as its own intersecting plane. Using the machinations of studio and structure to drive Symphonic Songs' voice, Grippe culled a haunting, often cinematic electronic work that dots and darts into unexpected corners with curious aplomb.

Listen to the words, both terms have their root in classical music, but not in its form but because now I had so many more stems or voices that could be played simultaneously compared to my earlier pieces. Coming from a classical background, but with big nostrils for pop and jazz music, I can now see a thread in which classical got a new costume, dressed up in Buchla synthesizer and real bass sounds Grippe says. Since its live theater debut over 37 years ago, Dais Records releases for the first time Symphonic Songs, one of Grippe's most ambitious compositions, as a deluxe double vinyl LP (with limited edition color variants) and on digital formats. Artwork packaging by artist J.S. Aurelius (Ascetic House) with reflective linear notes by Ragnar Grippe. e

RATTLE is an ongoing musical project concerned with experiments in rhythm, metre and tension. Katharine Eira Brown and Theresa Wrigley make up the duo from Nottingham, who with just drums and occasional vocalisations weave an expanse of percussive vortices. Their songs swirl and envelop with all the physicality and drama of another world pulling together around its own shifting centre of gravity. The drum beats phase and sidestep, they trade accents and overlap, providing a suitably alive terrain for the vocals to explore similar tendencies of pattern.

Rattle's debut album was released in 2016 through Upset The Rhythm / I Own You and was greeted with much critical praise, this often singled out their hypnotic minimalism and ecstatic regard for the dance floor. The following six months saw Rattle support Animal Collective on their UK tour before heading out around Europe with The Julie Ruin.

Rattle used these opportunities to try out new material and unconsciously began writing their next album. Brown recalls that 'hearing our drums in these larger venues, with amazing sound, made us excited about how beautiful and magic the drums sounded, we were quite spellbound by how they were able to fill a venue so completely.'


'Sequence' was written in much the same way as their debut, with the duo facing each other over their shared palette of drums, allowing songs to develop naturally and suggest their own direction. However, Brown and Wrigley were more confident of what they wanted to achieve with this follow up, having already proven the concept watertight through their debut and subsequent concerts. They knew they could wrestle songs out of the silence with such a setup, so afforded themselves greater time to explore extended, long-form composition. 'Sequence' is composed of four tracks, each clocking in around 10 mins or over and focused squarely on a deeper resonance with the creative act, illustrative of how ideas build from scratch, of how music can grow out of repetition. Recorded at JT Soar in Nottingham with Phil Booth and Mark Spivey (Rattle's live sound engineer), the album developed out of these four points, with Rattle honing their sound with detail. Everything was stripped back to just the drums and Brown's voice. Percussion flourishes were deemed unnecessary, overdubbed layers of vocals were kept to a minimum. As a result, this quartet of songs are more meditative and aware than previous efforts, with the duo's attentions spent tapping into each track's potential, mapping out expeditions in tempo and making much of the journey over destination.


'DJ' is the first part of the album to unfold, its insistent, rotating beat slowly morphs into an avalanche of shimmering cymbals, before a plateau of echoed rim shots cools all to the core. Throughout, Brown's wordless singing tethers the song to its atmosphere, an effect similarly employed to perfection in 'Disco' which follows. 'Signal' unfurls as an odyssey of rhythm, it's tumbling beat, punctuated by shivers of hi-hat bluster and mesmeric tom fills. 'Put your ear to the ground, it's an incredible sound' confesses Brown in her most telling lyric from the album, leaving you convinced that Rattle are somehow channeling all this music from a quiet, elemental other-place. 'The Rocks' concludes the record with sparse assurance, it's an exercise in magnified scope and altered states. Wrigley and Brown divide duties across all these tracks, with the cadenced, dynamic shifts of hi-hat and cymbal being Theresa's domain, whilst Katharine holds down the toms and snare. Brown notes that 'each song can be seen as representing a different drum in my set up'. 'DJ' is an exploration of her snare, whilst 'Disco', 'Signal' and 'The Rocks' are based around the floor tom, rack tom, and bass drum respectively. All of this is complemented further through the production interventions of Mark Spivey, who wanted to capture Rattle's huge live sound on tape for this album with all its incurred dub-delay trippiness, taming and melding.


'Sequence' is a liminal album, thoughtfully crafted with themes of transition and realisation at its heart. It feels like a trance or ritual if you give yourself to the recording.  It urges you to step outside and listen deeper. Rattle are seeking out a vivid array, an order from the noise, a pattern that unlocks the next.  This album is the nurturing of intention and when we walk to its beat we arrive anew. 'Sequence' will be released on November 2nd by Upset The Rhythm on LP, CD and digitally.Running Time:  41 mins

SALESPACK incl. 021 / 020 / 014. 3x12" hard hitting drum'n bass packed together in a new sleeve.

'RIDE THE WAVE' is one of the most celebrated V.A. series of ORACULO RECORDS and is coming back.

On this new third edition darkwave substyles as synthwave, post-punk and ebm are perfectly represented again by Vore Aurora (USA), A Silent Noise (Italia), Pawns & Anatomy (USA), SM.Forma (Spain) and Werther Effekt (Brasil/Germany). All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem at Prodam Berlin.

Waves 1 is the rst release of Curd Duca since the legendary Elevator series (1998-2000). Waves is an album trilogy. Waves 2 and 3 will be released on Magazine in 2021.

If we think of Curd Duca’s Waves in terms of sound, rather than in terms of form, each track on Waves is actually like the large, illuminated, richly decorated initial letter that introduces the narrative of so many medieval manuscripts. It is as if Duca was collecting extraordinary letters, opening up an alphabet of sounds, and developing a musical phonetics between adjacent terms. From gong to gone; bell to bells minus drone; dome to father.

The real beauty of Curd Duca’s cycle lies in the fact that it opens up differently from so many perspectives. That we can understand it as a collection of treasures, as a commentary on our acoustic environment, as an attempt to dissect the world and stylize its parts. Much like a printer's typesetting box, Duca proposes an inventory of everything that sounds. Some of the pieces are exaggerations. Some allusions. Others abstractions, parodies, and trans gurations. It is often not even clear whether the music is based on a recording or a synthetic sound. Is the nightjar real or is it a synthetic imitation? Did Duca really use brass and zither sounds or simulate them on the computer? The hermaphroditic nature between reality and arti ciality is a central aspect of Duca’s sound world.

There is only one thing you must not do with this music: trivialize it or underestimate it. With Waves, Duca is exploring the very essence of sound, and its possible meanings and contradictions.

Dom (and his Roland s760 sampler) was once described by seminal magazine NME as the “Ridley Scott” of drum and bass. His epic early records helped form the blueprint of the scene today.

Originally releasing on No-U-Turn in 1994 and credited as one of architects of “Tech-step”. Dom was signed by the legendary Moving Shadow label in 1996 where he released 3 solo albums and a plethora of singles becoming their most prolific and influential artist in the history of the label.

Well known for his early alliances with school friends “Optical” and “Matrix”, Dom started his own label DRP (Dom & Roland Productions) in 2006 to collaborate with like-minded artists. Now 15 years in with an enviable roster from “Noisia” to “Amon Tobin” it is now the main home of Dom’s work.

Can’t punish me is one of Doms most seminal tracks. As well as the original version this release includes a black side Dubplate Mix from 1998 that has never before been released.

DJ PLAY: Rene Lavice, Laurent Garnier, Giles Peterson, Jerome Hill, Digital, DJ Bailey, DJ Lee, Bryan G, Fabio, Grooverider, Loxi, Andy C, Break, Kasra, Doc Scott, Dbridge, Goldie, Ant TC1, Gridlok, Ulterior Motive, Noisia + More.

Electro legend Gosub delivers an outstanding new album on Libertine... Not to be missed!

Ruben Üvez aka Konduku (a former resident of sadly closed De School in Amsterdam) delivered this extended play: a Şeker-meditation resting in itself: You always know where you are while having no clue where it’s coming from!
Rooted in steppy beats, these 5 variations of the same insult towards your having-something-better-to-do-state-of-mind will convince you that there is more out there! Something deep, something to be explored, maybe it’s dark, but it’s definitely something connecting you to the interdimensional sphere of progression within the human-designed world-consciousness-interface of communication through music!!
Not any music but the intricate kind of one you want to experience through a club sound-system (in case you do have neighbours and spent less than 3000,- on your home-system (…or really good headphones for that matter))!

For the cover we owe eternal gratitude to Sophie Schmidt, an artist from Munich, who apart from amazing paintings sometimes delivers breathtaking performances - and we can not recommend highly enough experiencing one of those!!! Honestly: Watch them if you get the chance: You’re unlikely to experience that kind of intensity anywhere else!

180g clear marbled vinyl + stamped sleeve + inside out printed cover

Mood of departure presents the 50th release of ORNAMENTS. "Roadmap" LP is crossing borders,
forests, mountains and deep atmospheres on a trip of finest electronics from the past and today
combined with recordings of destructions.

Some Previous here

Resident Advisor

German label Ornaments Music is putting out its 50th release, Mood Of Departure's Roadmap.

The album comprises twelve tracks of melodic ambient and trip-hop, and is due out next month. The LP will be pressed up on marbled vinyl on November 6th, while the digital album is slated for November 23rd release.

This summer, Ornaments Music put out Assemblage, a dub techno collaborative project from Paul St. Hilaire and Rhauder.

Groove MAG

„Man soll die Feste feiern wie sie fallen.” Hachja – 2020 ist wirklich vieles anders. Sogar manche Lebensweisheiten treffen in diesem Jahr nicht mehr zu, wie sie das noch letztes taten. Zum Glück dürfen wir uns aber über eines umso mehr freuen, über tonnenweise neue Musik. So feiert unter anderem Ornaments Music Release-Jubiläum. Das Berliner Label bereichert seit 2008 mit Künstlern wie Marko Fürstenberg, The Analog Roland Orchestra und Rhauder die Dubtechno-Sparte mit maßgeblichen musikalischen Beiträgen. Mit dem 50. Release Roadmap beschreitet Ornaments nun neue Wege und veröffentlicht ein emotionales Album, dass sich irgendwo zwischen Ambient und Electronica wiederfindet.

Mood Of Departure heißt die Person, die dieses Werk vollbracht hat. Wer dahinter steckt bleibt vorerst geheim. Nur soviel sei gesagt. Es ist nicht ihr erstes. Oder seines? Weil es nur spärliche Informationen über den/die Künstler*in gibt, stehen die einzelnen Stücke ohne Personenkult oder seitenlange Lobeshymnen an erster Stelle. Und wenn man mal ehrlich ist, gibt es schon genug Ablenkung in der heutigen Zeit. Durch das Intro des Albums, durch „Scan”, wird sofort deutlich, dass es sich hier nicht wie gewohnt um ein klassisches Dancefloor-Album handelt. Die Stimme der Sängerin, die auch in einigen weiteren der insgesamt zwölf Stücke vorkommt, verleiht dem Track eher Band- statt Producer-Charakter. Ein sanfter Ambient-Teppich aus luftigen Flächen und wiederhalendem Gesang wird durch simple aber präzise Hip Hop-Beats fortgetragen, und man ist nach dieser Einführung gespannt, was noch folgt.

Faze MAG

Mit dem Debütalbum „Roadmap“ von Mood Of Departure veröffentlicht das Label Ornaments sein 50. Release!

2008 startete das Label, das bekannt ist für sein marmoriertes Vinyl, mit einer EP von Marko Fürstenberg, Acts wie youANDme, Sascha Dive, The Analog Roland Orchestra, Steve Bug oder zuletzt Rhauder & Paul St. Hilaire haben hier auch ihre Spuren hinterlassen.

Rotterdam Fuses With Berlin, As Das Ding Lands On Mechatronica For The Third Record In The Label's White Series, Dedicated To Limited Vinyl-only Pressings Of Ebm, Wave, Synth, Electro, Italo, Industrial And Experimental Sounds.

'alien Insane' Opens The Record With A Relentlessly Progressing Piece Of Dark Machine Music, Followed By The Dazzling Cosmic Journey Of 'idiomatic Transnominator', Both Tracks Vividly Blending Das Ding's Signature Sound With Classic Dutch Electro, Synth And Italo Styles.

On The Flip, 'i Am Not A Robot' Presents A More Blissful Soundscape, Elevating Higher Through Dreamy Synths, Tight Percussion And An Inescapable Bassline, Before Ksitigarbha Rounds Off The Record With A Slow, Enchanting Sonic Journey Into Strange And Ghostly Territory.

Spirit delivers a stomping remix of Dissect, Sicknote and J Bionic's "Celestial" for Paws Recordings. This release has had heavy support from Loxy, Double O, Mantra and Nucleus.

Single sided 12" with reverse board sleeve with a 3mm spine and embossed sticker on front.

Who is the mysterious Hezziane?

Cold Recordings is proud to present two scorching floor bangers from this unknown entity, Hezziane.

“Aciiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiid!!!!!!!!!!!!”

‘KV-08’ thumps and bangs with all the movement and makings of a classic to come. There’s acid 303, there’s break-y cuts, thumping 4/4 kicks and dark side bass. This is a surefire roller that you will definitely keep coming back to.

‘Flip then for ‘Pivot’ which keeps the acid theme running but moves with a slightly more electro-aligned twang to it. UK- Chicago connection in sonic effect. Another reliable banger!

From the ruins of the birthplace of techno ...
Detroit Underground returns with this, their twenty second release, in a catalogue that has come to define the outer limits of experimental electronics while still adhering to dance floor basics.
This edition sees DU label boss Kero return to the spotlight in collaboration with LA based sound designer and interactive director Drasko Vucevic, aka Drasko V of Los Angeles based DRASTIC Music + Technology. Drasko has recently created, among other things, sound design for a promotional featurette for the Academy Award nominated film Gravity.
Given the label's long time fascination with the intersections of music, art and technology the collaboration is as fitting as it is fruitful.


Side A ups the collaborative ante as this 12'' comes blasting out of the gate with two very strong remixes, Exponent is the subject of a relentless 4/4 treatment from LA techno exponents Drumcell while Superheavy gets an acid-style work out from Canadian producer Jesse Somfay's Borealis project.


It is not until the second side that we hear the original versions of Exponent and Superheavy, both of which reveal themselves to be undulating masses of hip hop tinged beats over dark, bass rich undertones, with the latter offering some brighter tones as well - in other words pretty much what you might expect out of a Drasko V and Kero collaboration.


Side B is further rounded out with a couple of remixes from England's Si Begg and Valance Drakes the former coming in with a super compressed, squelched out, electro inspired take on Exponent while Valance Drakes chills us back out with an impossibly mellowed out version of the same

Hessle Audio welcome @laksauk to the label with three tracks of rowdy and forward-thinking dance music, following his last release on Timedance in September.

On the A-side, ‘Fire Kit’ sees the London-based producer and DJ approaching his sound from a different direction, with dancehall infused percussion offset by enveloping layers of sub-bass warmth at 95bpm. The B side jacks up the tempo with a raucous energy as the temperature drops to below freezing. Basslines rumble in ‘Belly Brocka’ and ‘T’s Tent’ like an approaching storm and snares lash through the mix like ice picks, with the broken rhythmic energy driving the dance forward in 2021 and beyond.

Running the club night and monthly NTS show ‘re:lax’ with re:ni, Laksa has been consistently pushing bass mutations since his early EPs on Beneath’s Mistry label. A Bristol bass bobbler at heart, his hybrid sound has found a home on many respected labels such as Timedance, Ilian Tape and Whities, cementing his place amongst the latest UK talent.

Deeply addicted to Disco, Soul and funky rare gems, Rubents Aka DjFrsh brings his raw groove from Buenos Aires and joins the Ondulé crew with a massive first EP.

2 tracks for the dancefloor and 2 downtempo tracks with all his jazz and soul background.

Just enjoy the trip

Sutja Gutierrez is back on Lumière Noire. The finesse of his productions and his implacable stage performances have given him a special place within the Parisian label. In 2017, he released the EP "The Legend of Time" and one year later, he appeared on the compilation From Above with his track "Allodoxaphobia". He comes back here with an LP entitled PHYLAX SOCIETY, which confirms that Sutja Gutierrez is indeed an artist in his own right. Phylax means guardian in Latin, and the album’s title is directly inspired by the “Phylax Society”, a group of people who, in the late 19th century, wanted to create the ultimate canine breed, but who due their lack of consensus failed and dissolved. Later on, an ex-member eventually bred the very first German Shepherd. On this heartfelt record, as emotional as it is catchy, the artist deals with the feelings that come after the loss of a loved one, chiefly nostalgia and melancholia. The result is an ardent record where crooning is sincere and never a posture. The artist’s lo-fi psychedelic pop trademark oozes in every track of this album. Many of these songs feature his vocals, often doused in ethereal echoes or even shrewdly chopped and distorted in a way that reminds us of the great musique concrete experiments of the past. A DIY approach sometimes indebted to punk and post-punk music, all mixed with a vast variety of traditional pop instruments such as guitar, bass, electric keyboards and real drums, but also drum machines, synth bleeps, found sounds and other strange but fascinating samples. EMPTY FLOWER POTS, which was released as a single ahead of the LP, is definitely one of the album’s standout tracks. This catchy mid-tempo song is the perfect entry point into Sutja’s finely twisted world. A world in which you can find that particular balance between nostalgia and optimism. Oh, life is great, what is life? Life is death. . he sings. It is one of those songs that stays in your head for a while. Do not let the idea of alternative pop fool you, it is quite impossible to listen to any of these songs without reacting in some way or another through moving, dancing or thinking, regardless of the tempo or meaning. I’M DIGGIN’ might be the perfect example of this. Deceptively simple and far removed from dance music, this rock-infused number will not only have you singing along instantly, but you will also find yourself dancing and responding accordingly to the energetic mantra of this song... I'm digging for the truth, I am so diggin' into it. Truly, the dance floor is never too far, sometimes quite blatantly and sometimes in a more oblique fashion. Another case in point is PHYLAX SOCIETY, the eponym track which closes the album, a song in two parts, where a slo-mo club groove carries Sutja’s trademark singing to yet another level of uniqueness, with his surreal soundscapes, twisted melodies and everyday life sounds. An ode to humanity and an homage to the ones who are risking their lives every day in the mediterranean sea. It is rare to encounter an album which is immediately satisfying on one hand but also reveals more and more beautiful secrets with each listen. PHYLAX SOCIETY is clearly one of those special albums.

Yellow C20 Cassette + Download Code

Flute Grime, Fever in you bed with U'r Girlfriend... & Grimy R'n'B, fever on MTV !

Weird Electro techno, Minimal Hard Breakbeat, Hardbreakz from hell !

5Xpi first mini LP... An artist wto be linked with LFO Demon -about the sound- : Creatives breakz surrounded by total unesefull samples and sounds. This record begins with a coll ambient tracks and grows till the end into a breakbeat -core dark shape. This plate got plenty to say