Beats Vinyl New Releases - News

At least one good record for the night ! 6 track of manga-core, made in japan !!!

Into the Light is launching a parallel and limited series with contemporary material from both Greek and international artists. First stop is the album 'Postclub Prism' by the German producer Cass. offering ten gorgeous ambient pieces about light and romance.
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Since 2012, Niklas Rehme-Schlüter aka Cass. has released albums of varying styles, from the rather organic and loop based ambient pieces on 'Loops & Farewell Sketches' and the 'Red Atlantic' EP on Throne of Blood in 2017, influenced by 80's pop sonics, to the more balearic and percussive recordings on 'The Sound of Glades' together with Wolf Müller in 2016. On his new record 'Postclub Prism' Cass. explores his affinity to calm and atmospheric ambient music at the threshold to the reverberant sound of club music.

The second outing in the CiM re-issue program is his debut Delsin EP dating from 1999. With 'Service Pack' Simon Walley subtly moved away from the dancefloor, creating a pack full with ear tickling and mind twisting electronica. Pure bliss.

As 2020 draws to a close the Surface Tension Series reaches its apex with part III, containing a like number of compositions which continue the sound refined and alloyed in the preceding volumes.

Influential Dutch grime producer JLSXND7RS debuts on Dream Eater with the four-track Ceres EP, enlisting MC Armour, a member of the trailblazing N.A.S.T.Y Crew, for vocal duties.

Videosphere, the debut album by Kompakt’s latest signing, the London-based artist Lake Turner (aka Andrew Halford), swoons into focus with “The Sunbird”, a teasing drift of lilting, ambient tones, riding out a submerged piston-pulse rhythm. Across its brief 109 seconds, it manages to traverse evocative terrain – something mythopoetic, something both humble and grandiose, a glimpse of the other behind the sky’s curtain. “I wanted to conjure up something resembling an ancient ceremony or death procession,” Turner nods. “Like a hymn to the surroundings of a faraway hill.” It’s both sky-bound and earthen, a ritual incantation to call in the music of the spheres.

Turner was introduced to the Kompakt family by his sometime collaborator Yannis Philippakis of Foals. He’d previously made music in post-punk and indie groups Great Eskimo Hoax and Trophy Wife, but Videosphere is the first time he’s fully articulated his own vision of electronic music, aside from one limited lathe-cut 12”, 2018’s Prime Mover EP, on Algebra. The lush ambient-disco-techno dreams of Videosphere were constructed and completed in his London studio and at his parents’ arable and sheep farm in Worcestershire, which might help explain the hazy, unhurried pastoralism of the album.

“There was a slight bittersweetness in finishing the record (in Worcestershire) as my parents were in the middle of selling my childhood home,” he sighs, before quipping, “on the plus, I ended up shearing a lot of sheep over the summer.” A student of archaeology and ancient history, Turner is no doubt carefully attuned to the twisting cogs of history and memory, and it’s no surprise that Videosphere has a nostalgic, melancholic cast; much of its beauty rests in the way it tugs, gently, at the heart strings – see the tear-stained cheeks of the lush, dappled “Honeycomb”, or the sweetly sad electro-roundelay of “No Way Back Forever.”

It’s not all drift-dream hypnosis, though – Videosphere is very much grounded in the now. ““No Way Back Forever” is a nod to the linear nature of time,” Turner explains by way of example, “and the tipping point of the world climate crisis that scientists have now declared.” Jayne Powell’s vocals are sent spinning through the song, wound like candyfloss; she takes centre stage on the techno hymnal title track, too. Throughout, there’s a sense of forward movement, despite the life stasis we find ourselves collectively bound by in mid-2020; there’s also a yearning for the communal, for community, that’s captured in the album title, a nod to an object Turner encountered at London’s Geoffrey Museum, “a television set in the shape of a spaceman’s helmet from the 1970s.”

“The vision I loosely had was to make an electronic record that had a communal warmth and almost ceremonial or ritual feel. I wanted to examine the relationship of our archaic minds in the trappings of the modern world,” Turner concludes. “What the Videosphere also symbolizes for me is the oneness of humanity and community, prevailing.”
Eröffnet wird "Videosphere", das Debütalbum von Kompakts jüngstem Signing, dem in London ansässigen Künstler Lake Turner (alias Andrew Halford), mit "The Sunbird" - einem herausfordernden Strom aus Ambient Sounds, die zu schweben scheinen, um sich dann in einen subtilen, maschinellen Rhythmus zu verwandeln. In gerade mal 109 Sekunden gelingt es dem Stück, ein gewaltiges Terrain abzuschreiten - etwas Mythopoetisches, bescheiden und grandios zugleich, gibt uns eine Ahnung davon, was sich hinter dem Himmel verbirgt. "Ich wollte etwas heraufbeschwören, das einer alten Zeremonie oder Totenprozession ähnelt", sagt Turner, "wie eine Hymne an die Umgebung eines weit entfernten Hügels." Himmlisch und irdisch zugleich, eine rituelle Beschwörung von Sphärenmusik.

Der Kompakt Label-Familie wurde Turner von dessen zeitweiligen Mitarbeiter Yannis Philippakis (Foals) vorgestellt. Zuvor hatte er in den Post Punk- und Indie-Bands Great Eskimo Hoax und Trophy Wife gespielt. Bis auf eine limitierte lathe-cut 12", der "Prime Mover EP" auf Algebra von 2018, artikuliert Turner mit "Videosphere" zum ersten Mal seine eigene Vision von elektronischer Musik.

Die üppigen Ambient-Disco-Techno-Träume von "Videosphere" hat Turner in seinem Londoner Studio und auf der Schaffarm seiner Eltern in Worcestershire produziert, was den nebulösen, gemächlichen und beinahe pastoralen Charakter des Albums erklären könnte.

"Es gab einen bittersüßen Moment als ich mit der Platte (in Worcestershire) fertig geworden war, da meine Eltern gerade dabei waren, das Haus meiner Kindheit zu verkaufen", seufzt er, bevor er witzelt, "das Positive war, dass ich im Laufe des Sommers eine Menge Schafe geschoren habe". Als Student der Archäologie und der Geschichte des Altertums ist Turner zweifellos mit den sich unaufhörlich drehenden Rädern der Geschichte und der daran geknüpften Erinnerungen vertraut, und es ist keine Überraschung, dass "Videosphere" einen nostalgischen, melancholischen Einschlag hat; viel von seiner Schönheit liegt in der Art und Weise, wie es einem sanft ans Herz geht - die Tränen benetzten Wangen von "Honeycomb" oder der ambivalente Elektro-Reigen von "No Way Back Forever".

Trotz allem hypnotischen Driften und Träumen - Videosphere ist sehr stark im Jetzt verankert. "`No Way Back Forever`ist eine Anspielung auf die lineare Natur der Zeit", erklärt Turner beispielhaft, "und auf den Wendepunkt der globalen Klimakrise, den Wissenschaftler gerade ausgerufen haben". Jayne Powells Gesang wirbelt dabei wie Zuckerwatte durch den Song und steht auch im Mittelpunkt des technoid hymnischen Titelstücks. Überall ist ein Gefühl der Vorwärtsbewegung zu spüren, trotz der Stagnation, in der wir uns Mitte 2020 kollektiv befinden; trotzdem existiert eine Sehnsucht nach dem Gemeinsamen, nach Gemeinschaft, die im Albumtitel eingefangen ist - eine Referenz an ein Objekt, dem Turner im Londoner Geoffrey-Museum begegnete, "ein Fernsehgerät in Form eines Raumfahrerhelms aus den 1970er Jahren".

„Die lose Vision, die ich hatte, bestand darin, eine elektronische Platte zu machen, die eine soziale Wärme und eine fast zeremonielle oder rituelle Atmosphäre ausstrahlt. Ich wollte die Beziehung unseres archaischen Geistes in den Fallstricken der modernen Welt untersuchen", so Turner abschließend. "Was `Videosphere` für mich auch symbolisiert, ist die Einheit von Menschlichkeit und Gemeinschaft, die am Ende obsiegt".

Good UK Drum & Bass at a nice price... So what ?

New record from Mitro - a moniker of Natal Zaks. 6 experimental, downtempo, ambient, IDM-ish cuts.

Another ride in the producer's unique sonic tale where digital vocalisms and fragmented musical thoughts push the listening to the edge of the brain dancefloor.car commercials are blown on repeat by the wind of conscience. Panoram long awaited return, Anova, sis an hymn to the vacant mind

A cool dubstep minimal tool. Well done with just the little story and the little sounds to mke it good. Nice one !

Volume number two in the Trip Hop Vibes Series.

Seedecore and breakcore. Shaking Japannese hand. STRONG!

Spiritual Peanuts Sorting Priorities

Geyser » is french musician Annabelle Playe's third album. Multidisciplinary artist, singer, writer and electronic performer, Annabelle Playe composes with Geyser a two pieces album mostly electronic and electroacoustic with influences from the GRM (Pierre Schaeffer's Groupe de Recherche Musicale) to noise and industrial music. It reveals an universe made as well of distortions than atmosferic landscape. She describes her work as : "An electronic journey questionning what move inside and bring us beyond. Questionning detail, speed, fragmentation and continuum.

One of the unexpected silver linings of our planet being plunged into the grips of a pandemic has been ASC’s return to Jungle / DnB.

Drawing stunned reviews from all corners of the DnB spectrum, the ‘An Exact Science’ EP on Samurai marked the first of a trio of releases in this style. Initially meant only as a one off EP, the creation of ‘An Exact Science’ turned on a spark in ASC that propelled him into a new phase of inspiration in his heavily equipped studio. Once an LP project was agreed to, the tunes came rapidly to the point of overflow (hence part 3 of the trilogy set for 2021).

Dark electronix and electro from Assimilation Process. A vivid mix of digital processed sounds in combination with field recording and other analogue sound sources. These 6 tracks draw their energy from the severe contrast between melancholy and noise intensified by the rhythmic structures and the instantaneous sound pressure. Heavy!!

Parallel Minds continues its mission to bring compelling electronic music from Toronto to the world with its sophomore release, a 4-track split EP between label co-founders (and long time friends/roommates) Yohei S and Daniel 58. With this release, Yohei and Daniel sought to create club music that truly represents what they'd want to hear in the club, both as DJs and clubbers.

On the A side, Daniel refines his penchant for wiggly breaks and syncopated rhythms with two uptempo moody slammers. On the flip, Yohei turns over two tracks combining the use of new production tools with old tech house and Miami bass influences.

Deftly blending broken dub beats, grime textures, and hypnotic 4/4 grooves, this EP, much like its predecessor from the same label, has something for every DJ, regardless of what timeslot they're playing.

Deekline and Ed Solo’s original ragga jungle anthem ‘Bad Boys’ was released way back in 2012 and was well supported by both DJs and ravers alike. If you stepped into a dance in 2019 you will have almost certainly heard the mysterious dub of ‘Bad Boys’ that was doing the rounds which in turn, has now been revealed at the Ben Snow remix.

2018 Has Been A Big Year For Dope Ammo So Far, What With The Smash Refix Of wishin' On AStar', Countless Collaborations With A Whole Host Of Talents Artists And Fitting In A Tour Of
Europe. It Comes As No Surprise That It's Now Time To Unleash A Heavy Hitting Album In TheForm Of influence'.
This Isn't Strictly A Drum And Bass Affair Either And With Styles Perfectly Crossing In And Out OfEach Other, It's A True Representation Of Dope Ammo's Creative Production Flair.
i'm Good' Is A Prime Example Of The Vibes Presented From The Album. The Arrangement Is Super Shiny, Flowing Sunshine From The Speaker And Firing A Sea Of Smiles In All Directions.
Of Course You're Going To Get A Certain Amount Of Dancefloor Madness And With The Likes Of how We Get Down' Featuring Not Only Jasmine Knight On Vocals But The Run Tingz Cru
Thrown In The Mix For Good Measure. This Track Has A Certain Amount Of Commercial Crossover Likeability However, Retains That Original Dope Ammo Punch. old Times' Is Another Fine Example Of Retaining 'scene Credibility' And Smashing Those
Melodic Vibes. If You Didn't Hear This One At A Festival This Year, You Probably Were Hanging Around The Food Trucks Too Much!
Switching Styles Completly, Both risky Business' And take It Back' Combine Early 90's Vibes, Euphoric Uprising Melodies And Good Old Fashioned Hands In The Air Moments That Really Will Bring On Feelings Of Peace And Love! Shout To Mc Fearless.
repent' And saturday' Inject Some Fresh Flavours To Your Ear, Switching The Bpm Whilst Retaining That Feel Good Vibe Which Is Really Represented Across The Whole Of The Album.
12 Tracks, All With Individual Personality And Character It's No Wonder Dope Ammo Really Has Locked Himself (along With 100's Of Guests) In The Studio For Most Of The Year. If You're After A Solid Mixture Of Beats, Some To Chill To, Others To Absolutely Brock Out To - This Album Is Certainly For You.
Guest Appearances (in No Particular Order) From The Likes Of Gigante Mc, Run Tings Cru, Dj Panik, Anomy, Yemi Bolatiwa, Jasmine Knight, Aries, Taiwan Mc, Broomers, Wyld Child,
Frenic, Rio Hellyer, Martin Carr And Kathy Brown. Press Release: Jamie S23

1997. 'Drexciya don't have no phone. They're too busy to do your remix'. Mad Mike's response was short and to the point, enough to put off some; but not Vincent Koreman. Addicted from an early age, the dutch producer dug deeper and deeper into the mythology and mystery of James Stinson and Gerald Donald. The sounds, images and ideas conjured up by the Detroit electro duo pulled Koreman in, his "fascination" growing ever more "intense" as the underwater dwellers sonically prospered. Fast forward twenty years and that fascination has not diluted one drop, in fact the aquatic dream of the wavejumpers is the inspiration for "Recolonization". These tracks "would have never had existed," says Koreman, "if it wasn't for Stinson and Donald creating that great, energetic, abstract electronic music and coupled it with an original vision on the African diaspora, art and culture." This music is an homage to the enigma of Drexciya, a tribute to the machine marine men who pioneered electro and a vision. Drvg Cvltvre continues that vision, one of "an underwater race" that has reconquered Earth, overcoming "big business, corporate greed and water pollution" to reclaim the surface from man. Forget mankind. Our time is over, 'Recolonization' is here.

Emma DJ delivers a class palette of sounds on his 13 track debut for the Brothers From Different Mothers catalog, ever blurring the lines between club music and lush / torturous psychedelic explorations with his trademark offbeat distortion and cavernous rave stabs, giving body and minds more than they can chew on whilst lacing together some of his most innovative material to date.

After a prolific career releasing on platforms such as Audio Assault, Token, PercTrax, Stroboscopic Artefacts and the HueHelix imprint Go Hiyama is back with an astounding piece of work that dictates its own path. 'I Am Goodbye' graces us with wondrous sound-design and drum patterns that are just as menacing as they are intricate. Based on the concept of denial this full-length takes a steep dive into what here at Parachute we cherish the most - individuality. Steering away from what are his canonic approaches to producing he chooses to leave behind sequencers and synths to further explore the nature of instruments such as piano and vibraphone as well as an array of field recordings. The end result is remarkable proof of the concept behind this album, interpreting denial in an unusually positive course of action allowing him to explore areas of sound he had previously never visited. A definite highlight here at Parachute and an exemplary release to kick off our 2017 schedule. The year couldn't have started any better! ‚I Am Goodbye' is designed by Atilla Fidan and released on LP and digital formats.

For over two decades now, Martin Maischein has dedicated himself to all things meditative and adventurous on release for labels such as Editions Mego, Force Inc. or Position Chrome. Before making his distinctive sound heard on Techno floors around the world once more with a dubbed-out rework of Matrixxman's "Beacon" in the summer of 2017, Maischein released a small-run cassette release on Dominick Fernow's Hospital Productions under his Goner moniker. "Yogascum" will now be re-released on vinyl by the Switzerland-based Hallow Ground imprint. Maischein started working on "Yogascum" in 2014 with the intention of pushing the boundaries of his signature sound even further. Having received a grant by the Musicboard Berlin, he developed an audio-visual show around the three tracks at the core of "Yogascum", all of which feature instruments and sounds previously unheard of in Maischein's work. While the Berlin-based noise cellist UnterLala weaves her signature screeches into the pulsating drones of "YS-1" and "YS-3", zK member Mark Godwin on "YS-2" injects the subtle influence of a band whose records he has been working on as a mastering engineer, Coil.

A distillation of cultural memory through electronic process, James Place - the creative guise of New York native Phil Tortoroli, returns with his third release for Umor Rex. The sonic realization of love and loss, re-sculpted for the Post-Modern age, pursuing his glacial take on techno into newly intimate depths.

Departing from a line in TS Elliot's Four Quartets the moment in and out of time', its works take form through the haze of a dream. Over the course of several months Tortoroli tracked heaps of live stereo jams at home, jamming on his drum machine, sampler, polysynth, and effects setup. Poring over these hours of hazy jams, Tortoroli heard himself straining for an additional voice to further emote. Rifling through a vast library of old bounces and experiments, Tortoroli rediscovered the music of Sam Sally to complete Voices Bloom, resampled live and again subdued into explorations of an old practice'.

Voices Bloom is the musicality of cultural collage, immensely personal and intimate, arms stretched out, gathering diverse sonic worlds. The artist and his craft as a self-reflexive lens for an electronic age - a sonic patchwork heard from afar - impressions of memory, drawn close to the heart. Within the album's cool displaced tones, rise nostalgic romances, drifting rhythmic works which defy the beat. A world where time enters multiple frames, those possible, literal, implied, forgotten, and remembered anew. The final results on Voices Bloom are the most reflective yet from James Place. The hopeful kosmische beats and hauntological synth music on previous albums, and more delicate melodies, riding crisp minimal rhythms that flow elegantly from vignette to vignette. Rhythms of abstract techno with glistening melodic lights.

Black To Comm's Marc Richter returns under his Jemh Circs guise for a 2nd album of sonic abstractions. In contrast to Black To Comm's analogue tape and vinyl based sound, in Jemh Circs he works with digital sources by primarily sampling modern Pop Music (and various other oddities) on YouTube (et al.) and sending chunks of it through a variety of arcane transformations and mutations.Using similar esoteric methods as on his 2016 debut album but with very different results the record deconstructs the hypermodern sound of Pop Music with a Post Punk attitude, energy and primitivism. Richter's combining disparate elements that shouldn't really work together but somehow all the chaos is making strange sense creating a collection of oddly diverging sonic vignettes with a surreal and anarchic spirit. This is music deeply rooted in the present but still difficult to pinpoint to a certain year or style."(untitled) Kingdom" converts a seemingly one-dimensional concept into a complex puzzle of ideas, sounds and narratives, completely assimilating the original sources and transforming them into novel entities with an unexpected melodic and rhythmic quality.Some press clips for previous releases:The overall effect is quite remarkable. Each track is like a hologram of pop music itself, a tiny part that reflects the whole. You almost feel that you could open them out and re-create entire popular music cultures. We'll be grateful for that when the next solar storm fries all of our hard drives. (Ian Sherred / The Sound Projector) In that way Jemh Circs is a record about process - not just how Richter loops and distorts and mutates his samples, but how the sounds of pop music create a particular sonic signature, one that gets more interesting the farther they're pulled from their original context. (Marc Masters / The Out Door) Recycling random audio off YouTube, Jemh Circs' process couldn't be less sentimental, but the results turn out to be sneakily emotive. (Philip Sherburne / Pitchfork)

An Album More Devoted To A Listener Rather Than A Dj. Or Maybe Then A 2.0 Dj,) This Music Melt All Kind Of Influences Indluding Minimal, Bass Music And Ambient, But In A Very Experimental And Hypnotik Way. A Very Space Album For Music Lovers Principally.

What are the best non-physical landfills for discarded thought? Do waves transition between naturally occurring substrates and audio signals? Does adrenal fatigue and replenishment in the human brain relate to cycles of euphoria and dysphoria in music? What is the mental effect of visual versus aural repetition? Is all music fictional? Can the language of objects and memories impregnate sound? Are bodies out of fashion? What is the music production equivalent to a green screen in film? What is the best non-physical preservation method for sound? Is film editing a way of ordering memories? Is repetition therapeutic? Are all films fictional? Have physical forms slipped into obsolescence? Did Erik Satie have an anxiety disorder? Is background music parasympathetic? Are physical players more virtuosic than virtual instruments? Is thought finite? Is physical music a fetish? Is reality fictional? What is the most elegant way to float between corporeal and ethereal forms? Do memories deteriorate and fade like audio signals exposed to the elements? Can thought exist without the body?

Jigsawtooth is the third album from Hendrik Kroez's Miwon project.

Limited randomly packed red or white vinyl. Non-Returnable.

On this long-awaited follow up to is critically revered A to B (City Centre Offices) Kroez displays his skill in marrying motorik techno infused rhythms and soaring pop ambient melodies.

This is most evident on 'Charezza' which could very well be the most uplifting track in the n5MD cannon. Other cuts on Jigsawtooth utilize sweeping synth-work that encourage a near kraut/kosmische travel worthy flavor to the proceedings.

Other genre signposts are evident on Jigsawtooth but that's something that's always been a constant with Kroez's work as Miwon. In his hands such coalescence sounds cohesive, natural and is some much welcomed diversity to nought-era electronica.

Shits are not given by Laurie Tompkins and Oliver Coates on Ample Profanity; a let-it-all-out session of deviant, punkish avant-classical composition hallucinated and expectorated by two prodigious talents. An ideally off-centre and brazenly wigged-out follow-up to aces from Chaines,
Yeah You and Ashley Paul already released in 2018 by Slip - the label Laurie runs with friends between London and Newcastle.
Laurie supposes and composes on keys, tapes and samples, and Oliver does his part on cello and FX. They both sing, if your definition stretches that far. What we can agree on, though, is that Ample
Profanity is a steaming pile of madness quite unlike anything else in circulation right now.Still feral from his cultishly acclaimed Heat, War, Sweat, Law album, Laurie is matched by a usually
more collected Coates, who, while often hardly distinguishable from the maelstrom, certainly doesn't impede the lunacy, and seems to encourage it, grasping the opportunity to freak out
properly adjunct to his solo work and collabs with Mica Levi.
Kicking off with Sniffin' Samgh, a possessed study in primal vocals and lurching, yelpy strings, the session turns variously thru quieter, asymmetric ideas in Peejayargh to cough up its spicy noise guts in RP Beal, before they settle into a call-and-response of quizzical sighs and plucks on Lime Rugis, and set about hacking up a wickedly dissonant tussle between no wave guitars, intercepted phone calls and edge-of-sanity blasts into the void with Charterhouse, Vinci.
It's maybe not what you might expect from a former winner of the Royal Philharmonic Society's Young Artist Award 2011, and a graduate of the RNCM, or maybe it is. Either way, Ample Profanity is beautiful, funny and f*cked up in equally satisfying measures.

Spare and jazzy samba work from the team of Paulinho Da Viola and Elton Medeiros - a beautiful illustration of the genre at its simple best - carried off with no pretension and a wonderful sense of grace! Instrumentation is heavy on acoustic guitar and percussion - and also includes bits of flute or trombone - all used lightly, but to provide some jazzier inflections over the top of the vocals - in a way that keeps the tunes dancing along lightly and beautifully. Elton and Paulinho alternate vocals from track to track - and sometimes do so on the same tracks, but in medley-styled format. Titles include "14 Anos", "Arvoredo", "Sofreguidao", "Perfeito Amor", "Minha Confissao", "Depois De Tanto Amor", and "Samba Original".

White on White is an absorbingly dynamic, multi-layered album of improvisations made on the seminal PPG Wave synth, inspired by the work, life and theories of the great, if forgotten, British constructivist artist Marlow Moss (1889-1958): a radical, gender-bending British Jewish lesbian and innovator of non-figurative art who was a then-contemporary influence on Piet Mondrian, with whom she worked alongside from the late 1920s as part of the Abstraction-Creation artists association in Paris, until the Nazi's forced her from mainland Europe back to England, where she settled in the far west of Cornwall.
White On White forms a follow-up of sorts to Willis' Ascention (2015) tape, and perhaps more aptly, leads on from his and Natalizia's reworks of Daphne Oram - arguably another overlooked, British female pioneer of her field - which are collected on their Walls album, Sound Houses (2014). There's little doubt that this is some of Willis' strongest solo work, which can be attributed to the fecund inspiration of Moss's work, life and theories, as well as his access to a prized arsenal of rare vintage synths.
Titled after the Moss piece which adorns the LP's front cover, White On White forms a welcome first introduction for many to Moss's work, life and theories' thru a combination of visual representations - photographs of the artist and her work - with text by Lucy Howarth, curator of Moss's recent exhibitions at Museum Haus Konstruktiv exhibition (2017), the touring Tate display (2013-15), and of course the music itself, which seeks to describe Moss's mathematically sound geometries and evocative aesthetics thru its lattice of unique, free-floating timbres and spatialized rhythm patterns.
White On White is thus a direct result of the artist immersing himself in Moss's oeuvre, or what is left of it (most of her pre-WWII output was destroyed in the war), with results strongly reflective of the austere clarity and modernist structure of her works, from her syncopated line drawings modelled in the helixes of Double Lines, to the rotating perspectives of her 2D-into-3D metal sculpture manifest in the illusive, Peder Mannerfelt-like designs of Matrix of the Visible, whereas the closing 9 minutes of perilous abstraction recalling Wendy Carlos' Clockwork Orange OST in Man Guessed at a Spiritual Meaning and Imposed a Moral System both literally and metaphorically serves a sort of unsentimentally elegiac, enigmatic lament for the artist's neglected status, which even now prompts a scratch of the head by people who should be aware of
her work.

With his album IN BETWEEN re:deep presents not only an impressive specimen of his musical spectrum. The artist also merges Deep House elements and experimental Folk as well as extremely minimized Indie Pop into a whole new sound concept. re:deep intensively bends the boundaries of the genres, delves deep into the soundscapes of different epochs and styles. Thereby warmly crackling field recordings blend into analogue basslines and sequencers as well as melancholic guitar drones meet sensitive vocals.
The always smoothly appearing and cocooning sound is the subtle recurring theme of the whole album, which develops a close intimacy and captivates by its analogue warmth, which you can't escape of. Tender strings float on vibrant drums and wafting surfaces. The album features the Japanese artist COKIYU, her voice in combination with the arrangement form a symbiotic relationship and evolve WEARING LIGHTS into a journey through slowly drifting Electronica landscapes.
The field recordings, which were made - inter alia - in Iceland's rough countryside, are particularly noticeable between the lines and infuse the soul of the album as well as the love to detail in general. A total of nine tracks are featured on the album, which convince not only by their sound density and close interconnectedness, but also by the shift in emotions. Music, that is enjoyable at your home as well as on the dancefloor and - after all -just touches your body and soul.

Mit dem Album IN BETWEEN präsentiert re:deep nicht nur eine beeindruckende Werkschau seines musikalischen Spektrums. Der Künstler fusioniert Deep House Avancen mit experimentellem Folk sowie bis aufs Mark reduziertem Indie Pop zu einem vollkommen neuen Soundkonzept. Genregrenzen lotet re:deep intensiv aus, und taucht tief in Klangwelten unterschiedlicher Epochen und Stilarten. Dabei treffen warm knisternde Field Recordings ebenso selbstverständlich auf analoge Basslines und Sequencer wie auch schwermütige Gitarren-Drones auf feinfühlige Vocals.
Der stets weich anmutende und umhüllende Sound zieht sich dabei fast unmerklich wie ein roter Faden durch das gesamte Album, dass durch seine analoge Wärme unweigerlich eine intime Nähe entwickelt und in den Bann zieht. Zarte Streicherarrangements gleiten auf IN BETWEEN über pulsierende Drums und dahinschwebende Flächen. Japanerin COKIYU ist als Featuregast vertreten und beflügelt mit Ihrer Stimme WEARING LIGHTS - Stimme und Arrangement gehen hier eine vollkommene Symbiose ein und avancieren den Track zu einer Reise in langsam dahingleitende Elektronika-Landschaften.
Zwischen den Zeilen machen sich vor allem die Field Recordings bemerkbar, die unter anderem in der schroffen Naturlandschaft Islands entstanden sind und die Seele des Albums ebenso erfüllen wie die Liebe zum Detail überhaupt. Die insgesamt neun Tracks überzeugen jedoch nicht nur durch die Klangdichte und tiefe Verwobenheit, sondern auch durch den Wechsel der Emotionen. Musik, die gleichermaßen im heimischen Wohnzimmer, sowie auf Tanzflächen ihren Platz findet und am Ende eines gemein hat - Körper und Seele zu berühren.

Suzanne Ciani is a true electronic music pioneer. The five Grammy nominated Italian-American neoclassical composer is unquestionably one of the greatest minds that contemporary music has ever witnessed. After an incredible career spanning forty years, Ciani’s accomplishments have become a benchmark when discussing the origins of musical synthesis. For more than four decades she developed a body of work that transcends the music industry, composing for film, video games and famous advertising campaigns that have impacted popular culture. On December 14, 2019, after six years of sound experimentation, Lapsus Festival bid farewell to Barcelona’s Centre for Contemporary Culture. Its final event was entitled 'A Sonic Womb' and was dedicated to the musical roots of the synthesizer, with Suzanne Ciani headlining on the night. Ciani performed an exclusive show accompanied by her modular Buchla 200e synthesizer and enveloped in a specially designed multi-channel sound environment by Intorno Labs. It was a sonic voyage to the very heart of her beloved machine and a tribute to improvisation through an instrument that is said to possess its own soul. Suzanne described the night as ”an improvisation that I began using in the ’70s and continue to use now as raw material. Each performance based on this material has its own expression and one could liken it to jazz." Lapsus Records is therefore extremely honoured to present 'A Sonic Womb: Live Buchla Performance at Lapsus', a unique live recording of this extra special concert.

Onward and upwards - the Belgian dubstep imprint Overdue maintains its super-heated release schedule with full force. With a meticulously curated artist roster and continued support by the likes of Mixmag and other vital institutions, this release yet again perfectly aligns with their vision of subculture sound system music. Spearheaded by a positively prolific artist, their fourth record features Teffa on the controls. Following up on some massive 12" releases on crucial labels such as White Peach Records and Foundation Audio, the up and coming artist furthers his status as a versatile and highly capable producer with three tracks of unadulterated sound system pressure - including a weighty collaboration with Chad Dubz.

Arming the record, "Shell It" heads straight into the matter at hand, precision engineered weaponry clocking in at 140 BPM. Drums like mountains, effortlessly heaving immense amounts of low-end, smoothly embedded on silky pad swells. Fusing old-school elements with the present like few others, the lively arrangement does the rest to keep the crowd aflame without end. Music with an attitude - rewinds assured.

Fasten your seatbelts as the record kicks into overdrive once again with "Sludge" as faint police sirens and reverberate into oblivion only for it to implode into an instant dubstep classic. Driven by its ridiculously effective and minimal instrumentation, the underground unravels itself in sonic form. Spacious pressure wave emissions, especially primed for the dance.

Stepping up to the title track, "Illegal" tops off the 12" most beautifully - packed with Grime and Breaks influences and mesmeric melodies. As unshackled 808's pound away alongside a murderous set of percussions, the electronic soundscape treads through hypnotic harmonies and dance-inducing groove - Teffa signature style at it's finest.

Close affliates of Loefah’s Swamp81 imprint with countless dubplates in circulation but few actual releases, Traces are one of dubsteps quickest rising duos.

Scrub a Dub has been showcasing some of best new talent of late from ALXZNDR, Josi Devil and Rapture 4D and Traces are no exception dropping three prime cuts on the next 12”.

Each track sounds equally fresh while reminiscent of the dubstep glory days in the mid 2000s. Mungo’s have been championing these tracks for some while and back when a dance was a thing, they were damaging dance foors!

pink marbled vinyl / hand-stamped