Beats Vinyl New Releases - News

Konstellaatio is another Mika Vainio masterpiece as his original alias Ø on the native label Sähkö Recordings that Mika co-founded in 1993.

Lavonz is back on Dansu Discs. After his track on the latest Club Culture, one of the newest members of the Dansu Discs family returns with this 6 track EP packed with classic reissues and new material. In what Lavonz describes as his ‘return’ to the scene, with this ‘Uncut Gems’ EP he brings the distinctive sound that made him such a reputable player so many years.

Promesses returns with first vinyl release from producer Loto Retina. Soundscape’s master focused on a more club-oriented EP, bringing 6 hybrid tracks between footwork, jungle and ambient. Handmade silkscreened cover with an artwork made by Vica Pacheco.

Luca Lozano spent the 2020 lockdown sharpening his tools, using the time off from traveling and DJing to re-center and re-vise. As the pace of life slowed, so did the BPMs and the Klasse Wrecks boss sought refuge in the distraction that the studio and the creative practice can offer. 'Lozano 2.0' may sound like the producer shifting down a gear, but probably only with the goal of preserving his energy until the world is ready to spin again.

Repress!

7 inches of heat from the Apron camp: Mighty Baron III & Sun Runners

Love All Day is pleased to present Facets, our third collaboration with renowned contemporary electronic composer, Norm Chambers (Panabrite, Jurgen Muller). As the title implies, it's a many-dimensional work, and one born from a time of crisis in Chambers' life. Created in the spring of 2019 while experiencing health issues that were ultimately diagnosed as being a rare form of sinus cancer, Facets reveals Chambers efforts to push himself to places he hadn't gone before ----to try to rid himself of old habits & embrace potentially unsuccessful creative attempts, whatever the result. Faced with a sense of urgency & riding a creative wave, the tracks came together quickly as he explored new creative vistas ---his familiar, bucolic landscapes now occasionally interrupted by craggy rhythms and aural horizons that fluctuate like air on desert sand. Concerned that these works would be his final statement, he quickly released them digitally as he awaited surgery & chemotherapy to treat his illness. After his near brush with death & subsequent recovery, we're extremely grateful to have the opportunity to re-present this singular work by one of our favorite artists with deliberate intention and care as a long playing album.

Noisebreakcoregabberoldschoolamericanspeedcoresplattered !

Growing up in Milton Keynes, the largest of the "new towns" outside of London designed and built in the 1960s, perhaps explains why producer Nicholas Worrall is subconsciously drawn to clearly delineated sonic structures and flawed techno utopianism, two concepts that are ever present in both his sound and aesthetic approach to music.

Wordcolour was formed just two years ago, at a time when Worrall was habitually cutting up and splicing human voice samples ripped from YouTube memes, film dialogues and musique concrète tapes.

The first artistic demonstration of these ideas arrived in 2019 via his mixtape “I Want To Tell You Something” for the Blowing Up The Workshop platform. This unique set immediately grabbed the attention and support of the specialized music press and media, including Pitchfork and Resident Advisor.

“Tell Me Something” is Wordcolour’s official debut EP and heads straight for the dance floor. It is comprised of an unusual melting pot of influences that fuse the UK club sound, post-dubstep and a style akin to Paul Lansky's ‘90s musique concrète. “Tell Me Something” offers a vibrant leftfield, avant-garde techno and edgy electro, all immersed in the vast cosmos of the human voice.

Yahshu is seeking something he has never heard before, bringing influences into his work from a huge spectrum. Created using a combination of live strings, samples and synths, the three tracks on 'Somebody Else's Dream' invite the listener to witness a conversation of sound, as if one sound was asking a question and another answering it. What that conversation is, we'll let the listener decide. The EP was originally written 10 years ago but has since been developed and refined, finally coming to life through RYSUNKU.

Yahshu is also the founder of RYSUNKU. 'Somebody Else's Dream' is the first release on the label. RYSUNKU releases innovative sound work in very limited numbered vinyl editions.

'Somebody Else's Dream' artwork by artist Connie Prantera and design by renowned art collec- tive Tomato.

First time reissue of a super-rare private press tape by peerless sound artist and instrument builder Akio Suzuki, recorded behind-the-wall in 1984 at Berlin’s Technical University.
An absolute master of haptic abstraction, Suzuki’s delicate touch on self-built glass harmonica and the Analapos echo unit - metal cans joined by coil spring, like a kid’s tin-can telephone - generates the most ear-teasing spectrum of tones in ‘Zeitstudie’, which was only available in scant quantities via Galerie Giannozo, who organised his 1984 visit and performance which produced these recordings.
If you’ve had the pleasure of immersing in Akio’s work before, you will know the sort of tingling pleasures to be had from his music, and, as the artist states, this is one of the most “joyful” examples of his early work. The four pieces use one of his earliest, transportable set-ups, with a refined version of his glass harmonica - glass tubes suspended horizontally and played with wet fingers or wooden stick - and its sweetly avian harmonics displayed in the two mesmerising ‘De Koolmees’ pieces, while the others generate utterly intoxicating worlds of echo from his Analapos unit, reverberating in two 17 minutes parts like lingering traces of ecstatic melody from Michael
O’Shea’s Mo Cara, or some ancient ceremonial cave music.

Amazing.

Another release with foggy minimal dubby techno sound of Berlin. Montreal based Atheus delivers a hot record that will make you move your ass in a very gentle way.

Remastered golden era Jungle Techno EP from Ruff Guidance Records

Remixes of Too Much by Aston and Ray Keith remastered.

A 1990's Classic on one side and the equally popular Remix on the flip side. Remastered from original DAT masters by Shane The Cutter at Finyl Tweek. Cut at 45 RPM for the DJ's

ohn Beltran was responsible for some of the greatest ambient techno records of the 1990s, and despite falling into near-obscurity for much of the 00s, his place in the canon has recently been secured thanks to reissues on Styrax and Millions of Moments.

In the mid 90's, Julee Cruise and Eric Kupper were signed to the same music publisher, Warner Chappell. Patrick Conseil, who signed both, thought it would be a good idea for them to get together and collaborate. He was correct in that assumption, and this has lead to an enduring relationship, both creatively and as friends. These two tracks were originally intended as demos, but somehow got leaked onto YouTube, with positive response. Eric thought it would be a great idea to remaster the demos, keeping the raw edge, and give them a proper release, some 20 plus years later. Julee enthusiastically agreed.

Having been influenced by the likes of Roni Size, 4 Hero, Jacob’s Optical Stairway, LTJ Bukem and DJ Die (the latter of whom Eric did a collaboration with), Kupper was experimenting with drum and bass. He could often be spotted in London clubs 'The End' and 'The Globe' checking out and enjoying the music and the vibes.

'My Blue Yonder' is one of the few tracks Kupper has ever written lyrics to. They were inspired by his then toddler daughter, Zoe. One day, Eric found his 3 year old on the floor, wrapped up in a blue blanket, looking blissful. When he asked her what she was doing, she replied 'I'm in my blue yonder'. She had heard the phrase in a song from a children's video. Eric then sat down and wrote a moody yet childlike song about a utopia, based on his daughter's likes and dislikes, her joys and her fears. A compelling blend of orchestral arrangements, frenetic beats, and Julee's unique vocal approach. Julee has often commented that it is one of her favourite tracks she has ever recorded.

This collaboration also led to 'Satisfied', with lyrics and melody written by Julee. An ethereal somewhat existential track, with jazzy chords and pulsating arpeggios, it still has Eric's vibe, within a different music style. Julee's beautifully phrased vocals and lyrics bring the track to life, giving it a clear vision.

This is the first release on Kupper's new 'Hysteria misc.' label. A label for all kinds of music, electronic to acoustic, rock to experimental, and 'misc.'...

In Julee’s words, 'Thanks Eric, for doing this. I really love what we did'.

What works reliably is to know the raw silk, hold the uncut wood. Need little. Want less. For- get the rules. Be untroubled.Laurel Halo presents six instrumental pieces that form a meditative, cinematic listening ex- perience. Inspired by recent film score work for Metahaven and Ursula Le Guin's translation of the Tao Te Ching. Featuring cello work by Oliver Coates and percussion by Eli Keszler.Working in abstraction leads to a deeper lon- ging for touch and closeness.The tactile sen- sation of struck organ keys and bowed strings, wood and felt on drum heads. Smoke and dirt and stone. Febrile and tactile, hairy and hissy. A clover of highway onramps, a continuous flow, like old leaves melting on their way down a stream at the back of a house. Constant contradiction, the truth's nowhere.

Killer debut LP by Lol K starring vocals by Coby Sey and LA Timpa, following the Londoners’ EP for Mica Levi and co’s Curl Recordings with a crafty set of queer, sensuous pop, configured in brilliant, surprising ways for Rabit’s Halcyon Veil.
The six songs and corresponding instrumentals of ‘The Breeze’ explore ideas of escapism, belonging and inner city isolation in an up-to-date vernacular firmly blunted by sparing, crisply defined but shapeshifting production. The album clearly marks a concerted development of Lol K’s sound - especially compared to their oblique appearances on the ‘Born Under a Bad One’ (Curl, 2018) EP - with the duo’s CJ Calderwood and Junior XL more confidently venturing their vocals into the mix this time, switching between melodic hooks and blunted hush, to a rave-punkish prang out and puckered chamber composition with lowkey rude and innovative production to match.
This newfound confidence subtly oozes from the squashed drill rap mutation of ‘Air Held Softly Alight’, and their ohrwurming opener ‘Proud’, and is smartly tempered into the seething Reese stabs and aggy holler of ‘Oilseed Stone’ featuring an upfront Coby Sey vocal. The album finds its centre in the serpentine, understated strings and dembow bump of ‘Twice’, and the deep 2-step chamber music of ‘Completely Out Of Business’ featuring the vital input of LA Timpa, following his outstanding 2019 debut, and ahead of an achingly strong solo album for Halcyon Veil. For the DJs and anyone who wants to lend their own bars, the instrumentals reveal the subtly whirring mechanics under Lol K’s hood, and how they elide and ride styles while allowing for burred edges and a complex, gauzy soul.

C.A.N.V.A.S. follow aces by Olan Monk and Elvin Brandhi with Lugh O’Neill’s zinging new suite of fractiously reflective, emotive sound-scaping.
Returning from a smart debut in 2018’s ‘Hélico’, Berlin-based Irish artist Lugh sharpens and expands his vernacular with strikingly amorphous and absorbing results comparable in the modern field to everyone from Zoë McPherson and J. Colleran to Arca. He draws on the chaos and rush of emotions that have fractured the world with a fine articulation of synthetic voices that speak to his “rediscovery of lived sensibility on a relational scale”, and with results approaching
something like a simulacra of brain fog - multiple emotions, observations, and speculations all vying for attention at once.
The gnawing, queasy tones, aggy chants and lush dread of ‘Americans’ articulates how we feel watching news on YouTube, and the scything metallic swarms of ‘Braises’ sounds like The Sprawl
and TCF conducting a swarm of drones, but there’s a more surreal levity to the grief-stricken gravity of the album in the devilishly detailed aqua-acoustic chicanery of ‘El Rocio’ making use of underwater recordings by Zuzana Pabisova, and the knackered machine blooz of ‘Music For Programmed Obsolecence’ that’s almost Arca-esque in ‘Irony Chastity Obedience’, and alchemized into nerve-biting black metal mutation on ‘Free Fall’.

A monumental debut work for Shelter Press, ‘Death Star’ is something of a definitive statement or magnum opus in the explorative oeuvre of NYC artist/composer Marina Rosenfeld - a big RIYL Stephan Mathieu, The Caretaker, Félicia Atkinson Marina first grabbed our attention with the uncannily echoic industro-dub environs of ‘P.A./ Hard Love’ in 2016 (a real precursor to Jay Glass Dubs we reco), before showing a quieter, more sensitive side in her collaboration with Ben Vida ‘Feel Anything’. Now on ‘Death Star’ she places deeply uncanny proprioceptive sensibilities to stunning use across an album focussed on the microphone as listening device and instrument - a sort of mechanical ear/eye - with impressively elusive/illusive results.
The original recordings come from an installation - a plexiglas orb housing seven microphones - that picked up and fed back samples of visitors to an exhibition at Portikus gallery, Frankfurt.
Marina’s album reworks those recordings with fragments of piano played into the same system or orb of mics, generating utterly enchanted ethereal spaces that speak to the listener’s atavistic
responses to echoic space and acoustic phenomena.
In four movements Marina grows the source material from liminal, plasmic and dreamlike as she begins to feel out the work’s scope in ‘Death Star’, all quite polite but edged with a menace that gets more complex, with a chamber ensemble playing back notation of the original location recordings in more atonal and aggressive iterations re-amped thru banks of speakers to edge on KTL’s electro-acoustic doom or Iancu and Ana-Maria Avram’s spectralist music.

Please find enclosed one 'Deluxe' stereophonic gramophone record from Concept City, containing thirteen recordings of musics entirely produced upon 4-track portastudio for your pleasure and discourse - the sole work of Mr Robert Grant of this parish.

So states the photocopy insert from the 1985 November LP on Cordelia Records. Home to R. Stevie Moore, Rimarimba recently reissued by Freedom To Spend - and label owner Alan Jenkin's The Deep Freeze Mice, Cordelia was home to a menagerie of sound collage plucked from the ether.

Included is the only vinyl release from Concept City, spreading across 13 instrumental tracks of samples and noise. The Welsh choir and robovox meets hypnotic bass of Open The Network glides to the acoustics of Jayne Andrews and Filament, before Steam amasses TV ad cassette archives. As Etruria and Lapse Wine's Durutti meets reel-to-reel to the cold wave of War, Children and wasp synth of Helsinki, Grant slowly unfolds a masterpiece.

Looped drum samples, multiple layered to tape, sped up and slowed down for phasing, the title track is a pinnacle of 80s DiY genius. 'Crossroads' multi-sampling Meg leads to the exotica 'muzak' closings of Penetration and Friends. With just 5 albums over 40 years the music of Mr Concept can be a discovery and cherished.

limited to 120 copies with insert and downloadcode

My Pierrot Dolls is a British minimal synthpop band formed in 1981 that have a cult following as they contributed two of their early songs to the fantastic and highly sought after 1983 v.a. compilation “Subtle Hints”. They turned darker and gothier from there until 1985 by adding guitar and real drums but never left out the synths. We have compiled all their great studio work from 1982 to 1984 much of which was unreleased until now. Awesome early 80s stuff.

NPVR is moniker taken on board by PITA AKA Peter Rehberg and Factory Floor's Nick Void. 33 33 is their debut recording made in July, 2017 at The Premises, London.

Peter and Nik both share formidable reputations in the post industrial shape-shifting world of sound and form with a vast range of releases and collaborative endeavours over a number of years. Together they tie together their collective experience into a vast array of sonic devices unleashing an album of pragmatic imbalance and psychedelic orientation. Blurring the lines of techno, ambient, avant garde, noise etc

33 33 positions itself in the nebulous realm of contemporary (dis)comfort presenting itself on the border of music and sound, the social and the private.

All tracks by Nik Void & Peter Rehberg
Recorded and edited at The Premises, London, July 2017
Mastered by Russell Haswell at Haswell Studio, London, August 2017
Cut by CGB at Dubplates & Mastering, Berlin, September 2017
Artwork by Nik Void

Crucial collection of raw, darkside early gqom from pioneering Durban trio Phelimuncasi, setting the gripping vocals of twins Makan Nana and Khera, and Malathon, to cranky technoid club engines by DJ Menzi, DJ Mp3, and DJ Scoturn, all showcased for first time outside South Africa on the ever vital Nyege Nyege Tapes. Unmissable for fans of dark, heavy dance music of all stripes!
For Phelimancusi’s overdue first international showcase NNT follow a number of excursions into this sound from DJ Menzi and Sleeping Buddha for sibling label Hakuna Kulala with a mix of vintage early works and banging new exclusives, including some produced recently as 2019 in the downtime after the trio’s incendiary performance at the label’s annual festival. Alongside the gqom archaeology of Italian-based GqomOh! label, this lot forms a vital piece of the genre’s
history, charting how the vocalists’ conversational, toasting style, itself rooted in local storytelling traditions and the intimidating rhythmic singing of the apartheid-era came to influence their sound, and ultimately set the course for Gqom to come.
Colloquially known as “taxi techno” in the Durban townships, Gqom is a staple sound at NNT’s annual festival in Jinja, Uganda and always brings the best moves out of the SA dancers (and everyone else for that matter). As recently revealed on his shocking ‘Impazamo’ tape for Hakuna Kulala, DJ Menzi is one of the scene’s wildcards, and his productions for Phelminancusi are a big highlight here, counting the heavy call and response lyrics, signature Zulu trills and hard clang
of their ‘Private Party’ anthem, the Terminator-stare drones of ‘GQOM Venus Cemetary’ and the desiccated bones of ‘Umgido’ among the comp’s heaviest drops.
Racked up beside an infectious introduction to gone-but-not-forgotten producers, DJ Scoturn with the menacing bell hook and bouncing bars of ‘Umahlalela’, and the starkly martial snares of DJ Mp3’s ‘Sesi Gora’, which sounds like mutant dancehall dispatched via late ‘80s Chicago, this lot is surely more than your RDA of the dark stuff, and absolutely primed with dense cyberpunk atmospheres for skulking deserted inner cities and counting down to the apocalypse.

French lifeguard and sonic artist Roméo Poirier’s long sold out debut tape finally gets a vinyl reissue. “Plage Arrière” is a deep sea meditation on a constellation of Greek beaches across three islands. Trumpets, echo-clicks and Harold Budd-esque shimmer piano whirl together on these seductive scapes, which recall the sub-aqeaous ambitions of Jürgen Müller or Jan Jelinek inspecting a coral reef.
Like sand-caked postcards, or pieces of seaglass tumbled and re-engineered by their surroundings, each piece exists a keepsake from the song’s namesake beach.
These missives glide in and out of earshot, bustling like miniature engines, finely tuned and rhythmically confounding. They echo the factory sampling work of YMO on Technodelic: industrial but somehow good-natured, a symbiosis of machinery and wildlife - like an artificial reef or propeller blades smothered in algae.
Plage Arrière is Roméo’s second album this year following "Kystwerk”, where he joined forces with the Norwegian poet Lars Haga Raavand. “Plage” also marks the inaugural release for SWIMS, a new experimental-focused imprint of Cold Blow, who are releasing the LP alongside London label and NTS residents Kit Records

Killer debut album of screwy soul blatz and psyched synth-pop - created in a caravan on the Scottish West coast - by Manc bod Sockethead; the musical handle for visual artist Richard Harris on Andy Lyster’s Youth Aside from knocking out scuzzy wee bombs like this album, Sockethead is a member of Manchester’s Return to Zero production/DJ crew with Turinn and FUMU, and also lectures in art
at the city’s institutions. This should give both casual and keener observers of the city’s mutant, sounds strong context for the colourfully visual styles on ‘Harj-o-Marj’, which factors in heavy
influences ranging from Detroit techno to post-punk, freak beats and screwed rap, to create a rudely shapeshifting amalgamate disciplined with the hands-on craft and tormented soul of John Bender, Graham Lambkin or Jeff Keen, and fraught with the nostalgia and lurking madness of life spent in isolation.
While Richard’s isolation was self-imposed as part of an artist residency in 2018 on the ruggedly beautiful West Coast of Scotland, its sentiment arguably, resonates with mindsets imposed by our
current lockdown. By turns the 14 tracks move from a “pissed and lonely” Graham Lambkin-like collage of synths and cranky vocals in ‘Genesis Redux’ to psyche-celtic geometric synth visions in ’When I Close My Eyes I See Paint’, via the fractal junglist brainjig of ‘Chaos Portait’, to bittersweet synth-funk meditations on ‘Love Loss Missing Yearning’ and ‘Devotion’, and exceptional segue into screwed psychoactive crud on ‘Jahiliyyah’, plus thee crankiest cyberfolk song you’ll hear in 2020 on ‘Hyena Clan’.
It’s naught but essential listening for fans of Manchester’s best, embodying the misery and psychic bruising of isolation, but naturally blessed with an artist’s creative resilience and knack for transmuting heavy feels into rough gold.

Tape / Cassette

This record was primarily informed by grief & loss. It’s overarching theme relates to the cyclic, transient nature of existence and the fact that everything is impacted by the law of change with nothing ever attaining a state of permanence. Dedicated to Adam & Alix.
Following up his 2017 album on Avian and another EP on Rengaine in 2018, we’re glad to welcome Verge on Veyl with 12 tracks of doom & drones to soundtrack the rest of this awful year

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).

DJ Fett Burger's first solo album!
A nine track double album with the full circle of Fett man's artistic styles to date. A deep personal trip into the different sounds that in recent years have been defining, and inspiring his productions and output. A musical story from beginning till the end. Always weird, never straight. A free flowing creative record with no compromise in mind, and never predictable. A genre spanning experiment within the strict frame of Fett man's aesthetics. Deep, personal and wonky, with a psychedelic and emotional touch!
Sound wise, always looking back to move forward!

Two previously unreleased 1992 tracks by jungle techno pioneer Ron Wells under one of his many pseudonyms. Side A featured on Fantazia's iconic "The First Taste album, and "Free My Soul" was an unused track from the same project. This release is limited to just 80 copies!

Content we’d nailed the EP we had a few TPs pressed; sending them out to a handful of influential DJs and promoters from back in the day. I remember being in a club and hearing a track that sounded a lot like ‘Release Yourself’, only at a slower tempo. The thing was, the DJ who’d got hold of the TP (sorry can’t remember who?!) was a house DJ. He was playing it at 33 rather than 45. Still sounded good as a House track though!! ‘Time to get Raw’ was the first track written by the original Persons Unknown collective and Time to get Raw (Part 2) expanded on the original; adding some extra layers, time stretched beats and a new arrangement. Dope Jam became a favourite with many who bought the original EP I think because it still had that Old Skool 92/93 feel, but with some of the filtered beats and techniques that artists were experimenting with at the time. Killa is definitely my favourite track from the second EP, you can hear all the elements from the contributing artists in this track. As with the first EP we decided to keep the true identity of the artists a mystery; continuing with Persons Unknown. The original artists from 93 still remain a mystery. Re-engineered, Cleaned Up and Remastered in 2020; bringing the music back to life...

Magic Carpet" is the first Compilation of the German Label "Harmonie Exotic". Jose Manuel selected 12 experimental ambient tracks from the 1982 to the 1994. They are combined by the same feature, namely the magic and mysterious character. Even though all the (remastered) tracks released in different countries, such as Japan, Italy, and France, they are all combined in being rare and obscure songs. In most of them it is possible to verify the oneiric melodies mixed with the different drum machines, typical of that year.

For this reason, they show how the magic has been developed over the chosen years, as they were all enveloped from the same carpet. Starting from this idea the Compilation's title plays an important role in anticipating the dreamlike listening experience.

Three old school Rave tunes from the Killerhertz archives remastered and pressed to a Ltd Edition (300) Marbled Colour Vinyl. Includes the most wanted Angelraw Mix of "Distant Dream"