Beats Vinyl New Releases - News

'Dusk/Grey Skies (i)' features two tracks recorded by Glasgow-based artist Daniel Magee during the coronavirus lockdowns of 2020. They mark an evolution in production sound for the Lo Kindre project and can be interpreted as a meditation on the events that are transpiring globally at the moment.

'Dusk' is a slow-building journey soundtracking walks through empty city streets as night falls. Sombre modulating pads underlie a slow and sparse drum machine and bass combination, leaving space for explorative, rhythmic and longing synth melodies to interplay overhead. In 'Grey Skies (i)' we’re lead straight into trance induction, swirling modulating pads returning, echoing over a dub bassline, droning synth and minimal drum machine. Once again the melodies perforate the foreground, this time echoing out into the haze and taking you further under.

on the quest for non linear grooves - pure, explorative, outsider rhythm jams

Amsterdam-based keyboardist, composer and owner of the Flowriders studio Vincent Helbers released his debut album ‘Hear To See’ as Seravince in 2013. A blend of broken beat, future soul and multiple adjective-jazz styles, compiled in a masterfully mixed 45-minute album. Now, 7 years later, the album is released on vinyl for the first time in a limited quantity of 150 copies.

Seravince’s 'Hear To See' sees Vincent cultivating his extensive experience inside the studio. The album is deeply rooted in broken beat drum grooves, provided by longtime collaborator and UK drummer extraordinaire Richard Spaven. These are accompanied by the jazz-inspired harmonies and solos from Seravince himself. All musical elements are one takes, recorded on analogue tape. “I want the sound to maintain the rawness and organic vibe”, Seravince explains. The sensual vocals on the album are courtesy of RH Factor singer Renee Neufville (US) and Sharlene Hector (UK), who’s worked together with Reel People and Basement Jaxx.

Sotto Voce is a new project from duo Luke Fowler & Vikki Morton, commissioned by Glasgow gallery The Modern Institute in collaboration with record label Redstone Press.

The EP considers the relationship between the natural world and technology and references the pedagogical work of artist Paul Klee, who taught a holistic course on drawing at the Bauhaus in the 20's. Klee drew greatly on shapes, forms and cyclical patterns, studied and observed from nature.

The minimalism of Sotto Voce's "Klee" shares these pre-occupations, but applies them to synthetic rhythms and timbres with the use of an EML 101 Analogue Modular Synthesizer, creating haunted dub mutations, foreboding ambience and melancholic meanderings in a piece of work that reflects the dark and barren Argyle landscape in which it was composed.

The EP also features a guest spoken word vocal by artist Charlotte Prodger who conjures a meditation on Neolithic archeological findings on the Western Isles of Scotland.

erlin-based producer Adam Longman Parker announces Colored, his first full-length LP as Afriqua for R&S Records.
The album is a celebration of the unifying power of Black culture through the prism of electronic music.
After releasing successful singles "Soul Correction," and "Chronic Cool," and the back-to-back Aleph and Vice/Principle EPs, a full-length album was the ideal format for Parker to expand on the sounds typified in his dancefloor productions. Colored is a natural culmination of Parker's stylistic spectrum, spanning from house and techno to experimental and abstract electronica.

He left his bank card on your coffee table; strong booze and fine flake from the mysterious C Bosher.

CAIN closes out his Fine Grains triptych with a vivacious EP of signature bass shuddering, polyrhythmic drums. ‘High Call’, his first 12” on the now Amsterdam-based label, offers 6 original tracks and a remix by Japanese producer Jun Kamoda in homage to the revelatory spirit and pre-medieval origins of carnivals. Artwork by Dutch/Scottish artist Roos Dijkhuizen created through ink and water drawings.

Colours emerge from the dark, glowing torches and fire embers flicker through the night. ‘Caapi’ warmly draws you into proceedings, an alluring tease of soothing chimes and preview of the infectious shuffling drums that will follow. From ‘Apsara’, Cain sets us on the front foot. A pounding, stuttering rhythm ignites the track, as spinning chord sounds echo and a haunting, hallucinatory vocal lead us on. The carnival is fully alive in ‘Gundon Night’, a sinister and menacing broken track steered by Cosssack warrior chants. High on the mountain we reach the pinnacle of ‘High Call’, a triumphant lead track with CAIN’s recognisable warm and driving, rhythmical drum patterns. The otherworldly psychoacoustic melodies of ‘Taiyi’ and slower-paced triplet drums structures of ‘Zetwal’ make these tracks the outliers of the EP, but they also complement and help to complete the picture. Jun Kamoda’s zany turned up marching techno take on the lead track signs out ‘High Call’ in playful, multi-coloured order.

Fresh from their release on John Digweed's Bedrock Records under their more covert Techno guise 'Cypherpunx' the Brighton based duo Flip Fantazia unleash their debut album ‘The Trip’.
Touching on influences from Air to Bonobo, The xx to DJ Shadow, ‘The Trip’ guides you down a road less travelled meandering through Downtempo, Electronica & Trip Hop with a few Jazzy twists & turns.
Essentially Flip Fantazia is a meeting of two minds,
four hands, several synths, quite a few guitars, some very clever computer software with a variety of drum machines. The prolific duo spend most of their time writing, recording, producing, mixing & mastering original music down in an old bank vault in Brighton... well, Hove actually! Their real names… Douglas Horner & Tim Belcher.
Born from a project focussed mainly on music for Sync, writing for Ninja Tune PM, Cavendish Music, Delimusic, BMG PM & Deep East + more this is their first artist album to be commercially released.
Their first brief for Ninja Tune’s Production Music company was to create an authentic 60s sounding Samba song and a Boogaloo / Salsa, both of which appear on the Ninja Tune Latin Excursions album.
Along with a contemporary breaks / glitch remix of the classical masterpiece Flight Of The Bumblebee and a piece of funk with a foodie flavour for two other Ninja Tune production music albums. Another brief came in for some Australian influenced Beach House from delimusic to be used on the BBC Commonwealth Games Gold Coast 2018 coverage, so out came the Didgeridoo and five new tracks were born. Writing to brief is a delight & an adventure for Flip Fantazia covering many genres from authentic Samba to electro disco new-wave post modern cosmic soul funk afro-boogie punk alt+indie dance crossover and everything in between! So it was tough to narrow The Trip down to 10 original tracks which best illustrate the authentic Flip Fantazia sound.

After the reissue of Iury Lech - Musica Para El Fin De Los Cantos, Berlin based Cocktail d'Amore Music is proud to present a collection of remixes and reinterpretations of the mighty album. Japanese rising star Powder is first up to deliver her take on Barreras. The minimalist dreamscape catches its rhythmic reshape, becoming an underwater deep-house/deep- techno dance floor experience. On the same side Suzanne Kraft contributes with a rather cinematic vision on Cuando Rocio Dispara Sus Flechas. Hatchback opens up the B-side with an evocative version of Posmeridiano. The Californian producer gives a touch of sunshine and open air to the landscape of the original song. Closing the EP Ukrainian producer Zavoloka reinterprets Ukraina with a vortex of three-dimensional sonic layering.

"...The most beautiful thing about my burrow is the stillness. Of course, that is deceptive. At any moment it may be shattered and then all will be over. For the time being, however, the silence is with me." - Franz Kafka

In early 2019, at the Sonic Pieces 10 year anniversary in Berlin, label head Monique Recknagel hand-picked three duos from the imprint to perform live together for the first time. One of the collaborations was between Deaf Center's Erik K Skodvin and electronic composer Jasmine Guffond. The performance went so well that Monique commissioned the duo to record a full-length together.

Six months later, Guffond and Skodvin headed to Berlin's VOX-TON studio and recorded for two days, joined by Finnish musician Merja Kokkonen (Islaja), who improvised wordless vocals. With Guffond on laptop and a cymbal and Skodvin using piano, feedback, farfisa organ and percussion, the two composed an album of deep, enveloping sound that slithers through genre, absorbing Kokkonen's unique voice into five intricate and evolving pieces.

"The Burrow" takes its name from Franz Kafka's unfinished short story that was written only six months before his death. The tale, published posthumously in 1931, centres around a small creature who builds a burrow that's anxiously fortified in an attempt to protect against perceived attacks. This sense of fear of the outside world feels even more focused in 2020. Each track is named after animals that are either extinct or almost extinct, adding a sense of loss that hangs in the air, punctuated by screams and deep reverberating piano hits. As the world we thought we knew quickly retreats from view and the idea of safety shifts rapidly, Skodvin and Guffond explore the impulse to protect what we know with an emotionally charged sound that provides a foil with cautious, haunting spaces in between.

The Fall is a deconstruction of November by Dennis Johnson.

Written for solo piano in 1959, November is the first example of minimalist music composition and was the inspiration for La Monte Young's The Well-Tuned Piano (1964). The 66 minute piece is a collaboration between legendary artist Lustmord and renowned classical pianist Nicolas Horvath, in which they reduces Johnson's original November to its core element and place it in a landscape of complimentary sound. The Fall echo's November but with further resonance.

Recorded in May-June 2019 in Los Angeles, and Misy-sur-Yonne, France.

Lustmord
Active since 1980, born of the original 'industrial' scene of the period. With its own distinctive approach, blurring the line between music and sound design Lustmord's work has featured in 45 motion pictures including The Crow and Underworld and also in video games, television and commercials. Recently Lustmord scored the music for Paul Schrader's movie First Reformed. While Lustmord is often credited for creating the 'dark ambient' genre there is much more nuance to its work than what that label implies. The music is not dark, but is a light that shines into and upon the darkness. Notable collaborations amongst many include Tool, Melvins, Jarboe, John Balance of Coil, Clock DVA, Chris & Cosey, Paul Haslinger, Karin Park and Robert Rich.

Nicolas Horvath
An unusual artist with an unconventional résumé, pianist and electroacoustic composer Nicolas Horvath is known for his boundariesless musical explorations. Horvath is both an enthusiastic promoter of contemporary music - he has commissioned numerous works (including no fewer than 120 as part of his Homages to Philip Glass project in 2014) and collaborated with leading contemporary composers from around the world, including Alvin Lucier, Mamoru Fujieda, Jaan Rääts, Alvin Curran and Valentyn Silvestrov - and a rediscoverer of forgotten or neglected composers such as Moondog, Nobuo Uematsu, Germaine Tailleferre, François-Adrien Boieldieu, Hélène de Montgeroult, Jean Catoire, Karl August Hermann.

Sam de la Rosa of the band Led Er Est, and with Karen Sharkey of The Coombe, is back on Mannequin Records with his third release with 4 stunning tracks blending the finest TR-606 driven electro cold wave with expressive spoken wordy minimal synth instrumentals.

Mixed by Marcos Cabral. Mastered by Rude 66. Graphics by Alessandro Adriani.

Transcendental Movements Vol. 1 marks the beginning of a new full-length ambient series, curated by IDO founder Valentino Mora. Since the age of 14, Mora has been searching for alternative tools to relieve anxiety. In 2016, he discovered the music of Marow and Olaf Tonstein and found that through listening to this particular music he was able to access a new state of meditation. This began the journey of researching the technique he calls 'active mediation'. When he discovered that a lot of Marow and Olaf Tonstein's music from 2009 had never been released on vinyl, he knew he needed to release it one day. In their work, Mora identified a feeling pertinent to the concept of the label, one that exemplified the connection between minimal/ambient/glitch and IDO's ambient house sound. From there he reached out to other artists that he felt could relate to this idea, and asked them to contribute a track in response to the concept. The resulting compilation varies in tempo and technique, illustrating each artist's idiosyncrasies, yet as a whole it forms a cohesive and potent statement. Active meditation differs from regular stationary meditation through the focusing of one's attention on sound whilst in motion -- the form this motion takes is personal. The goal of active meditation is to transcend one's awareness of motion -- in fact, the awareness of being in a body -- and to become absorbed entirely in the sound. Mora found that this process has the potential to ease anxiety as all conscious thought is alleviated through concentrated focus on music. For the cover artwork, Mora selected a painting from visual artist Raphael Lecoquierre, in which the movement, airiness and minimalism elicits a profound sense of calm. Mora also invited writer and artist, Lou Drago, to interpret the concept in words. Their text, Suspending Reality, features on the inside of the gatefold cover.

What were the skies like when you were young? These days, asking that question likely conjures disappointment in its answer. Dreams of possibility hardened by certainty. Hopes and prayers jet-cooled to brittle acquiescence. A lingering feeling that this is not what we asked for, not what we worked towards. Promises of the future replaced by sins of the father. It is in this particular light that the latest work, "Moscels," by Iranian artist and musician Ata Ebtekar, also known as Sote, arrives on Opal Tapes, British label for the sonically curious and aurally disaffected. Contrary to potential expectation, it features no rhythmic exhortations, no colloidal outbursts, and no acoustic instrumentation of any kind. Synthesized entirely from physical models and oscillators, whose union gives the record its name, "Moscels" is a haunting, beautiful, and auspicious listen. None of Ebtekar's work comes necessarily easy to the listener, but "Moscels" is suffused with a sense of wonder almost childlike in quality, and so it beckons kindly. In acertain sense, electronic music is a kind of magic, isn't it? And this is the sound of a magician at work. Dive into the sound of an otherworld, so close yet so far, where dreaming is less sweet than being, and where all that is possible remains still at hand.

"...while I like to think that creations are a 'moment in time', this, for me, is much more than just a moment."

Truenoys 2020

"Depression is not just for those with painful traumas but it can lurk in everyone who is willing to live in truth... this album can be a cure or a helping hand...soundwise and lyrically."

Amos 2020

A/T/O/S, pronounced 'A Taste Of Struggle' is a project by Amos & Truenoys.

Introduced by a mutual friend, A/T/O/S started creating music together. Their first creation, 'A Taste Of Struggle' was quickly picked up by dubstep pioneer Mala, who signed them to his label DEEP MEDi. Their debut release received an early spin by BBC 6 Music's Mary Anne Hobbs and impressive remixes by Skream and Commodo.

Their upcoming album 'waterman', is the 3rd on DEEP MEDi, following their self-titled debut 'A/T/O/S' and the follow-up 'Outboxed'.

'waterman' once again sees A/T/O/S exploring new territories with their formula of exciting beats and powerful vocals, accompanied by Michiel De Malsche (@MIDM) on the keys as their 'secret, not so secret' member in the studio & on stage.

Slick jungle, low-slung broken beat and even a deep house banger, 'Interlocked' assembles 8 tracks of some of the purest old-school vibes by a veteran of the scene under a brand new alias for a frustrated and precarious (post)-lockdown summer. Tapping the drama and energy of the largely pre-generic party days of '91-94 - a halcyon time of transition in which Drumskull himself, as a life-long skater otherwise stoked on the the raw energy of 80s skate video soundtracks - to Black Flag, JFA, Minor Threat, Stupids et al, to Primus, Gang Starr and Meat Beat Manifesto, made the passage into syncopated machine funk, to sub bass, time-stretched breaks and automated beat production.

Physically drumming in a couple of skate punk bands in the early 90s, exposure to hardcore and early jungle tapes in '93 by DJ Dimension and DJ Rob (Leeds Orbit, UK), amongst countless others, inspired an archetypal move to sell his drum kit so as to land a set of Technics 1210s. Spinning techno and jungle on the local free party scene and clubs as part of a DJ collective from '94-96, crafting early tunes on Amiga ProTracker software, and shortly after running club nights in mid-90s London with Mo' Wax and Ninja Tune artists, Drumskull expresses the eclecticism of the era across 8 big tracks of previously unreleased material. Evoking all the energy and excitement of being involved in those early years of dance culture, 'Interlocked' powerfully yet playfully connects then to now, reveling in a sense of timelessness, mutation and hybridity.

Album photography by Amir Zaki from his book with legendary Skateboarder Tony Hawk and author Peter Zellner 'California Concrete: A Landscape of Skateparks (2019). Graffiti lettering by original UK stylemaster and beatmaker REQ TDK.

Luar Domatrix (Rudi Brito) is perhaps more recognizable as half of the artsy-duo Yong Yong that emerged in 2012. After a long season spent in Glasgow, and with editions by Naivety (Naive’s sublabel of Inês Coutinho aka Violet) , Sucata Tapes (Discrepant) and with a track inserted in a VA from 12th Isle, comes back to Lisbon (his hometown) clearly soaked by the sounds of the Scottish industrial center.

“Baía Stamina”, produced in Glasgow, is strongly inspired by the local club scene and evokes the utopia of a heavenly bay somewhere in Italy. Although always looking to bend the barriers of that “squarish” side of dance music, “Baía Stamina” is a dance record. It starts with “Bo Teias”, a track full of percussive elements and unusual sound effects that presents itself as a hymn of the “Baía Stamina” - pure boilling energy. “Take” is the least functional theme on the record. Metal percussion layers are overlapped over a string, creating a certain unrest and discomfort. A vocal incites consumption ("Take, Take, Take") to the point that a pad clears the way for liberation creating a more relaxing and dreamy ambience.

Closing the A side “Bo Teias” gets a remix from the Glasgow duo General Ludd, with whom Rudi used to live. In this version, and as the name implies, “Bo Teias (Gen Ludd Disco Problem Remix)” moves the focus away from the dance floor, ands transforms itself into a rhythmic exploration over the void, punctuated by some recognizable elements. “Outra Face” is a track made to blow up soundsystems! Anchored in distortion and in a broken beat led by the kick of the infamous TR-808 there is an almost epic vibe to it, that shows the confidence that Rudi Brito has acquired in his relaxed production style. “Heavven” closes the record in a completely British tone. The soulful vocal reminiscent of some garage tracks, echoes Bristol production and a time when dubstep producers decided to lower their bpms to something closer to the house. Without ever rushing the theme moves through different sonic landscapes and electronic glitches until a Portuguese voice announces “Acabou-se a brincadeira” (“Playtime is over”). This is peaktime; it's time to go dancing.

We're proud to announce Intrusion (cv313/echospace) reworks of Phase90's, "Infinitati" an album Boomkat hailed as, "a place to dip your toes in Deepchord/Echospace's oceans of sound, this is it." A night time walk on the wrong side of the street, creepy and ominous in nature as a result of the possessive quality of supernatural textures, field recordings and found sounds conducted at the Calvary Cemetery. Utilizing the original 1/4" tape recordings and individual sounds, Intrusion builds on the foundation steps further, using the mixing board as the primary instrument as well as, tape splicing, 12 bit loop stations and other audio wizardry. The material on this 12" ep can be interpreted as sinistral--dark,, heavy due to the hardware and its currencies emitted by its source--the phase 90. An acidic dream residing somewhere in the ether. Absolutely essential listening and horizontal grooving for the ages!

San steps forward with idiosyncratic, textured jungle for the modern era on his debut 12". Anxious and introspective throughout, San's detailed sound design and close control of intricate drum edits clearly mark his pedigree. The jungle alias of a Bristol based techno producer, the San project reflects upon the rave landscape of 2020, and finds it to be a dark place.

180gr! This 12" features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.
London based jazz appassionato Sean Khan, will release his second album 'Muriel' later in 2015. Dedicated to the driving force behind his musical career, his mother Muriel McGinley, the album is virtuosic free, Latin and nu-jazz experimentation, drenched in soul with the help of the vocal talents of Omar, Sabrina Malheiros and Heidi Vogel (Cinematic Orchestra).

This 12' features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.

On the A side, Henry Wu, a key member of the tight-knit label/ loose collective 22a Records (also home to the likes of Mo Kolours and Al Dobson Jr.), imbues the original track with a distinctly organic and off-kilter groove: a loose and earthy quality which is hallmark of the Wu sound and makes for a perfect complement to Khan's delicious melting pot of jazz, soul and broken beat flavours. Sturdy yet swinging with strong jazzy synth stabs and topped with a child-like, wordless, sing-along vocal, it's sure to be an underground summer club hit.

The B Side sees the mysterious Ben Hauke, whose previous releases have been courtesy of Melodica Recordings, steep Khan's 'Things to Say' in his own murky yet soul-drenched sound, one that falls somewhere between hip-hop and broken house. Not much is known about this young producer, but what we can glean from his work on this remix is a sound drenched in syrupy, slightly sinister keys and a plodding, unpredictable thump not entirely dissimilar from previous Far Out remix contributor Theo Parrish. Like the work of that Detroit innovation, these two young Londoner's contributions both look set to lend a funkily idiosyncratic and offbeat edge to all the right dance floors.

Fantastic electro drill breaker weapon !
Super 2x12", with a plenty splendid printed sleeve.
Artist autoprod.

A magestuous double vinyl ! ENJOY !

Superlux is the latest project from Mike Gill, Nick Gynn and Johnny Hunter. With years of combined experience in the
industry, each member brings their own unique flavour to the mix. The end result being the trio's debut release, Superlux
001, on their new imprint: Superlux Records.

The EP begins with Mike Gill’s Noisy Rework of White Noise . A breakbeat style cut that harks back to the early days of dance
music, stuttering percussion and intermittent hi hats help form a track that feels modern yet mature. Chupa Track continues in the same vein, as a mechanical synth rotates alongside echoing calls and robot-esque keys, before Take One ups the tempo as
reverberating pads clunk on top of a slow moving bassline. Rounding off the EP is the Dawl remix of Take One . A similarly eerie number, pulses and beeps merge with choppy breaks to form a futuristic, extra-terrestrial sounding cut.

‘Soy Piccolo’ is the firecracker debut EP from Sydney DJ/producer Unpin. Comprised of 6 high-energy dancefloor bombs, the EP traverses a broad range of sounds through acid-house, electro and experimental club cuts.

On this release, Unpin’s work is heavy on breaks and 303’s, balanced by a subtle pop sensibility with precision-picked vocal cuts tying the release together. All killer, no filler, the release is a gritty, yet confident body of work from one of Sydney’s most promising rising stars.

This is the debut release from Sydney imprint and party collective Velodrome. Released digitally in mid-March, the record has garnered attention online including blog coverage on Resident Advisor, Purple Sneakers and Colors Studios. The two singles from the record have also received consistent airplay on two of Australia’s largest independent radio stations, Triple J and FBi.

Vol. II of our compilations called “The Spacy Saga” comes with 6 original mental mind missiles from five truly underground rising composers - check it out.

East London-born music legend and all round boundary-breaking innovator, Dizzee Rascal, today announces the release of his 7th studio album, entitled ‘E3 AF’ and new single ‘L.L.L.L (Love Life Live Large)’, out via Island Records.

This new release marks the genesis of a new era for Dizzee and is the first album wholly written, recorded and produced in the UK in over a decade. ‘E3 AF’ is a 10-track layered, purposeful statement of intent, rooted in Dizzee’s inedible ties to both east London and Black British music’s legacy. He sound is sharper, stronger and more self-assured than ever, and it is obvious that he has poured the creative energy of the past few years into ‘E3 AF’ as a body of work. First single, L.L.L.L (Love Life Live Large), features Tottenham born MC Chip and kicks open the door with the force of a steel toe capped boot. Chip, adds another thwack of bravado to the rumbling, Dizzee-produced beat. ‘E3 AF’ confirms Dizzee’s status as an artist still very much in his prime, sonically it draws on the infectious pace of grime and resolutely forward-thinking UK rap. From one song to the next, you are taken on a journey through Black British musical excellence. Ice-cold UK drill drips on Smoke Boys-featuring ‘Act Like You Know’ (produced by MK the Plug) and Eastside pulses with pure grime courtesy of Chubby Dreadz and Platinum 45. Self-produced opener ‘God Knows’ (featuring P Money) and high-octane ‘You Don’t Know’ pull from dubstep, grime and drum ‘n’ bass while threatening to wreak havoc with your speakers. By the time Alicai Harley’s warm up vocals float over sunny syths on the deeply personal ‘Energies + Powers’ (produced by Steel Banglez), the album practically radiates heat. Dizzee Rascal is a unique artist that has inspired many for multiple generations. From his 2003 debut album release, the Mercury Prize-winning ‘Boy In The Corner’ to date, Dizzee has continued to push expectations and boundaries. He is British musical royalty. Every album that followed stacked up another marker of success. Between 2004 and 2017 all album releases blasted firmly into the Top 10 Official album chart, won awards, critical acclaim and amassed Dizzee a huge following of devoted fans. ‘E3 AF’ is set to confirm Dizzee Rascal’s status as the master at the top of his game.

“Lucky Veil” is Al Pagoda’s first mini album to be released via Bigamo Musik, October 30th. Seven songs built out of layering luminous synth melodies that sound strong, iconic, like a childhood memory that’s long been dormant.

Al Pagoda, originally from Valencia, Spain, settled in Berlin in 2015, where he started working as a composer for movie soundtracks. During these years he experimented with new sounds and recording techniques. In 2018 a colleague of his, who had witnessed some of his free-form experimentation sessions, asked him to play at Loophole, a small club in Neukölln, Berlin. He accepted and came up with a few songs for the show. After this, the album would crystallise in no time.

Al Pagoda's cinematic approach can be felt throughout his music; his songs unfold like stories that take us to the crux of an inescapable revelation. Built from short snippets recorded in his phone over the years, Lucky Veil was put together during a winter in Berlin, in a room with no windows.

Machinedrum (aka Travis Stewart) wird sein neues Album „A View Of U“ am 9. Oktober 2020 bei Ninja Tune veröffentlichen. Es ist das neunte Soloalbum des in L.A. ansässigen Produzenten in einer glanzvollen Karriere, die seinen Ruf als „einer der größten und hellsten Sterne der elektronischen Musik“ (DJ Mag) gefestigt hat. Es zeigt eine unglaubliche Besetzung von Gästen wie Drum’n’Bass-Legende Sub Focus, Counter Records-Produzent Chrome Sparks, Father (Awful Records), Mono/Poly von Brainfeeder, Tigran Hamasyan, Jesse Boykins III, Rochelle Jordan, Tanerélle und, last but not least, der derzeit wohl heißeste Rapper da draußen, Freddie Gibbs.

„A View Of U“ ist ein wahrhaft karrierebestimmendes Album für den in North Carolina geborenen Produzenten, das seine charakteristische Fusion aus IDM, britischem Rave, Jungle und Bass-Music mit unzähligen regionalen US-Hiphop- und Club-Musikstilen verbindet - diese kraftvolle und meisterhaft ausgeführte Verschmelzung erinnert an das Tempo, die Wärme und den Groove, den man auf seinem vorletzten Album, „Vapor City“ zu hören bekam. Vom klappernden „Kane Train“ mit Freddie Gibbs über „Spin Blocks“ mit Awful Records-Gründer Father bis hin zu den tiefen und tödlichen Subbässen von „1000 Miles“, einer futuristischen Liquid-D’n’B-Hymne in Zusammenarbeit mit Sub Focus, und „Sleepy Pietro“, das zusammen mit dem gefeierten armenischen Jazzpianisten Tigran Hamasyan entstand: die Tiefe und Qualität dieses Albums ist schlicht erstaunlich.

This selection of ultra rare tracks represents the sound of the postpunk Dutch band Necronomicon and their label Fetisj from the period 1981-1982. All selections have been mastered from the original released cassettes and unreleased demo-cassettes

Black Truffle is proud to announce the first vinyl reissue of Rafael Toral’s Aeriola Frequency, originally released by Perdition Plastics in 1998. Toral made his name in the world of mid-90’s experimental electronics with two releases, Sound Mind Sound Body (1994) and Wave Field (1995), both now recognised as classics and reissued on vinyl by Drag City, which saw him exploring the potential of electric guitar and pedals to immerse the listener in seemingly endless waves of sustained tones. On Wave Field, inspired by the striking resonance effects he experienced during a Buzzcocks gig with bad acoustics, he achieved a synthesis—often imitated but never bettered—of rock guitar, Ambient, and the acoustic exploration of Alvin Lucier, a kind of "liquid, abstract flux of rock sound".

On Aeriola Frequency, Toral continued the explorations of Wave Field but dropped the guitar, creating a series of extended pieces using only a simple feedback loop designed to work with pure electronic resonance. The result is far more delicate than Wave Field, a steady but unstable flow of filtered tones that continually reorder themselves into new forms. On both the LP’s sides, the tones, like growing plants, imperceptibly shift from drifting freely in ambient space to weaving strangely natural melodic patterns, as the loops unfold and the resonance gently outlines recurring rhythmic shapes.

The overall effect is strikingly organic, as David Toop noted in the liner notes included in the original release (and reprinted in this reissue): “A crystal garden, the sound grows in reeds and streams, blown like spider web strands, glittering and invisible, pulsing with translucent colour, bubbling and imploding, fraying and powdering.”
A classic of the non-academic approach to electronics that flourished in the 1990s— and a big influence at the time on Black Truffle head honcho Oren Ambarchi—Aeriola Frequency ushers listeners into an endlessly fascinating world of gliding tones and shifting details that they might never want to leave.

- Recorded at Noise Precision, Portugal, December 1997 and April 1998. Remastered by Rafael Toral in 2020.
- Liner notes by David Toop and Rafael Toral.

Here it is! The first EP from "Zero Netcost", a project by Romain Bezzina with the help of Simon Mills ak Bent plus a few guests. A sweet mashup of easy-listening and downtempo tracks with nostalgic and dreamy vibes. God damn, this is some good-ass ice cream!

Turned on by a new dawn of chemical love, Sydney dance-funk combo Bellydance laid down their sampledelica blueprint in 1991, thinking in parallel with Weatherall's revelatory work with Primal Scream. A candy flip of streetsoul, festival jam band and Chip Monck's cautionary brown acid address, 3 Days Man! was primed for open fields and discotheques, in an age when the deejay was royalty.

With an elastic lineup that boasted up to 9 members, Bellydance synchronised more with the club scene than the city's straight-ahead pub rock racket, naturally recruiting hometown heroes Peewee and John Ferris to remix their multi-track concoction. A certified party closing anthem, the brother's sun-smacked breakbeats elevate a collective consciousness beyond the clouds.

Originally issued on Regular Records sub-label Boomshanka Music as a precursor to their album One Blood, the now sought-after 12" sports characteristic artwork from Mambo visionary and Mental As Anything co-founder Reg Mombassa. Instigated by Sydney selector Ben Fester, this Efficient Space reboot arrives fashionably late to Woodstock's 50th anniversary but just in time to help soothe universal division.

Shanghai’s forward-facing Svbkvlt turn out a killer surprise drop from Hyph11e and Kode 9 after their raucous Gooooose & Dj Scotch Egg throw down Last spotted on a body-spinning split session with Slikback for Hakuna Kulala/Svbkvlt in 2019,
Hyph11e’s Tess Sun renders her most polluted atmospheres over panel-beating mutant techno rhythms in ‘Barnacles’; spending the first half fulminating amorphous, cranky sound design before
emerging from the chthonic murk with a foul head of industrial bashment.
As an avowed fan of Svbkvlt’s aesthetic, and a regular visitor to their region, Kode 9 is the ideal candidate to rework ‘Barnacles’, refitting it with signature wavey top line and recalibratiing the rhythm to a hybrid of rolling mid ‘90s hardcore breaks, nippy 2-step, and glyding UK Drill bass graffitti that firmly marks up his first outing since 2019’s ‘Digging In The Cart’ reworks of Japanese computer game soundtracks.

Red Vinyl

sferic reembrace ambient spirit Jake Muir for the label’s luscious 7th release; a fabrication of impressionistic city scapes describing L.A. at dusk, and Berlin dawning .
’The hum of your veiled voice’ was written by Muir in the wake of his transition from a life in Los Angeles to a new start in Berlin. It sees him transpose field recordings of his former home city into
a hazier sort of mid-ground that subtly diffracts the difference with Berlin in summer, refining the shimmering production tekkers of his West Coast surf-pop tribute ‘Lady’s Mantle’ (2018) with a nuanced, lower case emotive tactility intended to arouse heady states of atmospheric tension between nostalgic sehnsucht and romantic promise.
Muir readily acknowledges influence from the more washed out, elusive textures, timbres,
and spatial awareness of artists such as Philip Jeck, Richard Chartier, and Marina Rosenfeld, as opposed to the usual touchstones of AFX or Eno. But more implicitly he references a sense of queered ambience shared with Chartier’s Pinkcourtesyphone, and as such his music is seduced by the allure of “gay bathhouses and spas, club back rooms and decadent boudoirs” in a way that suffuses the whole record with an aphrodisiac air shared by sferic’s superb Perila LP or Romeo
Poirier’s ‘Hotel Nova’.
Supine and seductive in its illustration of an “endless night”, the devil lies in the album’s evocative intricacies, using a signature light touch and Akira Rabelais’ Argeïphontes Lyre software to ruffle locked grooves and dusty jazz snippets into ASMR-triggering texturhythms and dematerialised, hea(r)tsick blurs between the ear-stroking ephemera of ‘fleeting touches’ and the way his music appears to waltz out of an open window over Berlin at night in ‘the dimness of the sealed eye’, and land on the pillow of your dream partner in ‘like sweet thoughts in a dream’.

GRITTY, ODD & GOOD is a new weird, pseudo-music compilation curated by avant-garde experimental composer and audio artist Francisco López.

As far as creation itself is concerned, big cities do not manifest anymore as the catalytic cultural centers they used to be. Their iconic status as hip locations seems more symbolic than real. The combined mighty forces of neocapitalist gentrification and telecommunication / information decentralization might have generated a substantially different landscape of geographical cultural distribution. And so unlikely places are also sources of physically-isolated, but culturally-interconnected, new creation. This is just but one more example of the larger phenomenon of techno-cultural atomisation (not to be confused with the more restricted so-called “democratisation”) that allows millions of people to create and share, pre- and post-internet. The amateur is the new potential master; and that is decided by the crowd in the circus and the stadium, not at the academy. With all of this comes the potential for new aesthetics, or at least the open-ended evolution of the previous ones, –far better than the current confusion between ethics and aesthetics- from the uninformed and the unknown. Atomization of this kind also brings for some the desire and the right to anonymity. And so it is for the unknown obscure artists of this compilation of weird experimental music –“gritty, odd & good”, with drones, glitches, cut-ups and more- who won’t reveal anything beyond their unlikely locations: San Marino, French Guiana, Philippines, Lesotho, Oman, Faroe Islands, Tuvalu, Liechtenstein, Kyrgyzstan. An innovative compilation presenting a world of unusual experimental de-constructed and recombined music casting a strong and exciting light into the unusual corners of our world. Dive in.

Compiled and Mastered by Francisco López
Vinyl mastered by Rashad Becker

a 1 Ragazza Raddrizza (Live Excerpt) - Giuseppe Moretti San Marino 3:00
b 2 SCVB - Daryana Jean French Guiana 4:39
[c] 3 One One Six Bee - James Ocampo [Philippines] 5:37
[d] 4 Coogan Radio - Thabiso Makhetha [Lesotho] 3:18
[e] 5 micro-Sister (Al'ukht Alsaghira) - Rashid Al Balushi [Oman] 3:59
[f] 6 Mond - Lív Jacobsen [Faroe Islands] 3:10
[g] 7 Sansobavo Mix - Eteroa Apinelu [Tuvalu] 8:38
[h] 8 Sans Titre (Fumée v.3) - Zzodiakk [Liechtenstein] 6:38
[Kyrgyzstan] 1:17