Beats Vinyl New Releases - News

Trule drops its 9th release and the second in its 10” white label series with a collaboration between label boss Al Wootton and Montreal’s Priori. Al Wootton heads up the A-side with JL, a deep, dubby and minimal house/techno number. Priori reworks it into a ‘Sharp Tool Mix’ for the B-side, a rolling, drum heavy techno workout primed for dancefloors. Priori co-runs the labels Naff and Garmo with Ex-Terrestrial and is one half of the Jump Source project with Patrick Holland.

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

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

* Desired State’s ‘Dance The Dream’ cemented the production partnership of Andy C & Ant Miles and became the penultimate release before the inception of their own Ram Records.  Championed by Kiss FM and hammered by the likes of Carl Cox and DJ Randall, the original release on Dance Wax reached No.16 in the National Dance Charts. A remix later in 1992 b/w the Hardcore anthem ‘Expansions’ was released on their local 'Out of Romford' label. This 4 track reissue also sees an unreleased mix of 'Free Your Love' from 1992 that was found in the DAT archives.

Promotion across chosen internet websites and Hardcore/Jungle/Drum & Bass 12” vinyl communities.

‘’In this 24-minute composition, released here in its original name for the first time, Yassin encapsulates and condenses the aural and sonic landscapes experienced by those who bore witness to the war. In the 1980s, while the Lebanese Civil War, which ravaged the country between 1975 and 1990, was raging, television but particularly transistor radios were the only means through which people heard the news during interminable periods of power cuts or waiting in basement shelters.

The audio material was collected by Yassin on his regular trips to the dispersed and neglected archives of militias and political parties, radio and TV stations, and record shops across Lebanon. Built from over 300 hours of material, Yassin has woven together a composition using political speeches; radio and television commercials; news flashes and jingles; local 80s pop music; dubbed Japanese anime songs; propaganda, resistance, and revolutionary party songs; snippets from Ziad Rahbani plays and many more.

The recordings in CW Tapes are the sonic equivalents of Proust’s madeleines to any individual who was old enough to remember the war and its immediate aftermath; they effortlessly conjure the collective memory of children, teenagers and adults alike. Commercials, songs and speeches collide and intertwine as if Yassin had plugged a radio tuner into his mind, sounding out a deeply personal sonic terrain that echoes the hidden sonic memories of his contemporaries in which sounds ebb and flow as if they were heard in a dream (or nightmare).

Beside the diversity of its sounds, what is most striking in this record is the minute attention to the musicality of the different recordings Yassin uses, whether they are propaganda pieces, vocal patterns or news jingles. What you hear in the beginning of the CW Tapes, for example, is Raed Yassin’s fascination for the different political and musical figures that populated the Lebanese media landscape across the 1980s.
In this bewildering introduction, he highlights the absurdity of the war by lacing together a political speech given by Bachir Gemayel (a senior member of the right-wing Christian Phalange party and the founder and commander of the Lebanese Forces militia during the early years of the Lebanese Civil War who was killed in 1982 when he was elected president) with a frivolous and upbeat pop song by Lebanese pop singer Sammy Clark whose tunes are heard at different moments in the piece. The composition unfurls an array of overlapping tonalities and textures as well as a glossolalia made of processed voices that inhabited the archaic technologies of the time.

Words become increasingly indecipherable as the piece progresses, with a beautiful passage in which Yassin isolates sighs and breaths — as if to mark moments of respite during the war— until another commercial or pop song is blasted at full volume again. We can also hear what has become a staple in Yassin’s other musical projects, which is the sporadic inclusion of him singing or whistling over songs. In his continuous efforts to mine and work through the sonic archives of Lebanon’s recent past, the CW Tapes is possibly Yassin’s most personal output to date.‘’

Rayya Badran, Beirut, January 2019

Multidisciplinary artist, rapper, producer, and performer "Ojay Morgan" who performs as Zebra Katz is a first-generation Jamaican-American who burst onto the scene with the likes of Azealia Banks,
Angel Haze and The House of Ladosha, when his runaway hit single “Ima Read” paved the way for his distinctive genre-defiant sound.

'LESS IS MOOR', the debut album due out March 20, announces a deeper look into his sonic universe. Sexually charged and abrasive,
the collection is a bold, sonic experiment that meshes industrial hip-hop with drum ‘n’ bass and unidentifiable sonic territory.

Presenting Alix Perez’s largest solo project since his second album in 2013. “Without End” is an 8 track journey through his exploration of soulful drum and bass - a sound Alix is renowned for. The EP includes collaborations with Liam Bailey, Workforce & Halogenix.

Auf seinem zweiten Album "Neurofire" treibt L.A. Producer und FadeToMind-Betreiber Kingdom seine Suche nach schnellere, turbulentere und experimentellere Club- und Popmusik voran und fusioniert deepen aund aggressiven Club-Bass mit synkopiertem Scifi-Pop- und -R&B der Marke Timbaland und DanjaHandz, ohne dabei sein Faible für emotionale Synths und Vocals zu vernachlässigen. "Neurofire" bietet darüberhinaus ein Feuerwerk an Features von jungen Talenten wie Ghost, Kayla Blackmon, Tiara Thomas, Pheona, UNIIQU3, Semma, LUVK und Tre Oh Fie.

For The Record The Artist Presents A Sonic Curation Of Her Work Ë.ctu_isbtmí.
Operating In A Space Between Sculpture, Code And Electronics, The System Scans 3dimensional Objects Via A Live Video Feed And
Programmatically Encodes The Artistís Glass Sculptures Within A Language Of Pitches And Rhythms Using Samples As A Transla- Tive Matrix.
Following Samples Are Used :
0 Basketball, 1 Tennis, 2 Swim, 3 Scubadive, 4 Helicopter, 5 Race, 6 Golf, Index

Side A: Codes Sounds Were Produced From Rotating Black Glass Objects Whose Shapes Determine
The Parameters Of A 2d Synthesis Space.
Side B: The Resulting Sounds Are Live Coded Into Musical Pattern.
Along With Byrke Louís Sound Piece The Physical Record Features Words By Agf.

It's a match, mate, innit Stepping in the cypher with a brand-new EP, Last Nubian emerges with a signature sound that reveals the passion of the digger behind. While covering the whole range from hip-hop to house, the London-based producer manages to match the best of both worlds and delivers dusty grooves for the heads as well as catchy dance floor oriented stuff. Although the rhythms and beats often feel nostalgically familiar, Last Nubian always flirts with the fringes of a more experimental sound design while citing Flying Lotus, Mndsgn, Theo Parrish and other pioneers as his influences. Having Blaq Numbers affiliates 2XM and Paso add their two cents to the show as well, makes this artfully crafted tape a family affair.

Following on from co-­-compiling one of 2012's best received compilations 'Into The Light: A Journey into Greek Electronic Music', new Amsterdam based record label 'Music From Memory' sets sail with a compilation of lo-­-fi beach funk and lazy synth jams from the Rhode Island keyboardist and ocean loving Leon Lowman.
As well as a devoted painter and surfer of the East Coast, the synthesizer loving Lowman privately released two albums 'Syntheseas' (1980) and it's follow up cassette only 'Sound Horizon' (1982). Something of a homage to his love of the local seashore and the women he was trying to woo there, the albums also express Leon's pure love of the synthesizer sound and reflect his unique melodic wanderings.

With Leon's albums meeting little commercial success at the time of there release, both albums have in recent years become highly sought after. Along with previously unreleased material from the time, 'Liquid Diamonds' highlights Leon Lowman's unique blend of low fi synth funk and surf ambience.

Following up 12”s for AD 93 (formerly known as Whities), Timedance, International black, and Yume, Neinzer lands with Where To Now? for a suite of leftfield slow steppers and deep melancholic psychedelia. Having been quietly turning heads for the last few years Neinzer cuts an interesting figure in today’s electronic landscape as someone whose creations walk the lines of heavy, otherworldly, hypnotic Techno, explored by the likes of Avalon Emerson, Metrist, the Hessle Audio crew etc, whilst maintaining a gauzy, acid washed dreamy quality which recalls the work of more restrained, melodic electronica stalwarts such as Floating Points, Four Tet, Clark, etc. Neinzer’s work stands apart from all of these touch points however by utilising an often tense & unstable approach to sound design, but always injecting his worlds with huge flashes of melody, joy, and power.

We dive in with heads down intent on the opener ‘Traum’a’. Deep pads and quick paced percussive flurries shuffle below detuned piano keys, bringing an almost jazzwise leaning to the dance. Next, we lean back with ‘Nabi’, where Neinzer flexes his electroacoustic influences and explores tone & tension by melding a natural pallet of human sound with synthesized pressure to create a unique and destabilising piece.

‘Rassalin’ brings the Machine Funk and slows things right down with dizzying effect, deeply swinging its way with gritty intent through a trembling landscape on the brink of collapse. From here on out, Neinzer shifts his previous beat led focus towards something more psychedelic and exploratory – on ‘Hebdamu’ we find flourishing swathes of freeform melodic beauty build and build, snaking around the precise percussive hallmarks of Neinzer’s sound world, and ‘Shifting Values’ ends with the gloriously dubbed out experimentation of ‘Cause Pan Tact Insoluble’ – coming off like Adrian Sherwood jamming with Popol Vuh.

First release and sensory trip into flmmaker and DJ producer Paulo Chinatown's mind. An hologram of the Berlin crash experience rendered for your ears, eyes and hear.

Master synthesists Colin Potter (NWW), Alessio Natalizia (Not Waving), and Guido Zen reprise their supergroup for Ecstatic with a seductively serpentine follow-up to their superb debut from a
couple of years ago.
PNZ’s pulsing, twanging, expansive ‘Magari’ was recorded between 2018-2020 in the slipstream of ’Shut Your Eyes On The Way Out’, which is surely one of the strongest new kosmiche-related albums of recent years. Where that album refreshed classic styles of European synth music for modern ears, ‘Magari’ - meaning “I Wish” in Italian - adapts their style to the unique Afro-Latin lilt of Brazilian music with central use of the Berimbau; a single-stringed percussion instrument
commonly associated with the elegant martial art/dance of Capoeira, which the band’s Guido Zen brought home from his travels in South America. Combined with their juicy, almost fleshly arps and Guitar pedal-generated computer voice, the results are wonderfully wide-eyed, embracing bouts of motorik rhythm beside vertiginous noise wormholes and mystic tone poems that speak to a cumulative experience spanning decades spent hunting for life between the wires.
Like their first LP, much of the recording took place remotely or in pairs, and rarely with all three present, before the parts were mixed down at Colin’s studio in Leytonstone. In its journey between the intricate meters and perpendicular vectors of ‘Too Much Traffic’, and their mesh of curdled tones with their phone recordings of a manic preacher in Camberwell on ‘Saved’, they variously recall Craig Leon’s alien invocations of Dogon folk tales as much as the heady dissonance of Alessandro Cortini; producing outstanding pieces of tangibly haptic substance in ‘Sergio’ and infectiously tip-of-tongue Berimbau twang on ‘Gennaio’, and for good measure, something like
Phil Collins gently losing the plot after healthy dose of Ayahuasca in ‘Fill’, while ‘Ancora’ sounds like Basic Channel scoring Herzog’s Aguirre.

Introducing Paris-based contemporary sculptor and music maker Erwan Sene joining the exponential Unknown Precept roster. Gathering pieces thought of as little narratives for his debut release, not without a bit French irony around the concept of work, 'I Heard You Laughing' wavers towards mechanical repetition and something more outdated at times. Purposely slowing down the tempo to fit the apparent redundancy of an industrial environment and its steadily running engines. An eroded atmosphere of sorts, analogous to the smokestacks emanating from factory chimneys. Accentuating the ambiguity of a wild thought which is hard to grasp. Despite its machine-driven aspect, Sene primary questions the difficulty to manage one's life stuck in a primitive mindset, making intuitive associations in a grid pattern. Carbon copy music for the tangled minds out there, leaving room for nothing but sedated feelings.

For this new release, the French UK am-bass-ador comes back with a 5-tracker Ep, on the infamous imprint Brothers From Different Mothers, expanding a bit more his tempo range with few special riddims. Influenced by dancehall music this Ep collects five party-oriented moods and interpretations of the genre with Simo Cell's signature and sound design skills.

Kniteforce and Just Another Label (owner of the Bear Necessities Sub Label) have been friends since the early 90’s, so when JAL wanted to remaster and repress some old and much sought after classic EPs, it was only natural for Kniteforce to take on that roll. This much sought after EP was originally a 10” but is now reissued and remastered as a 12” due to popular demand! Both tracks are absolute classics of the time, with deep and heavy vibes throughout!

"Vertigo KO" enthält unveröffentlichtes Material der 2017er "Light Sleep" und "Voice Hardcore" Sessions der japanischen Avantgardistin Phew, samt eines The Raincoats-Covers ("The Void"). Die 2CD (ltd. Japan-Import) enthält zudem den Sampler "Vertical Jamming" mit langen Drone-Werken von Phew, der zuvor als limitiertes Tape und digital erschien. Beiden Tonträgern liegt ferner ein 20-seitiges Fanzine mit Linernotes von Künstlerin und Label sowie Fotos von Masayuki Shioda bei. Die Kultmusikerin Phew begann ihre Karriere 1978 mit der japanischen Punkband Aunt Sally. 1981 erschien ihr legendäres Kollaboalbum "Phew" mit Holger Czukay, Jaki Liebezeit und Conny Plank. In den 1980ern arbeitete sie mit Ryuichi Sakamoto, Alexander Hacke (Einstürzende Neubauten) und Chrislo Kaas (DAF) und jüngst mit Ana Da Silva (The Raincoats), Jim O'Rourke und Yoshimi (OOIOO, Boredoms) zusammen.

Mountains Are Mountains is a solo album that presents the sound of many moments scattered all over a period of Berke Can Özcan's (Ex-Konstrukt, Big Beats Big Times) personal time on this planet. He is a drummer, composer, writer, producer who keeps experimenting with all that is available to his one ear. Gongs, aquadrums, a vibraphone, a steel drum, a prepared piano, a vintage harmonium which smells exactly like a vintage harmonium, log drums, kalimbas, as well as his self-made instruments made of old keys, soda caps, flower pots, bamboos, the most lousy-looking pedestal fan in the world, bicycle bells, straw brooms, old toys, garden hoses and Buddhist-prayer playing machines are all played by himself.

All sounds were constructed by – or at least decorated with – sadness, passion, agony, curiosity, excitement, loneliness, bliss, nostalgia, bitterness, joy, whatever you and I and he knew that could be experienced. "Mountains Are Mountains" is yours to taste.

A bit more about this record:

Sometimes it's all about a journey. No, actually it's always about a journey.

The journey, which is expected to be endless, or always full of motion has a different nature than we think it does. It is also about stopping. Stopping is an action. So one needs to be aware of time, for time is interestingly aligned with a secret combination that is the key to creation. And one has to put in his pockets many experiences, to become his friends, his tools, limbs to move and dough to shape.

Why are we talking about this? Our protagonist is going through a tough patch. He's been working as a drummer for many years now, he writes music, records albums with his bands, collaborates with many acclaimed musicians, performs in this and that big festival , tours , but, how can one say... It's a bit like everything is in a "loop", and the loop is becoming deadlier everyday. He feels that he's becoming an old version of himself, outdated maybe. It's like you are getting old, and the old you becomes less appealing to the you who is still young, so it's time to align the two.

So he quits his bands, quits his destructive friendships, leaves behind whatever is not genuine in his life. He travels, collects sounds from oceans, forests, cities, trains, water tanks, birds, winds, corridors, swamps, street musicians, kids, church bells, temples, alleyways and so many more. He uses samplers from eighties, old machines that are not even produced anymore, weird recording machines to obtain what he is searching for. The unplanned hissings, hums and rumbles that comes with any gear are more than welcome.

One day, he comes back home. He constructs a small universe by bringing all his instruments together. Gongs, aquadrums, a vibraphone, a steel drum, a prepared piano, a vintage harmonium which smells exactly like a vintage harmonium, log drums, kalimbas, as well as his self-made instruments made of old keys, soda caps, flower pots, bamboos, the most lousy-looking pedestal fan in the world, bicycle bells, straw brooms, old toys, garden hoses and Buddhist-prayer playing machines. He sits inside of his universe for hours and days and studies the sounds -to meet, to get acquainted with them.

Our protagonist explores "loops". In time he develops the need to be alone and stay in a circular universe. There he concentrates on sounds and experiments to create a musical form where he can combine these collected sounds with performed ones - to attain a personal kind of harmony. It is also a search for ways to add character, colours, make sounds richer not by adding more elements, but expanding what's already there. He makes many tracks, some of them fading through time, and others glittering. Eventually he has ten tracks in his hands to build mountains.

Berke Can Özcan, our beloved protagonist, presents the sound of "many moments scattered all over a period of his time" on the planet. He's still here, and hopefully there are many more moments to be experienced, so the sound is on and ever-changing.

It would be a blast if one could jump from one mountain peak to another. Still, maybe one can, if one closes his eyes and stays still. For long enough. Maybe then the mountains come to him, and they offer their summits just for him to accept.

Limited 3x12" bundle, including stickers (ESO014, ESO020 & ESO021).

A.) new Philip Corner LP on Recital
B.) voice recordings from a small performance in Italy, early in 2020 – Homages to/from George Maciunas 1931-1978
C.) Corner’s piano meditative playthroughs of Couperin’s The Mysterious Barricades 1717, from 1989 and 1992
D.) These two elements (voice and piano) superimposed by Sean McCann, edited during the first month of the pandemic
E.) Manic exaltation, distorted harmony things
F.) Album cover is a few PC scores soaked in olive oil and held in-front of the sun through my kitchen window
G.) Booklet features passionate writings on the Couperin piece and its meaning by Corner
H.) Philip wrote a new reflection for this LP edition, “The Mesure of the Mystery” this August
I.) This album is built from fine ingredients: beautiful piano with stomach-clenching voice stretches

Nodes emerge across vast distances, linked without ever touching, feeling what they cannot see. With RED, Priori finds order amid a fluttering chaos of autonomous structures, channeling rugged impulses into intricate emanations. Out August 21st via the NAFF sublabel Garmo.

Orange Vinyl

Jude Greenaway is an audio/visual artist with a style deeply rooted in the various strands of Hip Hop culture. He has been releasing records since the turn of the 21st century but has been on the scene for much longer, honing his crafts from his base in East London. Not constrained to releasing one style of music, Jude has released interesting and engaging Electro, Techno, Ambient, Dubstep, Jungle and Breakbeat music across several key imprints including his own Yellow Machines and Modified Magic.

When Exalt Records approached Jude for a release in Spring 2019, it was always going to be a continuation of our exploration of the 7” format. Jude has delivered two killer Jungle / Breakbeat bombs, sounding total fresh and retro in equal measures. 7” Orange vinyl with art postcard insert by Dave Hanal.

This fruity EP contains 2 of your 5 a day!

Etrusca 3D is a new band that merges two current Audio and visual artists from the 21st Century, Francesco Cavaliere and Spencer Clark.

The album is the first to be released by Spencer Clark's label Pacific City Discs, as a subsidiary and in collaboration with Discrepant. 

‘’One cannot underestimate the result of stating the names of certain gods at high voices. Something that sinuous and quiet enters into this disc for you to listen. What if the Etruscan Civilization instead of transforming or amalgamating into the roman one, was instead passed on to other worlds? Were the tombs, their spiral idols and funeral decorations a meticulous method for transmuting to something else?

Etrusca 3D is the juxtaposition of two imagineers friendship, as Francesco says, 'because I am Etruscan and you (Spencer) are 3D."  There is a piece of the future of Etruscan civilization contained within this disc. It is with Spencer's remote viewing of a past and future creative culture and Francesco's birthright that we find a true insinuation of civilizations world body. 

We decided to invoke various Etruscan deities or spirits by sampling Francesco's voice uttering their name. We put them inside the Emax 2 3D machine and we began to play these deities and thus incorporate a fresh and ancient music language to present the 21st Century Etruscan experience.  In the meantime, these musical stories turned into Francesco's imaginary storytelling style to further present a narrated record of the intuited activities of Etruscan Gods...’’ - Francesco Cavaliere & Spencer Clark

All songs by Spencer Clark & Francesco Cavaliere

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil. 

FOR FANS OF : MARK LANEGAN/MICHAEL GIRA/NICK CAVE.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho.  Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio.  After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.

Hypnus are pleased to present the second edition of their Serum series which is intended as a hub of collaborations. Every record will be some sort of joint effort with one or more of the Hypnus artists and they're hoping to push a more eclectic bouquet of musical styles in tandem with the regular Hypnus series.

The first year they launched the series by inviting rising talents Primal Code to release two tracks with interpretations by Feral and Luigi Tozzi. For the second edition we are now introduced to the amazingly deep dubs of Illuvia (real name Ludvig Cimbrelius, aka. Purl), interpreted by the before-mentioned Primal Code as well as label head Ntogn under his paradisaical pseudonym Blomkraft. Released as a sampler vinyl as well as a full-length digital album.

The music of Ludvig Cimbrelius comes in many shapes and forms with a handful of monikers making up a vast sea of ethereal and mesmerizing electronic music. His works range from classical piano excursions and evolving ambient music to drum & bass and dub techno. With that said, we easily get a sensation of taking part of a state of mind rather than listening to a set of musical compositions. Now, please bathe yourselves in the lush vibes of Illuvia.

Early support from Cio D'Or, Claudio PRC, Ness, TM404 and Etapp Kyle to name a few.

West coast composer, artist, and producer Kaitlyn Aurelia Smith has chartered a pioneering career with multiple critically-acclaimed albums since 2015. Following the release of The Kid in 2017, Smith focused her energy in several directions. She founded Touchtheplants, a multidisciplinary creative environment for projects including the first volumes in her instrumental Electronic Series and pocket-sized poetry books on the practice of listening within. She’s continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body’s relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of her most recent full-length, The Mosaic of Transformation, a bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself.



“I guess in one sentence, this album is my expression of love and appreciation for electricity,” says Smith. While writing and recording, she embraced adaily practice of physical movement, passing electricity through her body and into motion, in ways reflecting her audio practice, which sends currents through modular synthesizers and into the air through speakers. Not a dancer by any traditional definition, she taught herself improvisatory movement realizing flexibility, strength, and unexpectedly, a “visual language” stemming from the human body and comprised of vibrational shapes. Understood as cymatics, as Smith says, “as a reference for how frequencies can be visualized,” much like a mosaic.



Smith describes her first encounters with this mosaic; “the inspiration came to me in a sudden bubble of joy. It was accompanied by a multitude of shapes that weremoving seamlessly from one into the other...My movement practice has been aconstant transformation piece by piece. I made this album in the same way. Every day I would transform what I did yesterday...into something else. This album has gone through about 12 different versions of itself.” As it has arrived, in a completed state, The Mosaic of Transformation is a holistic manifestation of embodied motions. Smith’s signature textural curiosity that fans have grown to adore pivots naturally into a proprioceptive study of melody and timbre. Airy organ and voice interweave with burbling Buchla-spawned harmonic bubbles.

“After a banner year that witnessed Lafawndah release her first album Ancestor Boy, the debut of her soundsystem Fara Fara, and further incursions into film, contemporary art and fashion, the ceaseless artist returns with another plot twist: The Fifth Season.

Inspired by her encounter with author NK Jemisin’s Broken Earth trilogy, Lafawndah both pays homage to and extends further the elemental, emotionally charged myths of Jemisin’s books. These are stories where a broken heart can tear apart a continent. In contrast to the precision- tuned industrial productions of Ancestor Boy, The Fifth Season breathes a different kind of volatility. Inviting a new degree of spontaneity and freedom into her process, Lafawndah’s collaborators - Theon Cross (tuba), Nathaniel Cross (trombone), Valentina Magaletti (percussions), and Nick Weiss (keyboards) - encircle her confrontational character studies with iridescent, cinematic chamber-bass moves.

These are torch songs for when it rains ash, creation ballads for when the earth turns inside out. Ghosts of Art Ensemble of Chicago and Rahsaan Roland Kirk color the air, yet Lafawndah’s mastery of pop songcraft, vocal production and razor-honed clarity of purpose cut through. In addition to the Lafawndah originals, The Fifth Season features interpretations of hybrid-folk godfather Beverly Glenn Copeland’s “Don’t Despair” and acid-impressionist prodigy Lili Boulanger’s “Old Buddhist Prayer.” Album highlight “You, at the End” deploys a poem by poet-performer Kae Tempest to aching, rift-tearing ends, and french dream-trap wraith Lala &ce features on “Le Malentendu”.

The Fifth Season anchors Lafawndah as a descendent of forebearers Brigitte Fontaine and Scott Walker - a born theatric whose acid humor warps the sub-continental undertow of her emotive storytelling. Lafawndah’s elementalism on The Fifth Season finds her imagination more agile than ever, and recent live shows have evinced a drive to push these compositions further out, deeper, and more aflame.”

The second offering by Julie Carpenter’s textural orchestral entity Less Bells takes its title from a storied strain of decorative objects worn in remembrance of lost loved ones: Mourning Jewelry.
The album shares a similar mood of devotional pageantry, stirring ornamental laments born from a need to “create beauty out of grief.” Utilising an amalgam of strings, synthesisers, and choirs, the pieces ascend and descend in grand, glimmering arcs, ebbing from passages of “baroque complexity” to expanses of haunting emptiness. Certain songs also skew more overtly western than ever before, deeply reverbed plucks of banjo refracted against glowing horizons of sunrise drone: Americana gone ambient.

Furthering the music’s mystic intentionality, the track titles comprise “the major arcana of a tarot deck from an alternate universe,” lorded over by the “Queen Of Crickets,” ruler of “The Gates,” “The Fault,” and “The Fang.” Even so, the record requires no psychic divination to glean its fragile majesty, its muted tumult of mirage and melody. The beauty it possesses is too blatant, and bountiful.

Lord Tusk has associated with acts like Klein, John T. Gast, Dean Blunt, Yasiin Bey AKA Mos Def, and released on Jon Rust's Levels, Funkineven's Apron, Soul Jazz Records and Low Income $quad.

Communiqué is made of breathy, glossy Sci-Fi electro, bitcrushed drum samples and Minneapolitan funk feng shui, the hits and stabs of new jack swing and FM boogie, all pieced together with a one-take energy but a meticulous attention to detail. It's songwriting for a miscellaneous kind of soundsystem music, body music, flamboyant across tempo, from the yearning thump of Shyne Eyed Gal to the puffed-up strut of Champion Lovers (sounding like a home-taped Electrifying Mojo opener), the staggered slink of Beyond Limitation's unfiltered tones to the 4x4 uptempo skid of Don't Be Shy or the veering slap-bass groove of Elevation. It's a record that shoots around corners, conjuring lazy romances and smokey vistas, lit by the nocturnal shimmer of an electrified city, streaked with gargantuan, shrill, birdlike call-and-response riffs and visited by the astral bodies of Teddy Riley, Gerald Donald, Prince.

South London wordsmith Pinty releases ‘Midnight Moods’ mixtape via his new label Winged Feet.

Coming back on the night bus, the whole ambience of South London when there is no one around... that is the midnight mood”

Following off the back of his debut ‘City Limits’ EP last year, Pinty makes a welcome return with ‘Midnight Moods’. Described as a late night mixtape recorded over several sprawling nocturnal sessions, the release features guest productions from DJ JD Sports aka King Krule and Maxwell Owin. Culminating in 6 tracks and a ‘lullaby’, the woozy and loose takes were eventually mixed down and mistakenly bounced in mono as the sun came up in the misty room at 7am, then lovingly mixed in stereo during daylight hours some weeks later.

Leading with the DJ JD Sports produced ‘It’s Just Life’ in early March, Pinty rolls through with the 2-step tinged ‘E’s’ and ‘Moonlight Duty’, drawing from his late brother’s UKG influence which helped pave the way for him. Filled with deeply personal lyrics, Pinty isn’t your usual party MC as he spits over luscious lo-fi house melodies with closing tracks ‘Go To Bed Pt. 2’, ‘All Nightly’ and ‘Fresher’. The mixtape showcases his vast appeal, from smoky basement clubs to slinky jazz bars.

Pinty’s witty wordplay and effervescent club sound take influence from the introspective poetry of The Streets and the jazz tinged house tones of Peckham’s vibrant night scene. The lyricist released his debut EP on Rhythm Section International in 2019 to much acclaim, making waves with his distinctly individual live performances, appearances on Boiler Room and Just Jam, radio residencies on Reprezent and Balamii, and the front cover of the Peckham Peculiar.

‘Midnight Moods’ is out on the 24th April via new label Winged Feet from Pinty and Alexander Waldron, co-founder of Greco-Roman.

Spooky Bizzle is back on Oil Gang with the biggest Grime tune about.
Haunted Joyride has been killing raves and radio sets for months, this one is heavy. Check out Oil Gang 019 for the Haunted Joyride Version Excursion.

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho. Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio. After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.

BSP // Bispebjerg is a record label that presents music from Copenhagen based artists and affiliates. BSP is closely related to the Copenhagen Underground Posse, music and party collective that where active on the Copenhagen scene for the past 8 years.

Behind the label are Philip Jun Kamata, has been making music for nearly two decades, where he, among other things released the underground bass sex anthem "you dont know what love is" on Hyperdub. J Kamata is debuting on this V/A two new alter egoes; the 313 high tech funk inspired Jun Anthony, as well as his raw electro moniker Sequential Hill.

The other half of the label, Daniel Savi has been active in the club scene for a good while, primarily releasing on house labels such as Underground Quality and Tartelet Records. For this release he hits you hard with his bass alias Savi DJ.

With BSP we attempt to build a universe with Jungle, Electro, House, Booty Tech and their derivative genres. The first release is a V/A consisting of 3 different artists as well as remix from local hero Kasper Marott (Kulor, Axces).

Release comes in white discobags w. blue sticker on front and double sided foto insert.

Track descriptions

A1. Jun Anthony - 313 Garage. 06.38
Jun Anthony presents his groovy take on a garage track under a heavy 313- high tech funk influence.

A2. Jun Anthony - 313 Garage (Kasper Marott Remix) 05.53
The second cut holds a dubby, deep and groovy remix from Copenhagen rising star Kasper Marott.

B1. Sequential Hill - Jakd Oscillateurs - 05.29
Jun's alter ego Sequential Hill presents a punk approach to electro - Raw, but with a tiny soft spot for lofty strings and emotional pads.

B2. Savi DJ-Djungle (Slow edit) 06.08.
Savi DJ presents savvy bass grooves on this revivalist jungle cut, in a slowed down version for your mixing pleasure.

It is with great pleasure that Public Possession and Cascine present to you the debut album of Bell Towers. Elev-en singles deep into his catalogue, his first LP is finally ready, an „Ode to escaping into (and out of) the emo-tional pits of dance floors – about finding a place in one night’s fantasy¹”. Musically it’s all we’ve ever wanted from a Bell Towers production: ear worm melodies, sharp baselines, wild cross-references in between genres and at last sees him explore his abilities as a singer/songwriter to full extent. Junior Mix is the sort of pop music that one is always looking for, but rarely finds - bright, charming and a little bit mad.

We sincerely hope you enjoy.
PP, Nov. 2019

¹Hayley Morgan, Oyster Magazine 117

Felix Hall finally lets his Chrome imprint loose with this stamped promo 7” pressing of an almost mythical early 00's dancehall holy grail, featuring a previously unreleased, extended version of the instrumental alongside two differently mixed vocal cuts on the flip. This one’s a total anomaly, a Dancehall x Acid intersection that spawned countless vocal versions and became a genre all of its own. If you know, you know!

Acid Hall is truly unique; utilising Tadao Kikumoto’s groundbreaking boxes to unleash a genuine vanguard of hypnotic riddim, it's a continuation of a stripped-down sound heard throughout the '90s arriving rather aptly via the robotic rhythm of Prince's 'I Wonder U' and Phuture's - 'Acid Tracks'. With the iconic ‘When Doves Cry” artwork paying dues on the original centre label art, it’s a literal 'Ghost in the Machine’ built around a thundering 303 mutation executed by Edison Electric - perhaps the perfect early insight into the wildest and most futuristic aspects of this era of Dancehall.

Trust that there is a lot coming up on this label, but honestly don’t miss this one - it’s as sought-after and deadly as they come.

FFF continues on his rich run of form with a heavy double hitter on Foxy Jangle - classic jungle signatures meet cutting-edge production precision across both tracks.

"No Ice Cream" fuses rare groove, ragga and neo-classic jungle rhythms, the resulting roller a molotov cocktail of club-ready jungle for the big soundsystems and low-slung, sweaty basements.

"Backstreet Dub" is an altogether smokier affair than the flip. Pulsating UK hardcore DNA meets dub sensibilities and DnB breaksmanship, creating a strong-armed sonic journey littered with emblems of soundsystem culture.

All tracks by FFF
Lacquer cut by Shane @ Finyl Tweak
Mastering by Bob Macc @ Subvert Central
Artwork by CISTO
Additional graphic design by Yorobi

Multi-instrumentalist/producer extraordinaire - Flevans has been on fire the last few months. With more plays across the BBC 6Music and Radio 2 than you can count on all your limbs combined, his recent singles have proved to be a huge success on the air-waves.

Following up this early enthusiasm with the stellar LP 'Part Time Millionaire' in March, the album was received very warmly by critics and fans alike.

With source material this good it was time to have some fun and at the end of March we released the undeniably brilliant Art of Tones Remix of Who's Got Me – featuring the brilliant Laura Vane on vocals. Deep delicious disco. That's how we'd describe it but don't take our word for it, listen to Todd Edwards, Bill Brewster, Kraak & Smaak, Hector Romero and Francois Kevorkian – all of whom are supporting it. Or listen to Diplo, Mistajam, Annie Nightingale, and Gilles Peterson who have all supported his past releases on the wireless..

Well good as that was, the fun doesn't stop there as the next instalment of remix magic has disco man of the moment Ray Mang giving the special treatment to It Just Goes (feat. Sarah Scott). He's always been a legend but his re-work of the phenomenal handclap band was THE remix of 2018 for the disco cognoscenti and he has turned in some of his very best work here.

Yes - we like to listen to music online and have the convenience of an endless collection always available but for the masochists who like to break their backs lugging heavy boxes of vinyl round to gigs – don't worry – we got your back (broke) by putting both of these killer remixes on one extremely desirable 12"





[a] A1. It Just Goes (Ray Mang Extended Remix) [feat. Sarah Scott]
[b] B1. Who's Got Me (Art Of Tones Extended Remix) [feat. Laura Vane]

[a] A1. It Just Goes (Ray Mang Extended Remix) [feat. Sarah Scott]
[b] B1. Who's Got Me (Art Of Tones Extended Remix) [feat. Laura Vane]

Air Miles return for a second instalment of deeper cuts lead by label affiliate, Jeigo. Fluerella EP builds on that delicate sound confirmed with the producers most recent AM001 release ‘An Ode to Midnight’.

Three remixers offer up their own take on the title track, with the hallmark Jeigo sound to be taken to new planes and Fluerella to be warped into bold new realms.

Pittsburgh Track Authority is back. After a five year hiatus from releasing music--during which time PTA maintained focus on expanding the catalog of their labels Pittsburgh Tracks, Love What You Feel, Machine Age Records, and Sleeve -- Preslav and Adam are back with a rejuvenated outlook on music and a renewed sense of purpose. The new album titled PA System is a collection of house and techno written to serve as a document of the past 18 months. As always with PTA, friends near and far, old and new, were a part of the writing process and the album includes collaborations with C. Scott, Santiago Salazar, Stuart Bogie, Nic Offer, Samurai Velvet, John Hall, and Kenny Peagler.
Released by:
Pittsburgh Tracks