Beats Vinyl New Releases - News

After the success of his alchemic Relapse EP, Fedbymachines returns to Shipwrec with his brand of genre splicing electronics. The 12" opens in the blurry haze of "Rest Rain." Drenched in static, dubby notes trudge next to whispered hi-hits as liquid notes sparkle. A deftness of touch permeates the entire record, coming to the fore in the gentle currents and sways of "Bestill" before the cascading resonance of "Solos." Nothing is overstated in this journey into deep absorption and introspection, instead Fedbymachines carefully crafts his soundscapes in complementary levels to construct fluid musical feats. The finale comes with "Bound." From an understated opening, the track comes to life as a textured beat takes hold allowing radiant keys shine. A multi-layered release from a multifaceted musician.

It's auspicious that Sonic Boom-the solo project and nom-de-producer of Peter Kember (Spectrum, Spacemen 3)-returns in 2020 with its first new LP in three decades. Kember's drawn to the year's numerological potency, and this intentionality shines into every corner of All Things Being Equal. It's a meditative, mathematical record concerned with the interconnectedness of memory, space, consumerism, consciousness-everything. Through regenerative stories told backwards and forwards, Kember explores dichotomies zen and fearsome, reverential of his analog toolkit and protective of the plants and trees that support our lives. Sonic Boom's second album and first for Carpark began in 2015 as electronic jams. The original sketches of electronic patterns, sequenced out of modular synths, were so appealing that Stereolab's Tim Gane encouraged Kember to release them instrumentally. "I nearly did," confesses Kember, "but the vibe in them was so strong that I couldn't resist trying to ice the cake." Three years later, a move to Portugal saw him dusting off the backing tracks, adding vocals inspired by Sam Cooke, The Sandpipers, and the Everly Brothers (which he admits "don't go far from the turntable pile"), as well as speculative, ominous spoken word segments. His new home Sintra's parks and gardens provided a different visual context for Kember's thoughtful observations, and he thematically incorporated sunshine and nature as well as global protests into the ten resulting tracks. "Music made in sterility sounds sterile," he says, "And that is my idea of hell."

Walton returns to Tectonic to drop his latest EP of deadly dance floor weapons, as Tectonic sets up to celebrate being 15 years old!

With releases dropping on Illian Tape and Kaizen, Manchester’s Walton is a producer in high demand for his inimitable style the blends grime and pirate radio aesthetics with forward-thinking dance floor sensibilities..

‘Scooped’ opens the EP with mood setting pads and 128bpm drums, in preparation for a gut-wrenching bass line, bringing elements of grime, dubstep and techno altogether.

Following on next is ‘SBWYS’. The title references a vocal sample that decorates the rough 138bpm beats, “Sound boy watch ya space!”. Point made.

‘Smashed Crabs’ takes a 2003-era grime style rhythmic framework and paints over hard bass sonics and laser blips at 134bpm.

Lastly, the title track ‘Abyss’ continues the rave lazer aesthetic and tempo of Smashed Crabs, but sending things more intergalactic in trajectory, wrapping up a great EP in fine style. Definitely a bit of something for most dancefloors, crafted in the way of the Walton.

The crazy Sonic Terror Recordings label we used to push years and years ago is back on Vinyl !!!
2 track 45 cut loud sound and printed sleeve... crazy record !

Leuchtkraft is the second album from Frankfurt based multidisciplinary artist Daniel 'Flug 8' Herrmann. Returning to the banks of hardware with which he created the organic electronica of his critically acclaimed debut Trans Atlantik Herrmann's sound has evolved to a higher state. Now, untethered from drums, his floatation tank soundscapes soar to the heavens, buoyed on wave after shimmering wave of lush drone and cascading melody.

Translated as 'luminescence', the 10 tracks of Leuchtkraft smudge between moods; the delicate icicle chimes of Kristallpalast give way to the widescreen spacewalk of John Carpenter-esque Man High. Mittelwelle is an ominous descent of nervy creaks and distant distortion, whilst Sierra Charlie is a mirage of Eastern sun-baked drone.... But the album is best consumed as one long, unravelling drift, a sprawl trip through half remembered dreams and future fantasies.

A renowned musician and photographer, Herrmann has previously released music on Disko B and Smaul, collaborated with members of Einstürzende Neubauten, and art directed for both Roman Flugel's label Playhouse label, and the iconic Live at The Robert Johnson mix series. For Leuchkraft he has created a series of images ruminating on the notion of illumination, where light sources battle through stark contrasts of darkness. Whether this is a metaphor for our confused world, or a wider examination on the universality of light is entirely up to the audience to decide...

Dark shaped breakcore. Dancefloor.

LTD 100 copies Powernoise music from Nihil Fist !!!

After the successful debut album by Roland Sebastian Faber 'RSF' on Closing the Circle records RSF is returning with a new EP. We are not Friends! Double A side vinyl release with remixes by Benedikt Frey, Kinky Roland and Keen K. Including download code.

With roots cemented in jungle, breaks and hardcore, Unglued injects his signature bassline badness into each tearout track, topped with euphoric classic house samples in the title track ‘Total XTC’, to hair-raising vocals from Truthos Mufasa in ‘War Dance’ featuring Whiney.

Total XTC fires us through a prism of late 80s nostalgia with pitched-up soulful vocal samples from Charvoni’s feel-good classic house groover ‘Always There’. Dreamy pads and playful vintage notes set the scene. Soothingly sustained vocals swim over raw, metallic, jungle-infused drums that introduce the subdestroying drop. A certified rave anthem that will have all the heads entranced.

‘War Dance’ raises adrenaline as Manchester-based Truthos Mufasa lays down slick and weighty bars that ricochet off skippy old skool-style drums right in the eye of the storm. Together, Unglued and Whiney conjure up bass-rumbling chaos as we’re pushed ‘right off the tracks’ with double-barrelled artillery in the heat of battle.

Charging in with twisted swagger, ‘Got 2 Have’ is a squelchy bass-ridden stepper that screams Unglued all over. While ‘Pigeon Funk’ swoops in and stares you down with electrically-charged squarks and funk-fuelled flare.

Introduced to jungle at an early age by his influential uncle Stoppy, Unglued demonstrates his ability to simultaneously stick and unpick these roots in his powerfully dynamic ‘Total XTC’ EP by fusing the old-skool style with his unique, forward-thinking flair.

Unglued’s rise since his anthemic ‘If We Ever’ remix, has brought in over a hundred intercontinental shows since 2019, and regular support from some of the biggest players in the game, including Andy C, Noisia and Randall.

Unglued is no stranger to spins on national airwaves, with BBC Radio 1’s Annie Mac awarding him Hottest Record In The World for ‘Born In 94’, as well as regular support from Rene LaVice and Charlie Tee on Kiss Fresh. Everyone’s got their eyes stuck to Unglued!

Crazy collab between G. Angelis, M.Sanheira et Z'EV. Noise sounds of course, arhythmetic.
Inspired from Scottish writer Ian Banks : the nothing makes some noise. A guy prisoner of a giant bridge architecture... Coma is the way of no-way.

From Nantes, France, NABTA is equal to EBM, minimal synth and electroclash as its best. They perfectly define and describe their music as “an electronic ceremony where comets of beats crashes into a oceans of colours, tumbling into the sombre side while sweet darkness binds you in a trance and makes you dance, dance and dance”. We like that vision!. All tracks have been specially remastered for LONG CUT vinyl by Aria Z.

For Fans Of Hot Chip, J-pop, Dada. Perlita Is Responsible For 'sex Instruments', The First Ever Song Made Entirely Out Of Sounds Produced By Sex Toys, Including Guitars Played With Vibrators, Bass Notes From Anal Beads And Strokers For Rhythm. The Track Was Made Especially For A Pornhub Toys Ad Campaign.

Caballo Rojo ("red Horse") Is The Second Album By Perlita, A Band From Cádiz, Spain, Once Described By A British Critic As "a Hot Chip Fronted By Freddy Mercury". For The Follow-up To Their 2016 Debut Cangrejo Yeti ("yeti Crab"), The Threesome Have Come Up With A Titanic Piece That, Mood-wise, Jumps Around And Gallops Between Pop, Flashes Of Andalusian Folkloric Music, Drum Machines, Japanese Voices, Synths And Verses By Spanish Poet And Nobel Prize Laureate Juan Ramón Jiménez, Among Many Other Things.

Perlita Are Based Part-time Between Puerto De Santa María, Cádiz, And The Madrid Borough Of Lavapiés. That In Itself Could Constitute A Music Genre, But It's Not On Wikipedia Yet. Their Music Speaks Many Languages, Some Of Them Invented. There's Something In It That Echoes The South - The South Of The Andalusian Psychedelic Rock Bands Of Yore, But Also Of The Typical Cádiz Brand Of Humour, Of The Famous Carnival, And Of The Northwest-african Radio Waves Reaching The Beaches Of The City From Across The Gulf Of Cádiz.

Having Cut Their Teeth In Many Spanish Indie Bands, With Perlita, The Three Band Members Decided To Explore Other Worlds - Worlds Where Synths And Drum Machines Rule, Yet With Plenty Room For Wild Percussion And Marvellously Poppy Melodies. The New Direction Became Clear On Their First Effort Cangrejo Yeti, And Is Continued On Caballo Rojo: Electronic Pop Made With An Open Mind, With A Special Fondness Of The Poetry In Details, And With A Production That Is Morphing Throughout The Record - From A Sophisticated Accompaniment Gently Rocking Some Precious Verses To A Raw And Forceful Sound Slinging Almost Dada-like Shouts, Like A Poet At A Rave Hollering About The Dunes.

A collaboration between Ron Wells and Pete Canon, Proper 21st Century Jungle Techno

The Ray Keith classic that everyone is familiar with carefully restored by the Music Preservation Society and remastered by Subvert Central Mastering. The original Digital Masters were full of tiny clicks from the piano samples used, which when removed, let that huge bass line shine. The end result is nothing short of amazing. Clear, loud and punchy without losing any of the original flava.

Two Ray Keith classics remastered from original DAT Tape masters. Cut one track per side as true classics deserve.

Repress

The mysterious SNTS back with their fifth installment. SCENE 2, composed for four tracks with mental landscapes , percussions ,deep rhythms and some signals that are describing this wax. "As if she had a split personality, that person may be suffering bipolarity or fails to find herself".

Supported by: Oake, Teste, Rrose, Marcel Dettmann, Svreca, Zadig, Marcel Fengler, Norman Nodge, Tommy Four Seven, Antigone, Edit Select, Terence Fixmer, Kr!z (Token), Paula Temple, Manni Dee, Laurent Garnier, DVS1, Ben Gibson, Etapp Kyle, Alex.Do, Iori, Bas Mooy ,Giorgio Gigli , Takaaki Itoh, Rebekah, Dj Deep, Electric Indigo, Marco Zenker, Angel Molina, Juho Kusti, Go Hiyama, Deepbass,Thomas Hessler, NX1, Ryuji Takeuchi, J.Tijn ,Claudio PRC ,Ben Sims, Nihad Tule, Fanon Flowers, Samuli Kemppi, Adriana Lopez, Ness, Cio D'or, Chirs Liebing .

Two leaders from very different musical worlds, the innovative pianist Bruce Brubaker and scientist-now-electronic-artist Max Cooper collaborate to create this latest expression of music by Philip Glass and tell a story of diversity and vulnerability.

Commissioned by and introduced at the Paris Philharmonie in 2019, Glassforms melds the acoustic concert grand piano with synths and cutting-edge electronic production techniques to create a compelling album and a dynamic live experience.

Rather than just reworking or augmenting via traditional means, Max Cooper and Bruce Brubaker fundamentally rewire Glass’ forms in a manner that’s not possible with human composition tools. Max built a new system for musical expression through coding with software developer Alexander Randon, creating a tool for taking live data from the piano and transforming it into new but intimately related forms which drive his synths on stage.

The result is that each of the pieces by Glass becomes its own electronic “instrument,” an instrument Bruce plays in addition to, and simultaneously with the original piece. As Bruce plays the piano and controls synths with his playing, Max modulates and augments, sometimes adding his own melodies to form hybrid variants.

Grey Marbled Vinyl

Lossless Music is proud to present the first artist long player on our leftfield and experimental sub-label Exkursions from U.S based producer Mark Kloud.

Mark originally appeared on Dope Plates 005 alongside Sicknote and Scape with this jungle hybrid track 'Strength'. Following the general public and press response to his track, label boss Soul Intent suggested to Mark he produce an album following a similar vibe and feel to 'Strength'... and boy did Mark deliver.

Moonquake is a detailed and atmospheric journey into breakbeat and ambient, which Mark seems to do with ease. Each track tells it's own story and we couldn't be prouder to release Mark's first solo album.

Eye socket tickling outernational riddimz from the Manchester-based Alan Johnson.

Introducing Maes (Manchester UK) the newest crew member on Navy Cut. Serves up 3 cuts of hard hitting sub bass with complex percussion and packed with energy while retaining the original Dubstep sound.

It is possible that a deeply fickle Bryn Jones, who was never happy with remixes of Muslimgauze music apart from his own, might be with this one.
Extreme, an earlier Muslimgauze label, had a long history of remixing the material Bryn sent to them and this was the main reason for the artist to move to the staalplaat label.

It’s an interesting coincidence that Extreme hired Anders Peterson to remaster Muslimgauze for them. In the process of listening to masters and studying the music, the idea of a remix or ‘rework’ seemed an intuitive next step, reflects Peterson, “The remixes are based on various material from about 6 DAT tapes. I did not choose any specific tracks, rather sections and parts of all the recordings on those tapes. I did not seek to do a remix, it just grew up of that remastering project. I think I could not find any artist in any genre, anywhere, that would be more interesting to rework / remix than Muslimgauze, so I definitely feel very honored having been able to record these remixes.”

Musically, this release falls in line with the more deep spiritual, meditative, abstract side of Muslimgauze, which is often overlooked. The music remains timeless, the production as crisp as ever. Those familiar with the Muslimgauze oeuvre know this music is more than just a series of infectious rhythmic works. Rather a historical document, a musical commentary on the tumultuous times that inspired it; a reflection on the Iran/Iraq war, Operation Desert Storm, the Soviet invasion of and retreat from Afghanistan and the first Intifada. Anders Peterson brings the music of Muslimgauze and successfully found new ways to reveal the artistries from one of the 20th century’s more intriguing artists. Through circumstance, Staalplaat is to ensure that the remix project sees the light of day, now available on the evidently timeless medium of a vinyl record.”

Long-time Muslimgauze fans with keen eyes and/or photographic memories may immediately notice something about the newly unearthed Sadaams Children album; with some slight orthographic differences, it just about shares a name with a short track from the classic Narcotic (Staalplaat, 1997; the similarity and the difference is pretty much expected from someone who both liked to reuse names and didn’t care for consistency in spelling as Bryn Jones did). While none of the four lengthy tracks found on Sadaams Children actually sound like sparse, clean string sounds of Narcotic’s “Saddams Children”, three of them never previously heard extended versions of tracks previously found on that release – well, one is both an extended and truncated version, but such are the idiosyncrasies and joys of the ever-complex Muslimgauze oeuvre.

That extra-special track is the mighty, dubbed-out “Gulf Between Us”, which does appear on Narcotic as a brief palate cleanser but in the same year was also released by Staalplaat as a standalone track in its ultimate, 23-minute form. That sprawling version takes a rather circuitous route as subtle electronic elements wear away at the track; the more compact 10-minute version here instead dials up the bass wobble for a track that’s about as chilled as Muslimgauze ever gets.

“Believers of the Blind Sheik” and “Effendi” are slightly more straightforward, in that both are about twice as long as their Narcotic excerpts, with the former’s echoing drum hits and quiet pulse proving to be a natural fit with “Gulf Between Us” at the beginning of the release and the even sparser, slower building version of the latter seeing the album out in slightly abstract fashion. Before that track, however, there’s the previously unreleased and similarly lengthy (at nearly 17 minutes) “Trikrit Brotherhood Quartet”, the only track of the four here to get more of Jones’ traditional layers of instrumentation and distortion to form a track that seems to shimmer in the summer air like a mirage. As “Trikit Brotherhood Quartet” winds its way from roiling static to more of Jones’ classic use of hand percussion it’s clear that these extended editions make for another compelling look at Jones’ archives and the seemingly infinite flexibility of his muse.

Upsammy returns to Die Orakel for her second EP entitled Branches On Ice – four tracks full with crystal clear, multi-layered textures.

clocolan is Emlyn Ellis Addison, a South African artist now living in Providence, Rhode Island. Exploring themes of ontology and psychedelia, his is a music of imaginary futures—of neglected hinterlands and unconquered vastness lost in the background noise of human endeavor.

Addison’s 2017 album, Nothing Left To Abandon, examined the experience of memory while his new album, It’s Not Too Early For Each Other, examines a more pressing experience: the ecosystemic collapse. clocolan dotes once more on dusty melancholy and electronic psychedelia in his new album, pressing into darker territory and more visceral textures.

It’s Not Too Early For Each Other examines the looming inevitability of a future shaped by mankind's destruction of natural ecosystems—and its seeming inability to alter that course. This music is dedicated to the pariahs: the messengers who confront the murder of the ecosystem.

Emlyn was introduced to Colin Morrison at Castles in Space by Strictly Kev AKA DJ Food. It's proving to be an incredibly fruitful collaboration and a third clocolan long player is already delivered and undergoing mastering for future release on Castles in Space.

... Finding your soulmate is a rare and precious gift.
Even if one leaves this world-since souls don`t vanish-they remain in oneness …

After a run of amazing releases for the likes of Whites, Livity Sound, Delsin Forest Drive West steps up to R&S with an EP exploring 170bpm jungle.

Following a string of bag-on-site releases on leading 140 labels White Peach, Pearly Whites and his own No More Mailouts, Sir Hiss debuts on K-LONE’s label Wych with a pair of fresh 140 anthems. WYCH004 sees his signature sound on full display and at its best: all driving subs, skittish beats and N64-indebted earworm melodies. The record closes with a hyper-melodic K-LONE remix.

Nous'klaer & RE:VIVE present two scores by Thessa Torsing (upsammy) and Tammo Hesselink. Torsing's is a 27-minute piece, composed for a collage of archival footage of the Dutch ship MS Oranje. The short film explores the lifecycle of the ship, from production to usage and to the fire that ultimately destroyed it. Hesselink's is a 17-minute piece for the pioneering short film, Ballet Mecanique (1924), a rigid composition of sharp notes and twisted drum patterns that hypnotically evolve accompanying the film's staccato rhythm.

Emotional Response is delighted to announce Foreign Affairs - a limited edition special remix 7-inch single featuring reworks from Alexis Georgopoulos & Jefre Cantu-Ledesma's "Fragments of A Season" album by Woo and Felicia Atkinson.

Last year's ""Fragments of A Season"" represented a unique chapter in both artist's canon. Georgopoulos, who released the Arp album "Zebra" in June this year and Cantu-Ledesma, who released "On The Echoing Green" in October 2017 - both on Mexican Summer and to critical acclaim - wanted to stretch out and create a discrete work. A peripheral listen to "Fragments" revealed a resonant album of delicate, ambient vignettes, suggesting a Balearic take on Vini Reilly, Young Marble Giants and other poetically-minded, minimalistic post-punk era bands.

The Brothers Ives aka Woo were a major influence on the album's makers and so AG and JCL are thrilled they've submitted a beautiful reworking of the album's "Marine". Whereas the original sounded like Marine Girls and The Gist getting together for a nice beach day jam, Woo's rework transforms it into pulsating track of glistening proportions. Percolating synths, some guitar and clarinet - the true classic, idiosyncratic Woo-ification - creates a woozy, romantic, impossible to categorize slice of Balearic meets dub atmospherics.

If "Marine" is all midday sun, intoxicating and potently optimistic, Atkinson's remake represents the literal and figurative flip, bringing out the overcast dreaminess to "Cleo". Sounding like an outtake from a Rohmer film, or perhaps Cocteau Twins and Broadcast having a picnic in Biarritz, the version veers between abstraction, celluloid ambiguity and suggested narrative. Atkinson's reworking adds poetry of the tune (quite literally!) with her soft vocal under-gliding to perfection. Representing a temporary idyll, a meeting point where cobblestone streets lead to the sea. At nightfall, a discotheque heard in the distance. The morning mist burns off. Only such memories remain.

An unearthed treasure from the 70's Italian Avant Garde archives. A previously unreleased recording from the legendary Beat72 club in Rome in 1973, featuring a One-Off Italian-American All-Star ensemble with Roberto Laneri founding member of the experimental vocal group Prima Materia, maverick American composer Alvin Curran co-founder of Musica Elettronica Viva, Trombone specialist Giancarlo Schiaffini from Gruppo di improvvisazione Nuova Consonanza, Cello virtuoso Frances Marie Uitti, close collaborator of the likes of J. Cage and G. Scelsi, Bassist Bruno Tommaso from the legendary Gruppo Romano Free Jazz and American composer Tony Ackerman from the obscure Suonosfera group. Highly creative music which defies categories and boundaries. A historical document.

Additional booklet contains extensive liner notes and photos.

Black Truffle are pleased to announce Undercurrent, the new LP from the long-running Milanese duo of Giuseppe Ielasi and Nicola Ratti. Following on from high-profile releases on Boomkat Editions and Shelter Press in the last few years, the eight untitled pieces making up Undercurrent continue the pair’s hypnotic and disorientating practice of improvisation based on tape loops. Often sitting halfway between electro-acoustic technique and beat-based production, the music of Bellows obliquely recalls aspects of hip-hop, dub, and techno while skewing their rhythmic foundations. While consistent with the distinctive language the duo have developed over the last decade, Undercurrent moves away from the explicit references made to club music in their recent releases. It presents a suite of pieces that are markedly more minimal, at times reminiscent in their haunted introspection of the legendary Tolerance records on Vanity Records. The pieces here often dwell for minutes at a time on single repeating tones, reverberating like distant bells in desolate landscapes of looped tape hiss. Where previous releases were primarily based on samples, Undercurrent uses recordings of the duo playing various instruments (guitar, drums, synthesizer) cut into tape loops and then used as the bases for song-length tracks, each of which establishes a central repeating motif while also opening up on close listening to reveal multitudes of improvised detail and subtle shifts in tone, texture, and tempo. Beginning with the mournful sliding tones and obscured fragments of field recordings on the opening track, the LP moves from lush synth pads to super-minimal pings and haunted drone. On ‘6’ and ‘7’, spacious, hanging guitar figures give the music an elegiac quality recalling the work of Dean Roberts and Ielasi’s own earlier guitar-based music (such as the classic Gesine, released on Häpna in 2005). The record subtly builds to its final track, which works the barest of elements – a slowed-tone loop of steel drums, a distant whistle, beeping electronics – into a piece somehow imbued with a quiet grandeur, a fitting conclusion to a record that, like all of the duo's work, is both sonically exploratory and immediately accessible.

Italy's Cristiano Deison enriches the experimental sound and noise art community with his releases and various collaborations (lately with JJohn Duncan, Gianluca Becuzzi and K.K.Null) for more than 20 years, but seems to be still undiscovered by too many listeners. "Substrata" collects three extremely crystalline and immersive drone pieces based on prepared tapes, metals, strings, wires and electronics... imagine a forest glade in moon-light with cold white sonic radiations, half-frozen calyx are clanging at each other, liquid metallic forms appear and disappear, hypnotic slow motion pulses suck you into.. "something"... these are incredible strong, deep and complex drone compositions, drones with the spirit of the "Noise Culture" - using "fragmentation, collage, arrangement and layers", as Germano-Chinese philosoph Lutz Schridde puts it. Sounds of elementary transformations, metamorphosis, and overcoming the usual sense of time:

"...where sounds are conceived as they are “excavated” from the earth beneath our feet “Terra Firma” (erosion) and then taking to the light (awakening); it describes its interior solid surface (“Prima Materia”), the primitive formless base of all matter similar to chaos, the quintessence or aether." - Cristiano Deison