Beats Vinyl New Releases - News

Melbourne based producer, DJ and co-founder of Sumac Records, Jon Watts delivers his Butter Sessions debut, Music for 3 CDJs. With over 10 years experimenting as an artist, Jon has an established history with the Australian underground scene. Music for 3 CDJs, showcases two contrasting sides, revealing his ability to seamlessly navigate manifold sounds.

The A-side presents three distinct tracks, thread together with restless percussion and a propulsive force. The introduction to the EP, Prohaasation, is a medley of techno and electro fabrics which progressively build before abruptly halting -- generating suspense for the track to follow. The feverish William gasps and screeches in tones that peak and fall, accompanied by audio maintained throughout; reminiscent of a malfunctioning fax machine. Now It's Done is a choppy and disjointed piece yet coherent in its structure that makes for a rewarding conclusion to the release's first chapter.

Subtlety and minimalism prevail for side B, as Jon gifts us with loops that swirl and churn. AMB 4 marks the first deviation from the narrative of Side A; sounding like hypnotic swelling from the bottom of a deep well. AMB 5 follows suit, divulging more of the picture. Carved out of a sound bed of field recordings, the nine and a half minute piece enchants with its repetitive arc, a spaciousness mirrored in the EP's farewell. The last track Piano 1, is an intricate study of a singular piano chord, examining the layers of the chord's sustain that are disclosed. A testament to Jon's unadorned restraint and confirmation of the old adage that less is really more.

Locus Sound return to their vinyl series with a bang. LOCUSV002 comes in the form of a three track release entitled “El Molino" from London based producer Lord Jabu.

Unique improv / ambient album by two creative minds Lol Coxhill & Morgan Fisher. Originally from 1981 and now re-issued for the first time on vinyl.

Cherry Red generously gave Morgan Fisher musical carte-blanche by offering to distribute a label of his own so, like his studio, he called his label Pipe. For the first album he decided to record an album of ambient music. Rather than using synths, Morgan decided to invite soprano sax supremo Lol Coxhill to supply some raw material which he then processed in various ways. The opening track is based on Lol’s beautiful performance of Handel’s Largo, recycled through tape delays, VCS3 filters and octave shifts.

The result (in Morgan's opinion) is somewhat like a Mexican funeral march. Other tracks transform the sound of the sax sound into bells (!) and lush orchestral soundscapes. The 20-minute title track is based on the melody of the short closing track (which Lol sang, accompanied by church bells!). Morgan recorded phrases from the melody using piano, guitar, bass and voice. He snipped off the beginning of each note (about 5mm of tape) making the sounds less recognisable, then looped each phrase and recorded long stretches of the loops onto individual tracks of his 8-track TEAC. Finally he created this piece in real time by fading tracks in and out through long tape delays. This pioneering work took weeks of intense experimenting and has been cited as an influence by several top Japanese artists such as Haruomi Hosono of YMO.

Lol Coxhill passed away after a long illness, on July 10 2012, aged 79. RIP.

New 5 track digital release from Sumgii for Swamp 81 sublabel, 81. Mastered at TenEightSeven

A collection of amazing ambient techno excursions by Susumu Yokota under his Ebi alias make a welcome return to vinyl. Part two of the “Space Teddy” opus originally released in 1994, standing with full expressive relevance still today.

Grainy soundscapes flow smoothly together with rippling breakbeats. Dystopian rhythms vanish into horizontal noise. An ancient procession in the dark, guided only by touch.

For the second installment of Trésor D’argent, simply called “LP2”, Arjen Schat returns to the original format for Berlin-school. Two 20-minute electronic explorations, guided by a myriad of increasingly complex sequential patterns. “LP2” is pressed on black 140g vinyl, with full-colour sleeve and labels, and white poly-lined inner sleeve. Limited to 100 copies worldwide.

Chra is the artist moniker for Austrian Christina Nemec (Bray, Shampoo Boy). SEAMONS is the latest missive in her ongoing exploration of suffocating abstract audio. At once designed and falling apart SEAMONS is rough and crude, a stumbling and staggering electronic expedition where nothing presents itself explicit in intent. It’s a tense obscure record that teases you into it’s peculiar vortex from it’s suggestive nature of exploring the enigma beyond it’s haunted facade.

VICIOUS WATER REGIMES stutters along as an ‘ugly’ mass of grey electronica. CAST(O)RO shines from light from the depths with it’s occasional foray into glistening tones. COLONIA MARINA SERENELLA is a dank squelching backdrop for a dark age. CAST twists tension with flickering electronics chaotic in their perpetual design of order confronting inevitable collapse. LET SHARKS SLEEP is not only a great title but a mind tickling adventure of descending/rising digital dance that builds in intensity with it's relentless repetition. WIDOW WALKS gallops and creaks along a path veiled in whispers. ENGE lunges through time with an air of deep uncertainty. SEAMONS hovers on the outskirts, crawling out of the speakers with endless surprising turns, few of them comfortable.

SEAMONS is progressive ambient, not the kind that makes you escape, but rather one you can't escape from. SEAMONS crawls into the very guts of sound to uncover and unravel the uneasy and unsettling underbelly within.

786 Recordings presents the next release of their 786X series.
 New signing Dalek One on the buttons for the second round 
 of this war sounds installment.

New weapons for your turntables.

Magic Bless EP has traditionally been a combination of shamanic rhythms, deep basslines and mystical Carpathian heats! Sounds of ritual Indian instruments and meditative songs that hypnotize and enter into a lingering trip.

DJ Support
Ciel, Cromby, Ian Blevins, Tereza, Raresh, India, Interplanetary Criminal, Auntie Flo, Ronan, Shawn Reynaldo, Henry Greenleaf, Pathaan, Ben Morris, Yushh +more

In Experimental & Parametric Music 1976-2017 more than 40 years of the composer's work are now unveiled. We discover here for the first time the great coherence of this work: from "Signalisations" (1976) to "Mnemosyne pour une acousmaman" (2017). The twelve compositions are annotated and explained in detail by the composer, as well as a kind of wild autobiography.

Joris De Laet was born in 1947, Belgian by birth, self-taught by definition, parametric music and art video composer by choice. Founder of the S.E.M. (Studio voor Experimentele Muziek) in Antwerp, 1973. Internships at the IPEM (Instituut voor Psychoakoestiek en Elektronische Muziek) in Ghent, 1972-1975, under Karel Goeyvaerts, Lucien Goethals and Dr. Herman Sabbe.

De Laet is the founder of the SEMensemble, a group of musicians-composers specialized in performing experimental music and live electronics. From 1975 until 1990, he gave concerts with this ensemble throughout Europe (Germany, France, The Netherlands, Austria, Poland, Croatia, etc.) and in Canada (Montreal, Kingston, Toronto).

Parametric Music was inspired by the deep control on electronic sonics, he has been defining his work since 1979 as 'Parametric Music,' music where composition is based on transformation flows of one or several parameters, selected by the composer, that form, through their converging (or diverging) processes the main characteristics of the regulated sonics of the composition.

4 ethereal beats which inspire evolution and transcend all borders, walls and language barriers by Jostereo & Radius ETC

Pugwash was immersed in the jungle scene since the very beginning. A proper underground legend who ran his own label ID Records to put out his own music written alongside “Probe”. ID Records was a sub-label of “Brain Records” from Bizzy B. Pugwash and Bizzy B wrote a ton of incredible music in the mid nineties and formed the “Dynamic Duo” for releases on Joker. Pugwash has worked on loads of releases over the years and used many pseudonyms like “The Specialist” & “Peter Parker” on labels like “Da Lick” and “Brain Records”.

This short lived label left behind a legacy of 4 seminal releases in ‘93 / ‘94, this being the most sought after one! This is Commodore Amiga Jungle at it finest!

The Raw Heavyweight tone of the 3 track EP is apparent with the killer analog low-end pressure that only Von D can supply.

Orchestric, Dubwise and built for the Sound system encompassing the vibe of what Artikal is about.

Next up on UVB76 is Bokeh. Delivering a variation of genres and styles over a 4 track EP. Including some experimental techno, heavy drum & bass & an ambient piece for good measure.

Hakobune returns to the label with this beautiful 3 song LP. These songs have been with me for the last few months and have been such a comforting presence during such a tumultuous time. 3 blissful pieces for guitar with gentle overlapping tones and field recordings, ending with the glorious side-long piece oichi. I've listened to this more times than I can count this spring, and I'm so happy to share it with you all.

The pieces are named after rivers and streams near the artist's home, places of solitude.

Pre-order is essential !

The wondrous, expansive and meditative music of Spanish musician, Luis Paniagua is explored with this reissue of his classic 1987 album, Neptuno.

Released on the now cult El Cometa de Madrid label - itself a sub label of Grabaciones Accidentales (Finas Africae/Suso Saiz/Javier Bergia) - the album is another is the canon of exploratory new age, world and ambient recordings that came out of Spain during the formative period as the country returned to democracy.

Luis Paniagua, a musician, composer and producer, was born in Madrid, in 1957. His first associated release was in 1974 to record the pioneering album "Music of Ancient Greece" as a member of Atrium Musicae. As a member of Babia, alongside Luis Delgado (ERC045), he released the sought after folk and fusion album "Oriente - Occidente" in 1982, before dedicating exclusively to compose his own music with many instruments of the world.

In late summer 1987, his friend and now creator behind the El Cometa de Madrid label, Delgado proposed to record an album of music in Paniagua's attic in Madrid. Bringing his eight-track they recorded the music found here in a mere few days.

Predominantly written by Paniagua - the rhythmic Gacelle being co-written with Don Cherry and Cancion De Senegal - and produced with Delgado, the album is, in his own words, a journey to the balm of love, truth, beauty and purity.

Exploring new age music, world music and spiritual music without being of a specific religion, Neptuno, flows as one. Centred on the beautiful multi-instrumental mastery by Paniagua, including percussion, chimes, guimbri, sitar and vocals, he is joined by friends and family on keys, flute and drums.

Performing today, with 16 albums released and counting, Luis Paniagua's dedicates himself through music. To discover that has always been within.

A beautiful 10" vinyl by the emerging label TORMO RECORDS (their previous edition is none other than Hela, and they also have some stuff from Lodo). Music by Mono Caníbal (Emu Proteus 2, Moog Sub37, Yamaha Dx27, Korg Ms2000, Korg Minilogue, Roland JV1010...); recording in a jungle in another Galaxy (The Empty Hall) in the year of the lord between 2.134 and 4.288 according to the Ummita calendar. The unique and unpredictable letters are the work of the unclassifiable Sagan Ummo (here Satan Ummo). The fantastic artwork is by Sagan Crimewear and the scary mastering (I swear the bass is really powerful) is by J.F. Rojo at Red Records Studio.

Official re-issue of a 90's classic!

'Sing the Gloaming' is the latest collaboration between Simon Kirby, Tommy Perman and Rob St John.

Rob St John is a member of Modern Studies (FIRE Records). Tommy Perman is an artist/musician/designer and former member of the FOUND collective.

'Sing the Gloaming' features guest vocals from Kenny Anderson (King Creosote), Nerea Bello, Aidan Moffat, Emily Scott (Modern Studies), Su Shaw (SHHE), Hanna Tuulikki and Andrew Wasylyk.

The release has been reviewed by The Wire (who also ran a feature on the trio's collaborative work) and has been played by Hannah Peel as part of her 'Night Tracks' show on BBC Radio 3.

The trio's previous collaborations include 'Concrete Antenna', a sound installation in the landmark tower at Edinburgh Sculpture Workshop which was an album of the week on BBC Radio 3's 'Late Junction' and was also played by Stuart Maconie (as part of The Freak Zone - BBC 6 Music) and Gideon Coe (BBC 6 Music) amongst others.

For the third instalment of the Dispatch Blueprints series, another of our favourite artists presents their unique take on the Blueprints ethos.

Continuing the theme of exploring organic musical progression, DLR delivers two exceptional tracks that perfectly capture the spirit of the label.

An idea in development for several years, 'You Leave' began life as a hardware-based tune. No longer using the same equipment when returning to finalise the idea, the track was rebuilt with modern emulation, combining old school inspiration with contemporary techniques.

'Intermix' is a stripped-back, two-step journey. Slowly developing changes progress into dynamic and unexpected directions.

Fred und Luna machen Spacemusik der besonderen Art: Wie sollte es auch anders sein, wenn zwei Schaufensterpuppen sich gedanklich auf den Weg machen, ihr Modehaus in Karlsruhe/Deutschland hinter sich zu lassen, um neue Welten und Räume zu entdecken.

„Im Weltenraum“, so der dementsprechende Name ihres neuen Albums, ist „Fred und Lunas“ nächstes Abenteuer in ihrer sich stets erneuernden „Elektrokraut/Krautelektro“-Serie. Eine, laut Google-Translator, „charmante und faszinierende Reise durch ein endloses Universum phantasmagorieller Klanglandschaften, sich wiederholender Rhythmen, eingängiger Melodien und sogar einem Abstecher ins Acid-House-Land.“

Nach ihrem motorisch repetitiven Erstling „Glück auf“ (EP auf Optimo Music), dem zugleich rhythmischen und atmosphärisch-melodiösen Debütalbum „Im Klanggarten“ (Bigamo Musik), einem narkotischen Trip in tiefblaue Gefilde auf „Im Tiefenrausch“ (Compost Records) und tiefgelbe hypnotisierende Dancefloor-Regionen auf „Im Tanzrausch“ (Compost), sind „Fred und Luna“ nun auf den Spuren von Strukturen und Klangdimensionen. Begleitet werden sie dabei von Patrick Pulsinger, einem Virtuosen am Mischpult und Meister des Masterings.

Wer sind Fred und Luna?
Fred und Luna wohnen in einem Modehaus in Karlsruhe. Die beiden Mannequins sind die Musen des
Musikers, Lektors, Poeten und Foto- und Filmemachers Rainer Buchmüller.

Von seinen Mannequinfreunden und der Liebe zu deutscher elektronischer Musik der letzten Jahrzehnte inspiriert, produziert Rainer Buchmüller unter dem Pseudonym „Fred und Luna“ eine zeitgemäße Kombination aus repetitiven Rhythmen, bezaubernden Melodien, elektronischen Klanglandschaften und Elementen der Krautrock-Ära. Oder wie er es nennt: Elektrokraut beziehungsweise Krautelektro.

Unter dem Namen „Ariston Baton“ schreibt Rainer Buchmüller konkrete Poesie und Klanggedichte. Bei Liveauftritten und Ausstellungen wird er musikalisch von „Fred und Luna“ und von Rainer Buchmüllers drittem Pseudonym „Vizudaru Nono“ mit Foto- und Videoprojektionen und seinem vierten Pseudonym Nikto Nietschinski mit Gemälden begleitet. Alle zusammen bilden die „Equipe Nadaphysique“. Eine aktuelle Ausstellung ihres Schaffens fand Ende Oktober 2018 im Rahmen des „Festival Rockomotives“ in Vendôme (Frankreich) statt.

„Fred und Luna is a miraculous treasure chest with seemingly unlimited realms of Krautelektro and Elektrokraut music.“ FRANK WIEDEMANN (ÂME/INNERVISIONS)
„Fred und Luna’s universe is full of wonderful possibilities and greets you like an old friend whistling a long forgotten melody.“ PATRICK PULSINGER
„Wunderbar!“ JD TWITCH (OPTIMO)

And then came the Visitations.

The fifth opus of the Worst Records library could appear as an audiobook for transcendental meditations. If the idea of trance-induced state is no surprise in the music we deliver to the world, this new album by Ricco goes beyond. The pair formed by Gil.Barte, head of Kump Records, and HLM38, in charge of house Notte Brigante, dare to offer a sinuous collection of mantras melted in light, silver dust anddarkness. Each track navigates through ritualistic slow beats, drum'n'bass-ish half tempo incantations and other mystic hybrid forms not so far from Kode 9esque or Shakletonists reminiscences, just to name a few. The titles evoke a spiritual diagonal, from biblical to Islamic worlds and arcanes, passing through Persian tradition and obscure references hard to decipher. Several interludes, leading to the final Prelude, stand as resting rooms to drown the listener into purifying darkambient, where glitches of enlightenment and distants sounds from nature slowly disappear in divine drones. You now hold in your hands a keyholder to somewhere else, a sonic ally through everyday chaos, and spells to protect the soul. Let yourself loose in enchantment.

It's Sunday. You're at the after party. And the DJ is playing white label edits you've never heard before.

The debut album from Sardinian composer Blinkar Fran Norr covers a rich, atmospheric and melancholic stretch of territory. Metaphors For Things was born from composer Andrea Garau's own personal experience of the world today, brought to life through currents of powerful sound and an always shifting but ever-pensive state.

The album aims to express the negative conflicts and diseases often seen in people and modern society, capturing thoughts, emotions and feelings that can generate internal conflicts, anxieties and fears.

Mastered by Rafael Anton Irisarri and featuring artwork by Noah M / Keep Adding, Metaphors For Things will be available on transparent, colored smoke gatefold vinyl and digital download.

This is not music about a fast train to Paris. This is not music for airports. From an East German perspective Gajek´s Vitamin D inscribes itself into the progressive myth of Krautrock by shifting the focus to a different side of German history marked by the material traces of the Cold War. This is music that knows about the coexistence of modernism and its ruins, music about the fact that both can be there at the same time: space programs and the damp smell of unheated houses. It's music that taps into the memory of sudden ruptures, trauma and loss, not out of melancholy but to mobilize the lived experience that things can and do, in fact, change. Vitamin D catches the spirit of motorcycles made from scrap metal, of washing machine engines strapped onto strollers to make lawnmowers; a sonic love letter to people living in the margins of infrastructural programs, collecting copper pipes and engine parts in archives of metal and stone, repurposing the rubble of a violent history for dreams of a different world. There, in secret basements, where machines were built out of trash and stolen parts, Gajek finds the sonic resources for an alternative futurism of private cybernetics and pirated airwaves, creating radical and joyful sounds that claim the possibility of something new.

Matti Gajek (he/him) is a product of socialist biohacking. Injected with high doses of vitamin D directly after birth, the GDR made sure his bones would be strong even if he never saw the sun. The practice of high-dosage-vitamin D injection, abolished in the West in the 1960s, remained a standard in East German childcare until the wall came down in 1989. It has since become a topic of conspiracy theories surrounding differences of East and West German bodies. The child of political activists, Gajek lived through his first revolution shortly before entering primary school. He grew up in the temporal anomaly created when the end of history was declared and the country he was born in disappeared. Gajek is a musician and artist, publishing records on Throttle Records, Monkeytown and Infinite Greyscale and composing for films, theatre, performances and installations.

Vitamin D is Gajek´s most personal record yet. Alive, detailed, urgent and fresh the album explores evolving textures of highly energetic digital production, vibrant rhythms and haunting lyrical work. Boldly expanding a futuristic and strikingly original musical language Gajek creates a beautiful and deeply moving work of great sincerity and emotional immediacy, making a provocative case for pushing what is possible in a world occupied with calculating what is probable.

This is a brilliantly weird and hypnotic record, featuring pretty much nothing but the voice of conceptual artist Hanne Lippard reading a variety of texts typical of our digital age - things like autoresponders, FAQ’s, social media posts, bot-generated spam mail etc (or as she calls it ‘degenerate, or “b-language”) as a continuation of her ongoing investigation of the differences between the spoken and the written word. The result is entrancing, funny/sad in an almost Larkinian way and highly thought provoking, a cross between modernist sound poetry, layered social commentary and uncanny ASMR trigger. From a label that’s given us releases from Nkisi, Tehran’s Morteza Hannaneh and Ron Morelli - it’s an intriguing move.
Lippard is an artist of some international acclaim, and as far as we’re aware ‘Work’ is her first recorded sound document available commercially. In it she takes a variety of empty, seemingly meaningless texts from Wiki pages, corporate websites, spam mail, museum FAQ’s etc and reenacts them vocally with some stylistic and semantic interventions. Her monologues take the texts out of cold states and into something that’s perhaps even more ambiguous - repetition, metre, intonation and the rhythm of the language itself all become tools for manipulation. One reading is intimate. The next, alienating. But why, and how?
In part, ‘Work’ serves as a form of basic social commentary - illustrating just how mundane, repetitive and detached our lives have become in the digital age. But there is a deeper dissection of the human condition at play as well; the moments of vulnerability dotted throughout suddenly shift the emphasis and effect into a form of personal, almost sensual communication - despite the lack of meaning. Sometimes, it feels as though a fourth wall is broken - as if Lippard’s automaton is all of a sudden addressing you directly. The effect of this is unsettling, the out-of body dimension enhanced by the medium - making this a fascinating and surprisingly moving look into the uncanny properties of the spoken word.

At long last, Boston’s Isabella Koen delivers her long-in-the-making debut album of raving mutant body music, Trance riffs and industrial synth topographies forged with raw and brooding industrial sound design that marks her out among N. America’s most interesting new producers of electronic music. Big tip if yr into Jasss, Helena Hauff, Gesloten Cirkel, AFX...
Spanning proper techno artillery, Trance riffs and noise excursions, ’Melody Depleted’ expands on the ruffcut but classy ideas put forth on her tapes and 12”s for the likes of Peder Mannerfelt Production, Börft and Jacktone over the past half decade. It serves a broad but singular showcase of her ability to generate club punishing rhythms, barely-tamed electronic noise and surprisingly sensitive ambient space probes that revel in electronic music’s capacity to evoke fine spectra of technoid feelings with a say it-without-saying-it instrumental finesse.
In an emotive arc that takes in crude, rushy rave futurism (‘Im Laughing’) thru to dark, bolshy industrial tekkers (‘The Harm That I Dream For You’) and an outstanding nine minute finale of deep distance ambient hypnagogia (‘Hypnic Jerk’), Isabella’s first album most deftly transposes a sense of pre-millenial late ‘90s techno warehouse dread into a world dealing with its own register of worries. And like the work of Jasss, Nkisi or Helena Hauff, Isabella proves highly adept at translating the most vital, if elusive, aspects of her reference points with a totally fearless, up-to-date but timeless swerve.
Big hitters like the Peder Mannerfelt-esque breakbeat techno ballistics of ‘Roll Doll’, the wide-eyed, doomy trample of ‘Organ’ and the Stingray-meets-Colin Stetson styles of ‘Take One And Two’ share space with full on EBM techno boosters in ‘Send’ and ‘Mind Tear’, while the roiling synth noise of ‘Mnesia’ and the Drexciyan organism of ‘Through The Kitchen’ diffract her vision into adjacent areas of experimentation that make for a murkily transfixing album experience rather than a collection of rave tools. It’s a dead gritty course for lovers of electronic dance music that gets direct to the feet and leaves bits between your teeth.

Louange à l'éternité de Jésus is the fifth movement for cello and piano from Olivier Messiaen's Quatuor pour la fin du temps (Quartet for the End of Time), adapted here for cello and organ. It was composed while Messiaen was a prisoner of war in Stalag VIII-A, Görlitz, Germany, and first performed with other detained musicians inside the Nazi camp in January 1941. Inspired by the Book of Revelation, this music invokes the composers vision of "immutable peace", in its infinitely slow, ecstatic pacing and metre, described by the pianist Steven Osborne as “seeming to touch the far edges of human experience, subverting the idea of linear time”.

Earlier this year, confronted with a multitude of shared human maladies, the idea for this record took shape as if through a fog. Performed by Lucy Railton on Cello and Andrew Marx on Organ, the recording was made a decade ago and captures an intangible human presence - a cough, a baby crying - oddly contextualising the complex existential dimensions of the music itself.

"10 years ago in spring I performed Messiaen's Louange à l'Éternité de Jésus in a concert at Buckfast Abbey in Devon. It was a normal Saturday concert, a half full audience, some friends and family were also there. It’s hard to explain why some performances stand out but for some reason I still think about that day. It’s not only that this is great music, there was something else we felt, in the heavy silence before the first note, and as the chords rose higher and higher. There was a kind of communal acknowledgement of something bigger than that moment and place, of the immense beauty of music, and of the human capacity for resilience, and transformation.” Lucy Railton, June 2020.