Beats Vinyl New Releases - News

The Belgian party organisation and record label De:tuned mark their 10th anniversary with the first outing of their 10 x 12'' series. 'DE:10.01' kicks off with a special treat from the 90s golden era: on offer a welcome combination of previously unreleased DAT material by Kirk Degiorgio and expertly affectionate As One remix treatments of both original Sensurreal and Jedi Knights (Mark Pritchard and Tom Middleton) work, pure bliss.
The artwork of the first 9 collectable releases of the series forms a 3 x 3 poster display. De:tuned have called on designer Kevin Foakes (Openmind, DJ Food, Ninja Tune) to create all graphic work.
This kickstarter for the series is mastered by Matt Colton (Alchemy Mastering) and pressed on 180 gr vinyl. A separate digital version of every release will be available from the usual digital shops. Stay tuned!

LIMITED EDITION COLOURED VINYL

Celebrating the return of Brain Machine's spatial explorations in last years Peaks album, this decade long sonic mission concludes in the second EP of remixes Two - with another selection of artists providing exemplary interpretations of the final 4 songs. The EP starts with a wonderful mix from Los Angeles native, Rollmottle. Running the beautifully sporadic Sentrall label since 2001, here Anthony Puglisi takes the Balearic meet Krautrock leaning of his excellent recent album, Fear Ritual, and crafts a lovely, drifting, textural stargazer. Next the Dusseldorf / Brain Machine axis returns with a remix from rising names, Die Wilde Jagd. As Unit 4, Ralf Beck is considered by many to be one of the least heralded, but most talented producers. Returning alongside sometime Noblesse Oblige member Sebastian Lee Philipp, the remix eschews the motorik consistency of their early outings for a 9 minutes + remix of atmospheric nirvana. The final side of the double mixes package goes to newer names in Cass. and Merrick Adams. As one half of the ZSOU, alongside Mo Morris, the project has sadly only spawned 2 EPs to date, so here Merrick ventures solo with a building tremulous break-drum trip to (Alpha) Moon. More to come. Cass. closes proceedings with a ubiquitous glow. With his appearance on the SchleiBen series and recent solo album for the label, plus his joint-release with Wolf Muller on International Feel all being acclaimed, this mission ends with pure ambient bliss. Part 2 of the Brain Machine journey is complete. Where next

Commodo returns to Black Acre for the first time in over two years with surprise new three-track EP, ‘Loan Shark’. Slated for release on May 22, ‘Loan Shark’ will land as his third release with the label, following 2018 standout ‘Dyrge’ and 2016’s blistering debut album, ‘How What Time’. A quietly elusive producer, Commodo’s recent work for Deep Medi, Bandulu and Black Acre has seen him established as one of UK bass music’s contemporary frontrunners, who continues to influence the wider landscape through the strength and imagination of his output alone. His latest EP continues this theme apace, melding together supreme bass weight, texture and meticulous sampling (‘Loan Shark’, ‘Hot Pursuit’) and vivid, sepia-tone melodies (‘Contraband’) across a record that, as the track titles suggest, plays out like a filmic, magnum-plated car chase.Tracklist : A1/Commodo - Loan Shark B1/Commodo – Contraband B2/Commodo - Hot Pursuit

Very very limited please aware

After the major success of Part 1, Cosmo Vitelli & Malka Tuti are presenting Holiday in Panikstrasse Part 2, the 2nd and final part of Cosmo’s 2XLP on the label.

After collaborating with Fantastic Twins on Part 1, the amazing Julienne Dessagne’s vocals are back on Part 2 as well for the opening track Fragments of Reality. Another collaboration on the record is with Croatian singer and vocalist Tanja Vezic, whom we’ve already seen collaborating with Cosmo on his Les Disque De La Mort release, and who gives a cinematic sort of feeling to the track Party old boy.

With “He just wanted to hang out with the DJs” Cosmo creates a slow burning dark banger that will not go unnoticed.
The final track Irritable is the perfect mixture between German Krautrock heritage and the French disco-synth touch of the 80s - emotional, growing and cathartic, one cannot stay indifferent to it.

Frost is a Brighton-based collaboration between French-Swedish sound artist Johanna Bramli (vocalist for Stereolab offshoot Imitation Electric Piano) and Fujiya & Miyagi's synth player and producer Steve Lewis.

For fans of the likes of Broadcast, Silver Apples and Kraftwerk together the duo create angular and electronic music by blending Motorik and hypnotic radiophonics into neatly wrapped often bilingual pop structures. On 28 September Frost release their debut album Matters via Lost Room Records. The duo has previously released two singles, the murkily glitchy 'Crackling on the Wire' (December 2016) which Edith Bowman made 'Record of the Week'with support also from Annie Mac (BBC Radio 1), Nemone and Gideon Coe (BBC 6 Music) and John Kennedy (Radio X). Followed by second single 'Keratin' (March 2017) - described as 'A detour through the best of 80's pop' (The Lineof Best Fit) - and Frost's debut E.P. of the same name (May 2017).

Vinyl Only

Mr. Matthew Puffett presents his own label with new, unreleased music from the past and of course with re-issues of FBA's timeless productions. The kick-off will be the re-issue of "Mode 2" which was originally released 1996 on Void records. This beauty comes as remastered vinyl only release!

John Beltran, Mark Archer, Future Beat Alliance and max 404 line up on this third 10 years anniversary 12" for De:tuned. Both John and Mark deliver a timeless, Detroit tradition indebted techno vibe, resulting in 2 dancefloor-friendly tracks. While FBA and max 404 activated their DAT recorder, culminating in unheard crisp yet sensitive cuts.
Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Alchemy Mastering, pressed on 180 gr vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

LIMITED EDITION COLOURED VINYL

A collection of brand new studio recordings, recorded by Davey Jewell (Peaking Lights/Flaming Lips) and mixed by Carlos Niño (Leaving Records). A magical mixtape of tracks that run the full gamut of 'Laraaji music', from blissed-out percussive jams to reflective vocal hymnals to trance-inducing drones. A perfect Laraaji entry-point on his never-ending creative journey through inner light.

Available as an 8-track double vinyl LP, and 10-track double CD with Bring On The Sun on the first disc, and a bonus disc of Sun Gong, the previously limited run vinyl-only pre-cursor to the main album.

Laraaji is a musician, mystic and laughter meditation practitioner based in New York City. He began playing music on the streets in the 1970s, improvising experimental jams on a modified autoharp processed through various electronic effects. Brian Eno saw him playing one night in Washington Square Park and invited him to record an album for his seminal Ambient series (Ambient 3: Day Of Radiance, released 1980). Laraaji went on to release a prolific series of albums for a wide variety of labels, many of which he recorded himself at home and sold as cassettes during his street performances.

In recent years he has had his career celebrated extensively, with two All Saints retrospectives Celestial Music 1970-2011 and Two Sides of Laraaji - as well as reissues on Glitterbeat and Leaving Records/Stones Throw. He has also collaborated with a new generation of underground musicians such as Sun Araw - their recent LP Professional Sunflow (Superior Viaduct) being the fruit of the live shows they played together in 2014.

Scanning Backwards, das zweite Soloalbum von Phase Fatale nach seinem 2017er-Debüt auf Hospital Productions, ist Musik über Kontrolle. Mittels der Verbindung von Klang als Waffe und psychologischer Manipulation als konzeptuelles Fundament, erforscht Hayden Payne Wege, auf denen Musik – und besonders Subbassfrequenzen – benutzt werden, das Denken zu beeinflussen als auch Emotionen und Verhalten zu synchronisieren: von Militärtechnologie zu Sound Systems zur Körperlichkeit und Sexualität queerer Technokultur.

Ausgehend von seinem innovativen Post-Punk-Ansatz zu Dance Music – nachzuhören auf seinen EPs für unterton und Ostgut Ton – bezieht sich der Berghain-Resident auf seinen Hintergrund als Gitarrist und Toningenieur. Daraus entstand auf Scanning Backwards eine berauschende Mischung aus gebrochener Rhythmik, Noise- und Shoegaze-beeinflussten Technos, oft mit langsamerer Gangart. Am Ende steht Musik mit Platz und Tempo zur weiteren Ausdehnung, das intensive Brausen von Frequenzen hervorhebend, die sowohl in der sonischen Kriegsführung und funktionaler Dance Music vorherrschen. Im Verlauf der acht Stücke, die eine Kombination aus historischen und fiktionalen Narrativen aus Literatur und Science Fiction im Titel tragen, ergründen Paynes rhythmische Exkursionen unterschiedliche Manifestationen von Klang als Macht – spezifisch im Sinne des Berghains als musikalisches Instrument. Dies reflektiert auch das Artwork des Albums: einem frühen Flyer der Partyreihe SNAX entnommen und offensichtliche Hommage an die Fetischisierung von Machtdynamiken.

In seinen eigenen Worten: „Alle Stücke dieses Albums, gleich welcher Stil, habe ich zugeschnitten, um auf ganz bestimmte Weise im Berghain zu klingen. Im Laufe der vielen Jahre als Tänzer inmitten des Dancefloors und auch während meiner DJ-Sets als Resident bemerkte ich, welche Frequenzen den Körper so richtig penetrieren. Das beinhaltet Sprache, Hochfrequenz- und Hirn-penetrierende Instrumentierung, Sägezahn- und Schlagbohrhammerästhetiken – die hatte ich bis dahin noch nicht so oft benutzt, denke aber, dass sie Einfluss auf das Denken und Gedächtnis haben. Das trifft besonders zu auf einen Ort, der schwule und Fetisch-Geschichte auf unerwartete Weise mit Musik kombiniert, auf fast kultische Art. Eine musikalische und physische Deinstallation und Neuprogrammierung, Psychic Driving und De-patterning, das Löschen und Ersetzen von Erinnerungen.“

Scanning Backwards wacht über die manipulativen Eigenschaften elektronischer Musik (Mantras, Loops, unterschwellige Botschaften) und wie Rhythmus sowohl Bewegung als auch das Denken in Einklang bringt. Ein Puls koordinierter Klang- und Hirnwellen.

Scanning Backwards, Phase Fatale’s second full-length album following his 2017 debut album for Hospital Productions, is music about control. Using the connection between weaponized sound and psychological manipulation as a conceptual foundation, Hayden Payne explores the ways in which music – and sub frequencies in particular – are used to influence thinking and to synchronize emotions and behavior: from military technology to sound systems and the physicality and sexuality of queer techno culture.

Known for his innovative post-punk takes of dance music as featured on EPs for unterton and Ostgut Ton, the Berghain resident draws on his background as both a guitarist and sound engineer to create a heady mix of broken rhythms, noise-, and shoegaze-inflected techno, often at slower tempos. The result is music with space and pace to expand, highlighting the intense rushes of frequencies found in both sonic warfare and functional dance music. Over eight tracks named after a combination of historical and fictional narratives from literature and science fiction, Payne’s rhythmic excursions explore different manifestations of sound as power – specifically within the context of seeing Berghain as an instrument itself. This is also reflected in the album artwork, taken from an early flyer for the SNAX party series and an obvious ode to the fetishization of power dynamics.

In his own words: “All tracks on the album, no matter the style, were tailored to sound a certain way in Berghain – something I figured out through years of dancing in the middle of the floor, DJing as a resident and investigating what frequencies really penetrate the body. This includes speech and high-frequency, brain-penetrating instrumentation and drilling textures that I had not utilized so often before, but which I think also have an effect on thought and memory. It's especially true in a space where gay and fetish roots combine with music in unexpected ways, almost in a cultish manner. A musical and physical deprogramming and reprogramming, psychic driving and de-patterning, the erasing and replacing of memories.”

Ultimately, Scanning Backwards surveys not only the manipulative properties of electronic music (mantras, loops, subliminal messages) but also how rhythm facilitates both moving and thinking in synchrony; a pulse of coordinated sound- and brainwaves.

Dragon Skin is a new conceptual compilation around the ideas of protection and safety released by Cønjuntø Vacíø that showcases new artists and some classic acts of the label.

Dragon Skin was a type of ballistic vest formerly made by the now defunct company Pinnacle Armor, currently produced in Missoula, Montana by North American Development Group LLC available for public, law-enforcement and military customers. Its characteristic two-inch-wide circular discs overlap like scale armor, creating a flexible vest that allows a good range of motion and is intended to absorb a high number of hits compared with other military body armor. The discs are composed of silicon carbide ceramic matrices and laminates, much like the larger ceramic plates in other types of bullet resistant vests.

On August 3, 2007, the Department of Justice announced that the NIJ had reviewed evidence provided by the body armor manufacturer and had determined that the evidence was insufficient to demonstrate that the body armor model would maintain its ballistic performance over its six-year declared warranty period. Because of this, Dragon Skin was found to not be in compliance with the NIJ’s testing program and has been removed from the NIJ’s list of bullet-resistant body armor models.

SPECIAL EDITION 2 Years Compilation SOIL Records with Cassette + Digital Download +Wood Box + Stickers + Print Card numbered and signed by Mimusa.

Repress

aril brikha seems to be on a roll. with “dance of a trillion stars” he just recently released a laid back ambient album full of melodic slow-motion enthusiasm.

now, shortly after, the berlin based producer drops “prisma” – a record for dancers, that is more on the deeper side of the dance floor.

“five to six years ago i decided to take a break from releasing on my own label art of vengeance in order to see if i had it in me to make a new album. so, i found myself having this initial break that was intended to be six months but went on for almost five years!

during this time, i made a lot of music that i kept coming back to but i never managed to finalise it. after the release i did with sebastian mullaert, mule musiq kept asking me for more music but i just found myself not capable to look at this body of work of almost 50 tracks and choose what to finish.

as i was not able to make decisions, i asked mule to listen to 25 tracks of the 50 and tell me what they liked. the result was the “dance of a trillion stars” album early this year.

once we finished the ambient album, only dance tracks were left of whom some are featured on “prisma”. instead of having your usual "album" story arc featuring ambient intros mixed with dance tracks, we choose to release two separate albums.”

aril brikha confesses about the secrets behind his newly hectic release schedule that made him publish two albums within half a year.

since the late 1990's his music melds techno and house that seduces club music enthusiasts around the world. influenced by different kinds of electronic music - from depeche mode and jean-michel jarre to robert hood and underground resistance – his music dances between straight up club tracks and deep unwound moving arrangements.

he already released ep’s on labels like kompakt, poker flat, his own label art of vengeance as well as an album for derrick may’s transmat imprint and a long-player for legendary peacefrog records.

after two mesmerizing ep’s for mule musiq in 2016 and early 2019, and the ambient album “dance of a trillion stars” earlier this year, he now releases an all dance track album loaded with eight arrangements, that he produced during night time on his old hardware equipment which he started using again after years of them being tucked away in his stockholm basement.

“i always make music to listen to. it is never intended for a dance floor. i guess i'm not much of a dj-tool producer, i'm more a "music" producer.”, he confesses about his work.

his new tunes, who seduce with warm chords and pleasant melodies, tell a different story. they are all propelling, while staying somehow calm and avoid average party hysteria. precisely produced tracks between house and techno, that favour the warm soul of dance music.

underneath the grooves each track rolls out some ambient vibes and veils of trance, dancing to delicate hi-hat shuffles and starry chords.

“my 90's stuff was very detroit influenced, not in the hard techno meaning but more towards the soulful part of it. my 2000 productions were very melodic driven and i was trying to see how far i can push a "trance" sound without making trance music.

the newer stuff is probably mix of both.” aril brikha says about “prisma” and its power to unite different generic zones into one charmingly warm dance journey. together with his predecessor “dance of a trillion stars” it introduces a touching insight into a producer’s soul, that did not get lost in his very own creation of melodic electronic sci-fi dance-not-dance music.

Repress

Properly head-melting debut album from Beatrice Dillon featuring/including contributions from Kuljit Bhamra, Laurel Halo, Batu, Untold, Kadialy Kouyate, Jonny Lam, Verity Susman, Kenichi Iwasa, Lucy Railton, Petter Eldh, James Rand and Morgan Buckley...bit early to call aoty 2020?

"‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythmobsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro- Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity. Recorded over 2017-2019 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo.

Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play. ‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system. With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy. Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo.

The substance of her music is rematerialised in supple, concise emotional curves and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace."

A year on from his debut Metalheadz EP, Grey Code is back with a well polished follow up in the form of 5 tracks collectively known as the 'Helios EP'. With vast soundscapes, blissful melodies and artfully crafted yet savage basslines, this EP is a showcase of Grey Code's progression and inimitable sound that makes him one of the most exciting drum and bass acts to emerge in recent times. Vocal features come from Becca Jane Grey and Astrid, with Grey Code seeking to add additional aspects to his burgeoning and now impressive discography ahead of an extremely intriguing year for the young Bristol-based producer.

S&W and Gustaaf make up three fifths of Prongof108 which started out as a radio show on Berlin based Cashmere Radio in 2015 and turned into a record label a few years down the road. After some solo records and the release of a split EP on Turnland Records, they are now teaming up for their upcoming “It’s More Fun to Commute” EP on Prongof108. Combining the forces of three guys seems like a natural fit, or to put it differently: it just happened. They’ve been DJing together and sharing a mutual passion for UFOs and palm trees since quite a while. Expect a mix of 80s boogie and proto house vibes sending kisses to tropical and pacific sounds and taking you on a journey from proper house club crowd bouncing to teenage heartache downtempo electronica - always smart and with a smirk, definitely never too intelligent to dance to.

De:tuned continue to celebrate their 10th anniversary with this second EP of the series and dive deep down into the ambient techno world. The A side makes you drift away on a rare Sun Electric get together, followed by a Higher Intelligence Agency piece of beauty. DeepChord's dubbed lushness completes this highly intense journey.
Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Pressed on 180 gr vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

LIMITED EDITION COLOURED VINYL!

An Exact Science is a fantasy of long time ASC fans have had for many years (ourselves included) come to life with results that surpass our imagined results.

An Exact Science is a fantasy of long time ASC fans have had for many years (ourselves included) come to life with results that surpass our imagined results.

Vinyl only - >
Printed sleeve.

4 minimal garage cuts by Kepler / Instinct.

Supported by ->

Enzo Siragusa, Rossko, Burnski, Tristan Da Cunha, Alessio Viggiano, TIJN, Dudley Strangeways, The Willers Brothers, Jeremy Weeks, Carlo Gambino, Nick Beringer, DJ Caspa.

This is something special... Certain:Dubs continue their journey through the realms of original onground muzak with special guest Aztek from Sheffield/UK.

Aztek brings deeply moving energy vibes with 'Pacinos Dub' and 'Walk The Plank', two solid and bass heavy tunes with a distinct atmosphere. Proper speakers are recomended. This sound is designed to be felt!

This is a limited vinyl only release.

As witnessed in the preceding decades of electronic music fragmentation, it is a bit of a phenomenon that entire threads of sound exist elusively between the tempos and syncopation of rhythm and percussion of each respective genre. just as dubstep was evolved into & somewhat stumbled upon it is somewhat certain that many more areas of illumination lurk in the echoes & shadows of sound.

As has been hinted on sonically with Surface Tension I, Clubroot's previous release & first foray into the second decade of the new millennium, the elusive aforementioned producer from St. Albans has managed to alloy a new sound with the swing and BPM of uk garage, space, air and atmosphere of true dubstep, and with all the unparalleled virtuosity and unmistakable aural DNA of Clubroot, which we dare say is rarely equaled. in doing so, clubroot illuminates the realm of uk garage and electronic music in general towards a currently unforeseen future.

Surface Tension: II further explores these discoveries and further reinvents them in the process. starting with the expansive 'Infatuated'; with its gradual, intensifying movements towards the ultimate reveal, and supported by the equally singular 'Explorer' and 'For You', Surface Tension: II is as much an additional high watermark in clubroot's overall discography as it is a companion piece to Surface Tension: I in both its genre-straddling style and overall ethos, with the vinyl release being pressed on one-time 'solar flare' color vinyl featuring moving original art which stylistically continues the narrative through the as of yet not fully revealed tetraptych.

TRULE presents its first release and the latest from Deadboy, the Klint EP. Four swung out club focused tracks exploring the meeting point between techno and UK garage music. Deadboy uses a stripped back percussive sound palette with shuffling drums and a hands on hardware approach to create four individual, jacking, crisp joints for the dancers.

Klint is the first release on TRULE, a label operated by Al Wootton aka Deadboy to release straight up dance floor club tracks from across the spectrum.

It has been a long time coming. Birmingham producer ENiGMA Dubz has not only influenced dubstep as a genre, he truly shaped the duploc platform from literally the very beginning, going back all the way to October 2012 when he was featured with the channel’s first ever upload.

Along the way several releases from ENiGMA Dubz have been pushed on platform while the support and respect have been mutual. ENiGMA Dubz did already work together with the DUPLOC imprint as well a few times, although now he is releasing his first ever solo vinyl record and of course that is coming through on DUPLOC.

For “DUPPLATES Vol. 4” he carefully prepared a collection of his absolute finest productions. Expect a mixture of raw cuts as well as heavyweight rollers with "The Eyes" holding an iconic sound on his full-fledged 12-inch debut plate.

Ein Jahr nach seinem Fusion-Meisterwerk "Flamagra" (Top 20 DE-Charts, Musikexpress "Album des Monats") veröffentlicht "Jazzfunk-Superheld" (Spiegel Online) Flying Lotus die Instrumentals. Mit der Fokussierung auf die psychedelisch-deepen Soul-Arrangements und begnadeten Musiker, die an diesem "kosmischen Grosswerk" (Rolling Stone) mitgearbeitet haben (von Brandon Coleman über Miguel Atwood Ferguson bis Herbie Hancock), sind sie ein intimes und transzendentes Hörerlebnis für Fans und erscheinen als limitierte Formate: Do-LP mit Download-Code plus animiertem Slipmat in PVC-Hülle und CD-Digipak.

This is the first single taken from Remute's new album 'Play The Game' and you can sing a long to it in the shower. Get Lucky meets Bubblegum Crisis meets YMO meets 16bit videogames meets.........
Specials: Includes Remute-Sticker and signed autograph collector card!

Proudly presenting the 3rd instalment in our 'Edition' series - Edition 3 (Various artists LP). It includes tracks from Alix Perez, Machinedrum, Lordel, Deft, Visages, Monty, Ternion Sound, Drone, Cesco, and Bredren. In keeping with our ethos as a platform for multiple styles of music, this release spans tempos from 85-140-170 bpm. The artwork is a continuation of our previous releases, made by Sineater. This release will be available as a 3 piece vinyl set, and as digital.

Versalife's second release for 20/20 Vision sees Dutch producer Boris Bunnik aka Conforce return with another slab of signature electro. 'Clandestine Development' serves up dark tones and melodies layered within insistent electro beats and growling bass, that sounds huge on big room systems. 'Aegis' delivers a double dose of mechanical funk, played over atmospheric strings and auditory acid delights. On the B side 'Lamba' continues to impress with a moody laidback bass line holding the groove down over a solid rhythm & dystopian keys. Wrapping things up the title track 'Asimov's Code' plays out like war drums from space pounding away after a blissful intro of building synths.

A loose, organic swarm of steel-bound percussion, meditative bass frequencies and improvisational tonal shifts mark the second instalment of Gaia Tones, with the label’s vision remaining conscious: one track per side filling the entirety of the 12” plate, giving these tunes a life of their own. GT002 sparks to life with side A’s “Chains”, a warped, mystical groove that speaks for the imprint’s deep-rooted sufferation. With a slow-burning swagger of four-to-the-floor, side B’s “Shackles” digs deeper into the earth’s elements, allowing the room to fill up with that familiar gust of machine haze. Experimentation with a message."

Comes in hand made sleeve artwork.

Out Of Romford Records was one of the most underrated old school labels in the history of our scene. Relentlessly innovative and with a unique sound, it was always ahead of the game and perhaps it is only now that the true brilliance of each release can be really appreciated.
This EP contains the absolute classic “Chance To Dance” which back in the day eclipsed the other three tracks on the EP. But years go by, and now all 4 tracks can be re-evaluated. And what an amazing EP this is. Its both a product of its time, and totally timeless in its sound. The remastering has only served to enhance the brilliance of the entire EP. Not to be missed…

The enigmatic Ando Laj’s latest full-length excursion—9-tracks of heady sonic explorations that defy neat categorization, a plethora of textures & forms arranged with the producer’s signature attention to compositional minutiae. Dog Insight is a series of personal recordings in an inimitable sound world that once again sees the producer taking their esoteric style into new territories. Resolute, mechanized thump is brought to gradual equilibrium by weightless cascade on “Soj Alm”, while skeletal opening number “Aal Tn” rattles into chrysalis, unravelling itself out of murky depths over its duration. A shrouded collection of slow-to-evolve melodic & rhythmic feedback loops, plucked from a haze of nostalgic familiarity—sound sources of indeterminable origin, sequenced & processed to mystical effect. Another intriguing & devotional experience from the Toronto artist.

Recorded at INA GRM and Steamroom

Piano: Eiko Ishibashi // Violin, viola: Atsuko Hatano // Trumpet: Eivind Lonning

Cut by Andreas Kauffelt at Schnittstelle, Berlin, February 2020

Photo by Eiko Ishibashi // Sleeve design by Stephen O'Malley

Special thanks to Francois Bonnet and Jean Schwarz for bookending 30 years

Due to the wide dynamic levels, please adjust your volume accordingly

Shutting Down Here is a special work. Symbolically, it covers a period of thirty years, between two visits by Jim O'Rourke to the GRM, the first, as a young man fascinated by the institution and his repertoire, the second, as an accomplished musician, influential and imbued with an aura of mystery. Shutting Down Here is a piece shaped like an universe, a heterogeneous world in which collides the multiple musical facets of Jim O'Rourke: instrumental writing, field recordings, electronic textures and cybernetic becomings, dynamic spaces, harmonic spaces, silent spans . This variety of approach, strangely, does not in any way weaken the coherence of the whole and this is the talent of Jim O'Rourke, a talent, properly speaking, of composition, where all the sound elements compete and participate to stakes that exceed them and of a common destiny, that is to say of an apparition.

Released in association with Editions Mego.
Coordination GRM: François Bonnet, Jules Négrier

Executive Production: Peter Rehberg

Spiral is the third album by the Greek composer Vangelis, released in 1977. Less celebrated than the two albums which preceded it, but the quality of this record is at least on the same level as the previous recordings. The keyboards are prominent on front of the music, while Vangelis is exploring new electronic grounds. It is a concept album, thematically inspired by ancient philosopher Lao Tse. For the track “To the Unknown Man” Vangelis received the Midem International Instrumental award in 1978.
The multiple-award winning composer of electronic, progressive, orchestral and jazz music started his career working in several successful bands, such as Aphrodite’s Child. He composed over 50 albums and is still creative in developing new concepts.

Available as a limited edition of 1500 individually numbered copies on gold & black marbled vinyl

new quartet by Samuel Rohrer, Max Loderbauer, Stian Westerhus & Tobias Freund In the present era of media saturation, the artist's dilemma has shifted away from the question whether to fuse disparate stylistic elements, towards the decision of which energies to draw upon: a situation most rewarding for those who listen to musicians navigating this limitless terrain. One such journey, the captivating full-length release from Samuel Rohrer's new Kave quartet coming out this May, is bringing together players who are equally well-versed in the quick-thinking mechanics of free group improvisation and the compositional strategies of contemplative / ‘ambient’ electronic music. With Rohrer acting as creative director and most of the quartet sharing synthesizer duties, there’s a strong sense of unified purpose to this set, and a narrative flow that never causes the listener to focus on one constituent part at the expense of the whole. At the same time, the players know all well that cohesion counts for little without those constituent parts being compelling in their own right. Rohrer and Loderbauer, for example, have previously crafted a unique techno-organic approach with the Ambiq trio, and the lessons learned from that partnership are put to inspired use within this new configuration. Stian Westerhus’ contributions on guitar and vocals, along with Tobias Freund’s electronic reinforcements - Freund also has worked since many years with Max Loderbauer as NSI - all conspire to make something that Rohrer aptly compares as “forest”-like. It’s a descriptor that will have vastly different meanings for each listener. For Rohrer, it refers to music that is confident in the “deep-rootedness” of its foundations and defined by a density and mystery easily confused with darkness, while nevertheless proving its bright vitRight away, on the introductory odyssey 'Cambium' the quartet sets out to make good on this metaphor, creating a hypnotic foundation for what is about to unfold during the next 42 minutes, with brooding, slow, 'searchlight in a fog,' synth washes and percussive stridulation. The twin 'Hibernation' tracks show all the unique elements beginning to coalesce: the emotional tenor is one of vulnerability that melts into the determination of 'staring into the void', a temperamental state challenging to represent authentically in music. The atmosphere of psychic challenge effort lessly gives way to the faintly nostalgic glimmers of 'Giant Peach' - a literary reference to the macabre whimsy of Roald Dahl.
The ultimate dissolution of barriers between organicism and synthesis is accomplished on the majestic 'Divided We Fall', a title referring to Westerhus’ smoky vocalization that winds into a double helix formed from electronic surges.
Again, the ease with which it all comes together is mesmerizing, and while there’s an aura of risk accompanying this walk through the woods, there’s a much more enduring impression of carefully orchestrated growth and change.

Defrostatica welcomes BSN Posse to the fold with the "Rituals EP".
The hardworking team behind the infamous Iberian Juke label were
among the very first to amplify the 160 bpm footwork sounds of
Chicago dance culture in Europe. Since 2015 Broken Lip and Stay Puft
developed their very own sound which blends Juke with Hip Hop,
Modern Jazz, R&B and of course Jungle. Their productions always come with soulful tones and humble nods to the Teklife originators, DJ Rashad and Spinn. Having remixed Detroit’s Filthiest "Secret Sauce" in 2018 they now return to the label for a taste of their own
production featuring collaborations with UK’s Jon1st, Pablo Dread
out of Spain and Canada’s Metafloor. #UOAI

The next release is a collaborative EP by Eusebeia from which we already released two digital EP`s in the past. Together with Atiq from The Netherlands and UK`s Arlow they created four atmospherical Jungle bangers.