Beats Vinyl New Releases - News

EP number eight of the "10 Years De:tuned" series is centered around the 303 tinged acidic sound. This release kicks off with a new and innovative version of Humanoid's highly ranked and major influential classic acid house cut, followed by a proper rave peak time slammer courtesy of Mike Dred. The B-side brings Luke Vibert's grinding acid funk rhythm to the table, plus the squelchy "Strunkelpotz" produced by the cult duo Air Liquide, resulting in a broader spectrum of acid-referencing styles with the same brain-melting effect!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Alchemy Mastering and pressed on 180 gr vinyl. Stay tuned!

KOGNITIF is back with MONOMETRIC 2020 EDITION, 6 years after the first edition. He totally reinterprets this deeply Trip-Hop album with a very wise and sharp ear and invites you to rediscover his classics , such as “Bande de Dégénérés” or “So Let’s Begin”. Jeannette Robertson’s gorgeous voice being delightfully enhanced by this remastering.

The most important pieces are still the 4 original tracks scattered across the album so just get ready, open ears wide and check this out !

New Fries has never been interested in being a band. What we mean is a spirit of abandoning ideas of what songs should be, how they should be performed, and by whom. We’ve never been interested in the tradition of songwriting—though we’re interested in musical elements like repetition, space, and dynamics. We have wanted our music to make people dance but have also wanted to produce the feeling of that being taken away from a room. We often work around these sorts of energy transfers (whether or not we name them this way). This space to make music in has felt wild and free. We have also contradicted ourselves. We are also always changing. In 2018 Ryan Carley (synthesizer) left the band and we found ourselves at our first juncture to restructure and re-evaluate New Fries. This is such a classic boring story, we know. But immediately we knew that as a three piece (the band’s original formation) we had to turn to something new and open—the way some describe “beginners mind”. Anni grabbed bass (which was new to her), Tim grabbed guitar and a sampler as a new juggling routine, and Jenny reduced her drum kit to three pieces. We wanted to create a structure that allowed us to be curious about being in transition.

Much of this record sounds and reflects on this in-between. It’s anxious in its repetitions and unsure of genre. It rejects a singular character or emotion and attempts to instead act as a container for many. Anni’s lyrics state this directly: “it lacks a mood, it lacks definition” / “curiosity beyond expectation”. Her lyrics describe the spaces, objects, people, and situations that embody an in-between—her grandfather who worked as medium, the ecology of the foreshore, Mount Tambora’s eruption in 1816 that produced the Year Without a Summer, and mesh (the fabric). The result is a collage of 6 songs and many otherwise quick ideas.

Much of this collage was testament to the work of engineer/musician Carl Didur. Carl (Zacht Automaat, formerly US Girls) is a long-standing pillar of Toronto’s experimental music community. He is also a tape expert, which we knew these songs needed entering the recording process as mostly bare grooves. The result was less that of hiring an engineer than it was working with a collaborator. His musical ideas are all over this record. ‘Is the Idea of Us’ is the situation of musicians/non-musicians making music together perhaps completely illegible in the music on this record and to the random listener who doesn’t know our story in South Bend, Indiana (how did you find us?!) But with this title we name this absurd gesture, through our changing relationship to making music both as a unit and as individuals. There are enough bands out there; we insist on do it differently.

On the heels of his critically acclaimed debut full-length 'Bad Vibes', Shlohmo embarks deeper into darker realms on his latest venture, the seven-track 'Vacation' EP. Self-described as "night time backyard noises", 'Vacation' builds on the aesthetic Shlohmo established with online mixes for FACT and FADER, in which broken cassette tapes and warped found sounds melded into melodic beats packed with veiled emotion and latent mystery. Shlohmo's fractured ambient bass-drenched pop is so understated it's downright spooky, lingering in the air like like a long-suppressed memory floating just out of reach. From 'The Way U Do' verging on R&B pop, to the enigmatic 'Wen Uuu', which simultaneously pulls at the heartstrings with a quavering vocal sample while churning forward in a passionate, indisputable groove, and the pastoral 'Rained The Whole Time', which takes cues from Burial, this is a poignant set of originals. The stellar cast of remixers contributing to take 'Vacation' to the next level is Nicholas Jaar, Airhead, Salva and Groundislava.

Maenad Veyl returns with his sophomore album, ‘Reassessment’, a collection of 13 tracks inspired by inner turmoil and change. Expanding on the sound palette established with last year’s critically-acclaimed ‘Body Count’, Feriero ventures into heavier, more abstract territories and collaborations with Years of Denial.
I wrote a new album as Maenad Veyl at the end of last year, in part inspired by events surrounding some personal health issues and a (minor) surgery. I wanted the music, title and artwork (shot over a year ago) to reflect what I experienced then, as I saw them as a metaphor to other changes I was going through at the time.?
Needless to say, as we geared up for release as we usually do, the world ground to a halt. All the images , words printed or spoken on the album have changed meaning since and, compared to what many people are going through now, my “inspiring changes” feel distant and unimportant.?
We’re not blind to the fact this could be seen as inappropriate or in bad taste, and we’ve contemplated every alternative, but in the end we’ve decided to keep things as “business as usual” as possible, so ‘Reassessment’ is now up for pre-order. - Maenad Veyl

Santilli debuts on Mad Habitat, a gorgeous complement to last year’s “Surface” on Into The Light. The instrumental palette here is focused around crystalline electronics and a battery of percussion, a beautiful synthesis of vaporous and earthy tones that recall the timeless sound-worlds of heroes like Jon Hassell and Steve Tibbets. A reflective mood diffuses across the entire record, conjuring up pensive visions of sun-dappled water and stretches of the coast. The sounds themselves have a shimmering, holographic quality, conjuring up the sort of auditory and spatial depth you can get lost in as each side unfolds

The first collaboration between frequent Past Inside the Present contributor Slow Dancing Society (both as an artist and in-house engineer for other PITP releases) and the label's founder zake, present 'Mirrored'; a wonderful meditative exploration of glacial drones, atmospheric hum, and touches of restrained ambient techno.

Mirrored is a quietly powerful, contemplative album with a beautiful stillness at its center. Layered dronescopes are intertwined with murmuring electronic rhythms, hypnotic bass, and the occasional pneumatic beat resulting in a collection of pieces that radiates a glowing warmth.

Label boss Coco Bryce teams up once again with his long time partner in crime and fellow Dutch junglist FFF for two feelsy Amen workouts.

If you dig electro, you should be well aware of the work of Transparent Sound. The Bognor Regis-based label has been serving up killer cuts and must-have EPs since the mid 1990s, though it's been rather quiet in recent years. In fact, "Gently Evil" is founder Orson Brambley's first album length excursion for almost a decade, making it a real event release. Kicking off with the bubbly intergalactic ambient of "Pretend Like You Care", the nine track album sees the veteran production partnership alternate between snappy electro club cuts, deeper electronic excursions, heady sci-fi soundscapes, punchy Motor City techno workouts and the kind of dark, unearthly dancefloor fare once associated with Drexciya. It is, then, a well thought out and executed album where the quality threshold remains impressively high throughout.

Opening with a drumstep acidcore track, drustrated 4/4 of a tribe kind... exploring new horizons, new evolutions...

The A2 from Degrader is a 4/4 reward, quiet classic in it style, reminding the new generation of Solid dark Hardtek...

Negative Glitch opens the flip with a breakcore frontier track, acid as well, hidding a tyrue broken (hard)tek experience.

Last tune from Mr Gasmask is a minimal precise electro tune, threatening to turn Core but gently carressing the trance...

A creative opus ! Witch is rare in the mental tribe world i recogn ! BIG UP é SUPPORT !

Clear Vinyl

Between Sleeps is a french producer based in Paris, passionate about sound design and synthesizers. His stage name and musical world evoke the state of semi-consciousness, when neither awake nor asleep. With dreamy pads and strong rythms, his music mixes electronica, house and techno. Boards Of Canada, Lone or The Field are among his main influences. All the tracks included in the EP Fantasia have been composed with the same hardware set-up: a sampler, an FM synthesizer and a substractive analog synthesizer. Every track has been recorded in one stereo take.

Cofaxx delivers Exotic Robotics 004, showing off his talent with an EP spanning ethereal house, liquid jungle steppers, hazy ambient vibes and low fi grooves.

Second installment on OK SPIRIT goes deep into the digital dub fantasies of Employee. Echo reflections on nine-to-five dilemmas with a dizzy remix by DJ Neewt.

collecting orders for Repress

Fresh from contributing to the Voiceless series James Clarke is back on Analogical Force with Meteor EP, where he presents four new tracks. The classic Shinra sound is in full effect: acid laced braindance, resonating electro and addictive melodies. Lush and seamless production, as good in the sun as it is the depth of night. Artwork comes by David O'Brien from Impossing Kittens, Dublin.

Nuron, the seminal and elusive producer in the realm of melodic and emotive techno, is back! Almost 25 years after his output on Likemind Records, Nuron finally re-appears on the Belgian De:tuned label with long-awaited new work that sounds every bit unique and fresh as back in the day. "La Source" opens with Nuron's take on lush Detroit fused techno, a masterclass of mixing belly-fluttering synth arrangements with outstanding drum programming. Turn the record over for two exclusive Nuron remixes of As One (Kirk Degiorgio) tracks from the recent "Communion" album on De:tuned, resembling Artificial Intelligence vibes of the highest order. Pure bliss!

The wonderful Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Over the years, American composer Rafael Anton Irisarrihas become ubiquitous within the spheres of ambient, drone and electronic music. Whether it’s through Irisarri’scelestial long-form albums or his lauded audio engineering credentials for countless artists and labels, Irisarri’s consistent dedication to his craft never wavers from the forefront.

While Irisarri’s compositions typically field an array of modern ambient overtones threaded through oceanic symphonies with tape loops, bowed electric guitar and vast washes of overdriven sound, his recent debut album for Dais Records, Peripeteia, portray these common themes giving way to metal and classical influences that emphasizes Irisarri’s melancholic tendencies. These unique overtures, coupled with his signature layering of distortion and bleached-out textures, fabricate an audible environment that would seemingly be at oddswith, yet gracefullycomplementeach other. In Irisarri’s own words, “My previous works internalize any exterior forces or circumstances, while trying to make sense of the world. Peripeteia reverses that approach, focusing on the personal in order to tell a wider human story.”

The emotional depth found throughout Peripeteia is impeccably on display with the track, Mellified. A collaboration with Spanish composer Yamila, the choral arrangements bring to mind the sacred music of Arvo Pärt, while her voice combines the Andalusian “Cante jondo” style with medieval modes, almost drowning in layers of octave fuzz distortion and dystopian synths patterns. On Arduous Clarity, the bright arpeggiating melody that churns throughout, offers the initial glimmer of optimism in an otherwise decaying tale of personal turmoil. This encouraging glimpse is short lived however, as the song Refuge/Refuseseemingly plummets into the mourning depths of somber despair. A chorus of voices steadily crawls from its desolate terrain –a sea of broken spirits, eternally resigned to strain and bellow their final lament. Fright and Control, a piece which is equally soul churning, seems to possess a satisfying resolve, as if after years of searching, one’s very salvation has been laid to rest through the acceptance of mortality and the enlightenment in death. Irisarri’s complexity is utilized to a forcible success, slowly pulsing throughout the foreground of his audience, further emphasizing the impending dread of resolve.

Artist statement: "Peripeteia is about the last few years, sudden reversals in fortune, illness, and comforting mortality. These sudden changes in personal life mirrors the sociopolitical transformations happening at a larger global scale in countries all over the world. Previous Irisarri works internalize exterior forces/circumstances while trying to make sense of the world. Peripeteia reverses that narrative, focusing on the personal to tell a wider human story."

A new sub-label of the longstanding Canadian electro imprint Suction Records, Ice Machine — focusing on old-school wave/post-punk sounds — is thrilled to present a new, deluxe reissue of “Pow Wow”, the debut 1982 solo LP from Cabaret Voltaire’s Stephen Mallinder. Now expanded to a double-LP, and also released on CD/digital, it’s a definitive reissue which now includes Mallinder’s early solo discography in its entirety. This collection of mutant dub/funk/postpunk sounds just as fresh and contemporary in 2020 as it did in 1982 (note Autechre’s inclusion of standout cut “Del Sol” in a mix earlier this year), and highlights Mallinder’s crucial contributions to Cabaret Voltaire.

Some words from Mr.Mallinder on the scene and era from which “Pow Wow” was born: “It was an interesting, and inspiring, time. The primal caterwaul of punk was dying and lots of really significant things were emerging from the fires. Much looser vibes were in the air and there was a much more exploratory feel. Punk had championed a visceral, anti-intellectual approach but in truth the real characters brought so much more to the table, and what began to happen - from people like The Pop Group to Throbbing Gristle, and emerging scenes from No New York to Factory Records - is we began to embrace the art of it all. There was acknowledgement of the importance of books, films, graphic art, and experimentation with all those mediums. We were just as interested in turning over rocks to see what lay beneath, as throwing them. There was a sense of new magik emerging.”

“Pow Wow” was commissioned by the Fetish Records label, and recorded at the Cabs’ Western Works studio, where Mallinder would spend his days recording with Cabaret Voltaire, and continue on alone into night recording his debut solo material. “I slept very little in those days,” he adds, continuing: “It was done on 8 track and very multi-tracked, so lots of recording, then bouncing, and overdubbing, to get the integrated feel of the tracks. I became very adept at pressing record then jumping onto equipment to play it - it was actually a very 'live' record in that sense. I've always seen rhythm at the core of what I do so I loved the layering of counter rhythms. The sequence/arpeggiator parts were all drum machine triggers that were played live. It was about creating a distinct groove so arrangements came from weaving in and out of those linear grooves. It was fun to play everything from drums, guitars, keys, trumpet, percussion, tapes… and record and produce it all. Prince got it from me!”

Surprisingly, Mallinder’s first solo LP would also prove to be his last - that is, until last year’s critically-acclaimed solo return “Um Dada”, on Dais.

This new edition of “Pow Wow” contains 14 songs, and is housed in a recreation of the original, iconic Neville Brody jacket, painstakingly recreated using scans of Brody’s original artwork elements. The 2LP vinyl edition is in a reverse board, thick-spine jacket, and adds a 12”x24” folded poster/insert, featuring unused elements from Brody’s original designs, sketches, and instructions for the LP. The CD edition comes in a reverse board, 6-panel digipack.


2-11 from the Pow-Wow LP on Fetish Records, 1982.

13-14 from the Temperature Drop / Cool Down 12” on Fetish Records, 1981.

12 from the Fetish Records compilation The Last Testament, 1983.

1 edit from the Pow-Wow Plus LP on Fetish Records (Japanese pressing), 1984.

A side kicks off with a beautifully crafted remix of a classic 1995 Foul Play track that will take you on a journey, just close your eyes and let the music do the rest. On the flip is a track called Amazon, lovely pads with breaks and sounds from the Amazon jungle before the switch in a .

This is the 1st release of a series of tracks across all genres by Stretch & Enjoy and we hope you like. We would like to thank John from Foul Play for the blessing as this was a personal tune for the Last Ronin family to rework a beau blood splattered over crystal clear 10″ vinyl from the Shaolin temple.

Peak time dancefloor action with this 45 with an Apache sampling r & b vocal club monster. It's never had a physical release till now. On the flip it's instrumental breaks galore for B-Boy/B-Girl back flips action from a sought after uk trio release now in handy 45 form...Only 200 copies..

New technologies have affected the way we discover music. As much as I love crate digging, it was while browsing Bandcamp that I stumbled upon Baby Bye. The song caught my attention and as soon as I finished listening to it, I listened again and again, in what seemed to be an endless loop.
In my living room, images of a fireplace came to my mind, I was cozy while outside progressively turned into the landscape of Siberia. The unforgiving winter with its cold and darkness surrounded me, but I felt wrapped up in warmth and light.

I contacted Chikiss and invited her to play live at a STAUB. When I asked her if I could release her music, she offered to rerelease Baby Bye.
Being so in love with the song, I accepted instantly. When we started to work on the record, I realized I wanted to add something more, not just reissue a track. I feel sometimes we do not treat the things we love with enough respect. I feel fortunate to be given the chance to treat her music with the attention I thought she deserved in the first place.

That is why I asked Stanislav to remix the song. It may seem like an odd choice, but by doing so I brought together two of my favorite artists. This record means a lot to me and I sincerely hope you will appreciate it.

From the crystalline sources of the stony rivers through the waves of 5G networks to the blood stream of yellow plasma. Mustikoita ja kissankelloja is like a chaotic sonic sedimentation of new weird Finland music revitalised and flowing through different waste channels, protected habitats and clogged veins. You can scan the microview and listen to the pointillistic murmur on a petri dish or try to stalk the tectonic movements.

Do you remember the pure electronic ocean of the Pacific Tubular Waves created by Michel Redolfi in 1980? Take Redolfi's water music, pour it into the electron–positron collider, and use Olli Aarni's nanoscopic microphone. You'll find a frenetic mix of trembling static, singing bacteria, thermal bubbles, crinkling fossils, buzzing signals and crackling glaciers – all teeming on unseen wavelenghts.

The result is a living matter: soundscapes recorded in humid forests, endlessly mutating patterns, and warm ambient evaporating from various well-known electroacoustic studios.

PS: Disinfect your ears after each listening.

Rider Shafique, Ishan Sound, and Kahn need no introductions. As individual artists and fellow members of Bristol’s Young Echo collective, they are responsible for some of the most crucial music to come out of Bristol in the last decade. We couldn’t be prouder to deliver this powerful message music in these extremely dread times.

In a catalog overflowing with lyrical majesty, “When Shall We rise” is one of Rider Shafique’s most direct and moving missives yet - a critical dissection of the racist foundations of dominant culture - whether UK, EU, or US - and the struggle of the racially oppressed within it. The plea to abandon assimilation into Babylon system, in lesser hands could easily be cliched or flat-footed, but with Rider’s pen and voice it is a revelatory spiritual call-to-arms - there are no saviors coming - we are the ones we’ve been waiting for.

The riddim is classic Kahn & Ishan- uncompromising rockstone mid-tempo steppers that is at once orthodox and utterly, inimitably their own- plucked strings, haunted pipes, pounding kick and heaving bassline in propulsive amalgamation. Straight off the desk, “When Shall We Dub” strips the vocal out entirely, focusing on breaking down the incredibly militant riddim, crafting a dark, roiling ocean of reverb, swells of delay breaking the surface in blackest night.

A closely guarded dub for several years, “When Shall We Rise” is now free to circulate and become the anthem that it demands.

Peace, health, & strength to all.

Studio Mule drops “Anthologia”, the final chapter of a close look on the work of the Tokyo born DJ and producer Takayuki Shiraishi, a jack of all trades, that sways through Tokyo’s vast music scene since the late 70’s, a time when post punk grooves called the tune. As part of the band BGM he released in 1980 the album “Back Ground Music” on the legendary Osaka based underground label Vanity. Last October Studio Mule reissued BGM’s no wave, free funk mini-mal treasure. A few Month earlier Studio Mule already published “Missing Link”, a thrilling retrospect on Takayuki Shiraishi's unreleased material from the late 1980s, a creative period of which only a little ever saw the light of the day.

And now “Anthologia”, a record that is dedicated to his work during the years 1990 to 1996, a time span, in which Shiraishi moved on to produce house, downbeat and playful electronica. In 1995 he released the ambient/techno 12inch “Spectral Colours” on the R&S sublabel Apollo under the alias Planetoid. Two years later he manifested his techno leaning creativity under his given name on the album “Photon”, a record that helped launching Japan’s techno scene. It was followed by two more long players, that display his wide musical taste with ambient, house, breakbeat and other genre blending styles. Besides producing, Shiraishi was also a prominent figure of Tokyo’s club nightlife, DJing alongside Jeff Mills as well as Krautrock icons like Holger Czukay.

“Anthologia” features three unreleased tunes of this lapse of time, as well as highlights some work Shiraishi produced together with his friend Jun Sonohara as Musica Nova and a hidden gem he tuned in for the “Isolated Audio Players 1” compilation, published by the Tokyo based Pickin' Mushroom Recordings label in 2000.

The three unreleased tracks display his love for diversification. “Distant Thunder” is a drone driven ambient voyage, that slowly melds into a gentle rhythmic sensation driven by loose hi-hat patterns and a soft chord crescendo. On the opposite, “Lapis Lazuli” comes around as a mellow melodic downbeat trip enlarged with twisted rhythms and cosmic infiniteness. “A Voy-age” shows his love for house music with a grooving arrangement that comes close to the kinky house gems of contemporary producers like Lowtec. Also, the already known “Isolated Audio Players 1” compilation tune “Flicker” is located in the house spheres, delivering nervous jacking minimal vibes emerging from a precise produced dance of melodies, grooves and sound effects.

In comparison, the four Musica Nova tracks show again another side of Takayuki Shiraishi’s many musical talents. “Birds in Paradise” is an elegant triphop tranquilizer, while tunes like “Nocturnal Tribes” and “Green on Green” express his passion for electronic arrangements that think out of the box with airy melodies, slow-motion big beat rhythms, jazz particles and an overall cosmic sound complexion. The tune “Shifting Sand” goes the same direction, while adding esoteric reverberations and a touch of Drum and bass.

Together the eight tracks turn “Anthologia” into something more than just an anthology of Takayuki Shiraishi’s work. In association, all compositions work like an album that overwhelms with a reasoned story-arc, who slowly rises to a hypnotizing peak, from where all downswings to a calm finish, that makes you want to start all over again.

Tim Reaper is back on Repertoire - and he's brought a few mates along.

The EP starts at a blistering pace with the beefed up VIP mix of his 2016 single"Lanterns", whilst label boss Law alongside Kola Nut join forces with Tim for the lush roll out "Unknown Future".

Continuing Repertoire's rich tradition of working with Canadian artists, Montreal's Comfort Zone brings his unique melodic stylings to the laid back "Greenscreen", before Tim closes proceedings on the same note as it started with the chopped up amenage of the Apocalypse Now sampling "Sunrise".

We are proud to present UNDERMEDVETENHETEN, a new live action role playing game developed alongside London games company Frand.

UNDERMEDVETENHETEN is a simple, science fantasy game for 1-12 players, with a focus on atmosphere, storytelling and player cooperation - perfect for newcomers to live action role playing. It takes 2 minutes to set up, lasts around 30 minutes, and no two games are ever the same.

Players take on the roles of humans aboard a vessel on an endless journey into the depths of space. They are not lost, but all hope is, as they hurtle stricken into the void. Your only access to the universe outside is through the ship's altruistic artificial intelligence, Mima.

As immersive chapter cards are revealed one by one, players must interact with Mima in order to shed light on the universe around them, indulge in fantasies of worlds past, or attempt to right the ship's blighted trajectory.

Can you make sense of the abyss?

UNDERMEDVETENHETEN comes complete with a soundtrack composed by John B McKenna. Together with our partners Lost Map Records and Foundation of the Teacherock, we have pressed this to a limited run of 300 records.

"lineal" inward dance music. small pressing. first of a few more to come"

0 years down the line from the original release, it is clear to all that Alix Perez’s seminal album '1984' has proved to be one of the definitive bodies of work that redefined Drum & Bass for a new generation.

Never originally released in it’s entirety on vinyl, this is the first time that fans will be able to get the whole album on 12”.

In 1984', Alix Perez created a listening experience for both home and clubbing alike. Every track is an exploration into blissed-out downbeat and experimental hip hop to funk, soul and his beloved drum and bass, fusing them all together for the ultimate urban electronica album.

For his debut release on PRSPCT Fragz promised us 3 heavy bangers and the man definitely delivered.
On the A side of this multi colored piece of vinyl we have the track: Something Sinister. A brutal Drum & Bass collaboration between Fragz and Sinister Souls proving once again that Snares can be at least as powerful as kick drums. Tons of energy in this track and a massive drive!
On the flip we have Go Psycho. The title fits the track perfectly. The track makes you do just that. Pure Hardcore Drum & Bass party power for the people!

2xTape / Cassette

Limited edition two-tape bundle of The Hague's new Hunger! label's two first releases: L'Ascenseur by Alina Valentina/Dim Garden + Without Winning You Over by Jentlemen, together with an A4 poster and stickers in clear bag. Cassettes come in ice frosty color and clear library cases. Artwork by Josephine van Schendel.

Yellow Vinyl

Parallel zu seinem Mini-Album "Night Melody" veröffentlicht der Londoner Elektronik-Songwriter Ryan Lee West aka Rival Consoles eine limitierte Neuauflage seiner EP "Sonne" auf gelbem Vinyl.

Die 12'' war erstmals 2014 in die Läden gekommen. Der Titelsong beginnt mit einem "sehr subtilen Set von Melodien, welches sich fast gänzlich ohne Überzeugung wiederholt, um dann schrittweise einer riesigen Collage an Farbe und Kraft Platz zu machen", um es mit Wests Worten auszudrücken. Indem es sich nicht auf einen konventionellen Beat verlässt, ist dieses Stück ein erstklassiges Beispiel dafür, wie ein analoger Synthesizer die Kraft und das Moment einer ganzen Rhythmusgruppe erschaffen kann.

Von den verzerrten Wellen in "3 Chords", gleichermaßen wachsend und schrumpfend, bis hin zu den sich kontinuierlich beschleunigenden und verlangsamenden, rhythmischen Wellen in "Recovery", bilden der Moog Voyager, Prophet und ein altes Bandverzögerungsgerät den Kernsound der EP. In Songs wie "Helios", "Haunt' und "Think Tank" ist West wiederum live an der Akustik-Gitarre oder dem Schlagzeug zu hören

2020 first release from "PPU" laid way back to japan. Undeniable electric soul from image cluv pioneer ryu tsuruoka. Your talkbox vacation summertime anytime all the time tune.

Sven Libaek's Inner Space is, simply put, one of the most legendary soundtrack recordings in the history of Australian music. Released in 1973, soundtracking a documentary series on underwater life by Ron & Valerie Taylor, it now stands proud as a key album of 'underwater music', one of the most rightly and righteously revered fields within soundtrack and library music circles.

Endlessly inventive, gorgeously melodic, at times oceanic, at times amphibian, at other times in some mysterious pelagic zone, Inner Space sits proudly alongside such classic underwater OST's and libraries as Egisto Macchi's Fauna Marina, the Sonoton Underwater Music series, the Ittologia and Biologia Marina twin-set, and Danielle Patucchi's Men Of The Sea, Alla Scoperti Del Mare and Uomini E Squali.

Considered to be one of the unsung masters of Australian Film music, Sven Libaek composed for many Australian Films and TV series in 1960's and 70's. Inner Space is considered amongst his finest.

Featuring the best Australian jazz musicians including Don Burrows and John Sangster, they masterfully range from the incidental to the improvisational as they create a whirlpool of sublime aquatic jazz exotica. Notably, in 2004 the soundtrack had a second lease on life when several tracks were used in the Wes Anderson film. 'The life aquatic with Steve Zizzou'.

New label from Belgium bringing together some uncompromised electro by a selection of very talented producers, curated by label-boss DerDieDas (aLOSTaSOULS). Featuring Cleromancer (Unic) with a peak-hour anthem from the 'Unic' free-space parties, Innershades, who transposes his trademark sound to a classic sounding night-driving companion. The B-side goes into heavier territory with both DerDieDas and AR delivering some ruthless robotic grooveriders. ZwaarteKracht 1 is the first installment in what will be a series of 4 releases this year.

Early support from Goldfox (StuBru), Dj Kronic, Chao Xin, Tonlistina, Electrodos, Innershades, Intergalactic FM, We Are Various

Borneo’s eighth release brings a sweet little five track compilation of eccentric and exotic electronica. All music is lovingly composed and constructed by the label’s family and close friends.

Ultrastation is the lovechild project of Cosmic Force and Nuno Dos Santos. Their Eau De Voodoo kicks this EP off with a fire starter made out of driving afro rhythms combined with mesmerizing vocal samples.

Phones On Fail Jah by Fader sees a quirky digital take on digidub. Centered around filtered chords, a deftly curated selection of melody and percussion is put through its paces.

The enigmatic Fizzy Veins poured his hart out on the song Handbrake. Guitar play over a subtle synth line, all sprinkled with fragile vocals that are almost drowning in the sea of echoes that lies underneath.

Rotterdam’s Nous’Klaer mainstay Mattheis has contributed V21. A stealthy weapon with synth driven melodies and electronic rhythms that are slowly morphing in and out of each other. This will hypnotize any dance floor.

Samo DJ closes the excursion with a remix. He handpicked OVFiets from the Borneo vaults, an unreleased techno work out by party crew Marck. Samo’s version brings the original in a more airy, wholesome and percussive state of mind.

Vesa-Matti Kivioja has been making waves as an integral part of the multi-faceted Ljudverket & Meltdown Deejays crews in his native Finland for many years. His productions merge 80's ambient & library stylings with John Hassell-esque soundscaping, live percussions and vintage drum-computer programming drenched in fathoms deep kaleidoscopic dubbing and mixing. This particular EP is all of the above, the sound of rural Western Finland thawing after the hard-bitten winter months, each track inspired by Kivioja's fascination with various species of lizard, hence the EP & track titles.