Beats Vinyl New Releases - News

The joyful, tender, almost too tender, but at times extremely intense album entitled Televize was made by the inflamed, wholly focused, at times completely scattered, dissipated and organically chaotic ensemble called the Roman Radkovič Collective. It throws at the listener a threshold music and a poetic experience of the world.

If one record can mediate otherness, a music which can never be imagined without first-hand experience, it is the LP with the magical title Televize. It sounds like a gargantuan musical belly which can swallow anything, churn it, mix it and eject it back into the world in unexpected constructs. These are full of broken rhythms, dense layers of sound, disfigured melodies, chants, recitations, hectic yelps and urgent tidings, while showing occasional glimpses of precious lines of melody. Although it may seem that the main logic behind all the output of the Roman Radkovič Collective can be found in extensivity, a total surf on noise, free and grotesque pop-cultural soundscapes (we hear bits of classy Czech evergreens like Czech anthem, Zaľúbil sa chlapec, Yellow Submarine, Když jsem šel z Hradišťa, but also various confessions, laments, art brut poems, expressions of absolute spontaneity, imagination and boundlessness), after repeated listening the intensity of the protagonists shines through. Intensity in the sense of a measured deepening of the internal need to express oneself, to circle around the obsessively loved topics, texts, their heroes and loves.

But screw all the trajectories of relations and discursive constructs, there are no similar records in the world, maybe with the exception of Schlingensief’s project Freak Stars 3000 with its similarly excited and possessed big band. The motto is: prophecy, joy, noise, only good things to the good, everything to everything and, most importantly, density embodied. Density which is intoxicating like Koulelo se koulelo červené jablíčko. There must be much of everything and it must go all the way and never fall short.

This album is the funnel of the world. Televize will glut and mesmerize you. All power to imagination! Don’t search for idioms, wage death on virtuosity, let yourself be flooded by the breached dams of joy and consciousness. And you will love the album art.

Der New Yorker Electro-Produzent mit portugiesischen Wurzeln, Baauer, bekannt für hochkarätige Kollaborationen mit Jay-Z, Missy Elliott, Elle Fanning, Jennifer Lawrence oder Skepta, legt mit "PLANET'S MAD" verknüpft auf seinem zweiten Solowerk persönliche Rave-Einflüsse (Fatboy Slim, The Chemical Brothers, Basement Jaxx, Daft Punk) mit zeitgenössischen Hip-Hop- & Pop-Elementen zu einem Spiegelbild unserer modernen, digitalen Kultur. Aufgebaut wie ein Film, führt uns das Album wie eine Geschichte durch etliche Micro-Genres und leinwandgrosse-maximalistische Dance-Klangwelten, so schillernd, vielfältig und bunt wie unser wilder Planet.

Two celebrated collaborative recordings by Croatian Amor & Varg2TM available on limited vinyl for the very first time! “Body of Water” from 2018 was the first collaboration between Croatian Amor & Varg- 5 tracks of aquatic ambient celebrating the myth of brilliant summers. It was followed in late 2019 by the lean and quick, beatdriven “Body of Carbon”. Now available together on limited vinyl presented in black disco sleeve with printed labels. "Hazmat bouquets drenched in rain, A tiny piece of coral on a chain around neck, An invitation to see the miracle in the things around us. Croatian Amor & Varg2TM together. Contemporary electronic music.

FUJI||||||||||TA, real name FUJITA Yosuke, is a Japanese sound artist. After countless performances in different contexts either solo or along artists such as Yamantaka Eye of Boredoms and the legendary avant-gardist SUZUKI Akio as well as a slew of solo releases, his LP »iki« (»breath«) for the Swiss-based Hallow Ground label is his first in nine years. On these four pieces, Fujita explores the idiosyncratic sound qualities of the pipe organ he has built all by himself in 2009. This - quite literally unique - instrument features only eleven pipes, an air pump called »fuigo« which was modelled after a traditional blacksmith’s one and has no keyboard. Inspired by traditional gagaku, it was designed to evoke rich landscapes rather function as just another musical instrument. While his previous records saw FUJI||||||||||TA explore various modes of abstraction, »iki« is a highly emotive yet meditative album, musically restrained but full of imagination.

»keshiki« immediately sets the mood for this record with a long sustained note that is punctuated by the soft clicking of Fujita’s air pump. Once Fujita carefully starts bringing melodies into play, the interplay of the drone and the discrete rhythmic element gives way to a fuller harmonic whole. »keshiki« is an intimate piece that perfectly displays the artist’s knack for painting a rich sonic picture with only a reduced palette. »nNami« juxtaposes the sounds of two pipes that are out of tune with each other, creating a hypnotic sensation of ebb and flow (»nami« translates to »wave«) that is full of subtle friction. It’s a staggering artistic interpretation of the instrument’s material characteristics. Clocking in at ten minutes, »osoi« (»slow«) is an overall melancholic piece that explores the relationship between different tone colours through minute changes in pace. Finally, »sukima« (»blank space«) is the shortest and the most rhythmic piece of the four. Composed of only staccati, it is a masterful exploration of the harmonic qualities Fujita’s stunning pipe organ has to offer.

Recorded between September and December of 2019, »iki« marks the culmination of FUJI||||||||||TA’s ten-year-long work with the instrument that he had built without any prior knowledge and started to teach himself to play without a manual in sight. It is, in other words, the unique result of a unique musical mind paying his dues to the uniqueness of his own creation; introspective and welcoming at once.

»KAMILHAN; il y a péril en la demeure« is the conclusion of a 5-part cycle of works by artist Grischa Lichtenberger which was initiated with the album »LA DEMEURE; il y a péril en la demeure« in 2015 and continued with the triple EP release »Spielraum, Allgegenwart, Strahlung« in 2016. In addition to the concept of „demeure“, ones residence as a symbol for the joy and artistic possibilities one can find in isolation, Lichtenberger places a further emphasis on the expression of the voice, represented by the word „Kamilhan“. „Kamilhan“ is a non-existent word, an expression that Ernst Bloch once mentioned in an anecdote about his childhood. Fascinated by its sound but without knowing its meaning, it remained vivid in his memory in its purely „material“ form. Lichtenberger also refers to this childish perception of language. Words that we do not know, but repeat in our thoughts until they become insignificant. Lyrics in a foreign language that we do not understand and still sing along and imitate. With computer-generated voices, Lichtenberger tries to reproduce these experiences. In his tracks we hear syllables and phrases that are similar to words and that seem familiar to us, but whose meaning remains a secret. As on the previous album, the tracks on »KAMILHAN« are constantly torn apart and reassembled. Borrowings from hip-hop and even pop are unmistakable, desired, and yet delusive. Rhythms that are repeatedly broken in order to re-organize themselves into new temporal patterns. Melodies that are pierced by precisely these intricate rhythms. Voices that lack any empathy due to their artificiality. Lichtenberger himself describes these tracks as „crooked ballads“, which, by deliberately following classic pop song structures, try to sell us the absurd as the normal, and in turn smuggle some hope of recognition into the absurd. »KAMILHAN; il y a péril en la demeure« will be released on May 08, 2020 on CD and as a limited double vinyl edition including a handmade and signed silkscreen print.

clear orange vinyl Limited

The missed seed of cryptobotany music. Jani Hirvonen (Uton) and Johannes Schebler (Baldruin) reconstruct the mesmerizing world of the Grykë Pyje swamp tribe. Vinyl in your hands is a ceremonial sonification of the sacred herbarium, painted myths of the animal kingdom and voices behind the thicket.

A return to the time when the forests, tree crowns, soil, thickets and heaven were full of continuous murmur. Or, on the contrary, a vision of a future in which the chaos of natural noises will reign. Slimy earthworms and phosphorescent bugs crawl out of the holes and gaze toward the sky. Brightly colored birds pick juicy fruits and there is no silence, because it is absorbed by the buzz of a virgin ecosystem. In the caves, marshes and hollows of trees, the most important questions are decided. A polyrhythmic rain falls from the sky and washes the prehistoric mud from mammalian hair. Somewhere to see human footprints, but those who have left them are long hidden under giant leaves. The light, reflected from the vibrant structure of life itself, dances for all, in full color. The feast of photosynthesis. Nothing to see from the top. Plants, moss and mushrooms grow at a tremendous rate. They climb each other to break through the lush green blanket. And above all, the orange disc shines pleasantly.

The Current Inside”, Marja Ahti's sophomore album for Hallow Ground, plays with the theme of currents - connecting and animating movements in the form of air, water and electricity. It approaches sound as a poetic medium, focusing both on the experience of sound as form and energy and on a loosely narrative arc, suggesting a riddle on the relations between the sounds. It implements alternative as well as intuitive tunings, analog and digital synthesis, recordings of sonorous spaces and vessels, electromagnetic fields transduced into audio, acoustic close-ups of elements in motion and other field recordings. Fluently connecting quite diverse sound sources, Ahti's music lingers in a zone between abstract sonorities and vaguely familiar acoustic environments.

The first half of the album consists of ”The Altitudes”, a piece commissioned by Ina GRM for Présences Électronique and Sonic Acts. It was inspired by descriptions of the layers of Earth's atmosphere. Imagining a movement through layers of air, the piece unfolds with a slow intensity, interweaving concrete sounds and closely tuned electronic sonorities. Traversing the altitudes, a landscape of entangled elements, masses and currents emerges. The air around us has weight and it presses against everything it touches. As gravity pulls it to Earth, it is sensed as pressure. The rotation of the planet, the angle of the sun at any new moment sets the elements in motion in a chain reaction.

The other side consists of four shorter pieces. ”The Currents” opens with a dance of trembling charged movements. ”Lost Lake” extracts resonant tones from a trail of close-up recordings of winter environments, while ”Fluctuating Streams” channels streaming air in different forms. The closing track, ”Sundial”, could be construed as the steady turning of the planetary angle towards the sun, unfolding through fragments of everyday activity against the backdrop of piercing, slowly twisting, suspended tone.

Marja Ahti (b. 1981) is a musician and composer based in Turku, Finland. Originally from Sweden, Ahti has been a part of the Finnish experimental music scene for more than ten years in different constellations. She is currently active in the duo Ahti & Ahti with her partner and as a member of the Himera artist/organizer collective. Her critically acclaimed 2019 solo debut, Vegetal Negatives, explored a new formal language and sonic palette inspired by a short text by René Daumal.

Some five years after re-launching his Crayon label via a fine EP of vintage "Tracks From The Vault", original 1990s tech-house producer Mark Ambrose serves up more gems from his bulging archives. The quality threshold remains dizzyingly high throughout. Check first "Nightshift (Deeper Mix)", where gentle, alien synth lines and deep space chords tumble down over a heavy analogue bassline and locked-in beats, before turning your attention to the slamming techno beats, looped electronics and mind-mangling TB-303 motifs of "Dusty Acid". Also impressive is "Space Animals", a deliciously dubbed-out affair rich in sub bass and drifting, deep space chords.

“I’d work on it when everyone else at home was in bed,” says Aidan Moffat of his latest musical project as Nyx Nótt. “I don't sleep very well and I'm very much a nighthawk, so the music I made was naturally nocturnal.”
The essence of night and Moffat’s moonlit tinkerings became such a prominent role in the creative process that his new alias had to reflect this too. “I originally planned to release the album anonymously and tried to think of a convincing, exotic name that suited the nocturnal themes of the album. Nyx and Nótt are two mythical goddesses of night, Nyx from the Greek and Nótt from old Norse.” The album title translates as "At the Feet of Night", so this is an album not simply of, or from, the night, but an ode to it - a sonic worshipping of the night’s pull and allure. Crepuscular music.
The result is an album that pulses like the quiet hum of night; the production is clear and crisp with every movement, note and sound augmented with stark clarity - like the amplified sound of a creaking floorboard as you move through the house in darkness. It’s a deeply percussive album, resulting in gentle rhythms that often give way to moments of real stillness and tenderness that stem from the rich orchestration and composition - one that glides from strings to brass to quietly purring electronics. The album moves through jazz, ambient and electronic to result in something that sounds like it might be a score to Moffat’s dreams. “It’s made with samples, sound effects, keyboards, and the occasional toy,” says Moffat. “All but one of the tracks started with drums – I'd been collecting jazz drum samples and sessions for a while and I would layer a few kits on top of each other to create rhythms, then add music and samples from there.”
When Moffat says “the occasional toy” he means it quite literally. “For ‘Mickey Mouse Strut’ the music began with a recording of a singing Mickey Mouse toy I bought in Japan,” he says. “Its mouth opens when you squeeze its belly and it's quite sinister.” Elsewhere there’s references to Edgar Allen Poe on ‘Long Intervals of Horrible Sanity’, a haunting tribute to the horror writer Shirley Jackson via ‘Shirley Jackson on Drums’ and ‘Theme From’ is a track that Moffat plucked from another project which was going to be an album of twenty 90-second theme tunes for imaginary Netflix shows.
However, for someone as revered a lyricist as Moffat - be it with his own solo work, Arab Strap or when working with Bill Wells and RM Hubbert - he’s in entirely instrumental mode here, much like he was with his now defunct L.Pierre alter ego. It results in a fundamental shift in creative approach for Moffat when operating in this format. “For me, making instrumental music is like working with your favourite tool missing,” he suggests. “It's more of a challenge and a bit more risky. It relies more on instinct than songwriting does, or at least it does for me. It requires a bit more trust in yourself when there's no-one to bounce ideas off – in that way, these sorts of records are probably more personal than those with my voice.”
Also, given the album was made in such a personal and intimate way by Moffat as the world was catching z’s, it also succeeds in being a transformative experience for him. “There's an element of escapism in this album – there are no crickets in Glasgow, for instance, but I couldn't resist using recordings of them, I've always loved the way they sound.”
Those nighttime sessions and plucking albums from experiments are not an anomaly in Moffat’s life however. “I'm always working on something to varying degrees,” he says. “Right now, I'm working on another three albums that will appear over the coming years. It keeps me sane and happy. I'm very lucky to have a job that's not only enjoyable but is actually a way of winding down too. I live in a sort of backwards world these days where work functions as a stress reliever.”

Rome's Egisto Sopor has been making little waves with his releases for quite a while now. As Polysik, he’s put out music on Legowelt’s Strange Life Records, on 100% Silk label, and on Mike Paradinas' Planet Mu. As ‘TheAwayTeam’ he’s released a DVD ‘Relax & Sleep’ and a cd ‘Star Kinship’ on Japanese label Moamoo, and he's also one half of the low key video unit AAVV (whose work has graced many of the important releases of new lofi electronic movement). This time around he delivers another fine instalment to the Edizioni Mondo's kaleidoscopic catalogue. If you've been following Egisto Sopor's productions over the years, chances are you're already familiar with the visual, highly cinematic, quality of his works – it's music that don't evoke just emotions, it suggests landscapes, painting vivid pictures as it builds up. In the same way, Flora e Fauna tells the story of an extemporaneous, surreal walk in Rome. The 8-track album, organically navigates through imaginary urban and maritime scenarios, with an expansive sound palette that draws on deep and shimmering atmospheres, occasionally drifting from blissful textures and sub-aquatic, swirling moods to eerily quiet, suspended moments, often perfused by subtle field recordings of city life, wild animals and distant shores. Take a deep breath and soak away.

Panelák. Fenced square garden at the entrance. Tree limbs, dried skin of snake, snails with cracked shells. Once upon a time there were plants. Soaked orange peel in front of the door. Buzzing of door bells. Elevator drone. You count the floors while you follow the picture instructions. Capacity and weight of three-dimensional space. You are entering the apartment. Horseshoe above the door. A wooden mask next to a whistling kettle. Seashells in plastic box. Phantom signal. Sheep fur on the couch. You straighten out all the folds. Mute TV. Documentary program- wolves, octopus, worms and a shark. Clock metronome. One minute, two minutes, twenty-seven minutes. 60% polyester pyjamas. Brain-shaped smog behind the window. Smoke, dust or just fog. You put wax in one ear, cotton in the other. I love this city and its outlying lands. My romantic landscape.

Sarah Hughes’ multidisciplinary arts practice, comprising composition, performance, curating and installation, revolves around the relationship between social and environmental systems of cooperation. The work draws from various contexts including ecology, feminist politics, alternative economies, land use, and protest in order to explore speculative systems of organisation and collaboration as the ground for social change.

Hughes’s work has been exhibited and performed internationally, including at South London Gallery, Punt WG Amsterdam, Cass Sculpture Foundation, Supplement, and Modern Art Oxford. Her compositions have been performed by various ensembles and at various festivals including London Contemporary Music Festival, Music We'd Like To Hear, and Huddersfield Contemporary Music Festival. Realisations of her compositions have been published by Another Timbre, Suppedaneum, Melange Editions, and Consumer Waste, and broadcast on the BBC.

Tape / Cassette

It is raw material rather than tool. Polished metal body or beslavered tube. Just tenor sax at the end of its pilgrimage. It is sculptural object - assemblage without original function rather than a museum artefact of musical viruosity. Heavy metals flowing through the sewer from the concert hall. Small scrap dried by sunlights. Bubbling, squealing and rustling. Circular breathing - as if you have been blowing glass. Objects shaped by breath. Sébastien Branche as a sculptor and a bricolier.

Sébastien plays soprano, tenor and C-melody saxophones. He got started with improvisation through workshops with musicians coming from contemporary jazz or improvised music.
Interested in perceptive phenomenons, he works mainly with sound as a material, describing himself as a “sound crafter”. His interests also extends to body and space, as he regularly confronts his practice to contemporary dance, soundart, through collaborations mainly with photographer Diane Martinot and music and technology, through the use of programming language Supercollider. Based in Leipzig, Germany since 2015, he is an active member of the blooming local scene.

Big names on the big ones, known to many but unknown on these summer slammers.

In just a few years and with a handful of releases, the Canadian producer better known as Yves Malone has earned himself a reputation. In The Beginning of Nothing he continues working with many layers of analog synths and a keen sense of drum machines to create atmospheres and textures extracted from late twentieth-century collective fears of a dystopian future. Created as a sort of score to an internal elegy, Yves Malone creates soundtracks of the daily fear, regret, and resignation that is his waking life, an effort to isolate and negate this anxiety, which is a constant and unwanted companion. Sequenced on mostly working vintage gear, The Beginning of Nothing tries to extricate a bit of beauty from a rapidly darkening landscape.

Transversales Disques present a reissue of Bernard Baschet and Michel Deneuve's 4 Espaces Sonores, originally released in 1982. Rare 1979 recording of Bernard Baschet performing on his Sound Sculptures.The Baschet brothers are known worldwide as creators of Sound Sculptures, fantastic shapes of moulded metal and glass, which combine the visual arts with music.François Baschet had always been fascinated by acoustics, by the relationships between the shape and material of an intrument and the beauty of its sound.Bernard Baschet was passionately interested in contemporary music and firmly believed that such instruments were the proper tools for modern music, for they offered to the artist and performer a personal means of expression denied by electronic devices.Together the brothers began to design and produce Sound Sculptures, which could also be regarded as musical instruments.Circa 1965, Bernard worked alongside Pierre Schaeffer as a member of the GRM (Musical Research Group) on the elaboration of what was to become Schaeffer's "Traité des objets musicaux" (Treatise on Musical Objects).The Baschet brothers also created structures and instruments of all sizes, including bell towers, windmills and fountains, using the natural elements of wind and water to make music. Bernard Baschet was especially proud of his pedagogical work amongst deprived and handicapped children, with the instrumentaium made up of fourteen pieces.

*Repress*

Dead Man's Chest delivers the final piece of his opening Trilogy for Western Lore with a trio of expeditions into Jungle's less explored territories, laying down warehouse amens, dub reprisals and the sounds of early 90s 'blunted' Bristol.

DJ Die Soon is a local legend and ongoing inspiration in the Berlin underground electronic music scene. Remaining largely unknown outside the city, with only a handful of releases and appearances to date, the man behind the mask delivers truly freakish beats built from chaos driven crushed drums and eerie horror style basslines.

KAPPA SLAP wrenches the Morphine catalog by the neck, takes it off it’s feet and slams it back unsteadily in front of the fans who loved the Container, Metasplice and Hieroglyphic Being output of the label. DJ Die Soon delivers extreme work here. The album is a mixture of instrumental pieces and vocal tracks featuring the talents of five contrasting MC's. Three Ugandan lyricists feature: there’s MC Yallah, with whom he worked during a residency for the Nyege Nyege Festival , Lord Spikeheart from the Duma hardcore pressure band, and the mighty ECKO BAZZ. Long time friend and collaborator Infinite Livez (Ninja Tunes) appears on the cosmic & eccentric Ranthworth, and finally there’s Japan’s MA, who recently dropped the incredible AMA album on the label. Incidentally, the pair (both Japanese) decided to collaborate after acclaimed performance at the Morphine Showcase Berlin’s Berghain in 2019.

KAPPA SLAP contains a lot of our favorite sounds all in one album. Stunningly, DJ Die Soon manages to paint the Morphine picture in one hard stroke.

Artwork courtesy of Lorenzo Mason Studio

Following his debut release on Jedi Recordings last year, Cantina Cuts bring you another four authentic and fresh jungle/hardcore tracks from Hyped On Acid.

Repress

Second album by Vril on Delsin Records. A deep excursion for mind and body, combining his trademark dub techno grooves with experimental ambient trips.

Words from the label:

Our imprint marks its five years anniversary this year and to celebrate it’s offering up five special various artist packages across 2019 limited to 250 copies each, featuring material from the likes of Vid, The Mole, Cinthie, Shinichiro Yokota, San Proper, Akiko Kiyama, Com Sin aka Cosmin TRG, Subb-an and more..

Kicking off the third instalment of the series is San Proper’s ‘Your Call’, a robust yet dream house workout fuelled by choppy bass hits, fluttering synth licks and a shuffled analogue drum groove. Barcelona based trio Triad follow with ‘Room N’, a hypnotic house cut fuelled by ethereal chord swells, modulating percussion and vacillating bass tones.

Tokyo’s Iori Wakasa then rounds out the release with ‘Rave In A Village’, as the name would suggest embracing a classic house feel via a winding piano chord, twinkling piano melodies, crunchy drums and mesmeric pads throughout.

This project also sees a new design concept for the imprint from London’s David Surman’s painting installation project ‘Paintings For The Cat Dimension’ which ‘’explores the motif of the cat as emblematic of internet aesthetics, a place where all painting styles and modes now exist non-hierarchically as pure information.’’

This is the second of the Legends Vs Legends series.These very limited 10" Legends Vs Legends series aim to pit the finest in old skool artists against other old skool artists to see who is the best ever...haha, no. There is no best. But these little 10"s have BIG tunes by BIG artists and as we have some absolute shockers lined up. Having said that, Pete Cannons remix of “You Got Me” is completely jaw dropping and already hugely popular….

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

One of the all-time fantastic masterpieces of tribal ambient, an absolute must-own for any fan of the genre. Peyote is a musical trip well worth taking.

Originally released in 1991 on cd and now released on vinyl for the first time.

O Yuki Conjugate (OYC) are an English post-industrial/ambient musical group founded in 1982 in Nottingham by Roger Horberry and Andrew Hulme and still - intermittently - active today. Originally inspired by the spirit and sound of post-punk, they soon started pioneering their own brand of ambient at a time (early 80s) when few people were interested in such a low-key approach. Their music has been variously described as 'ambient', 'fourth world', 'ethnic', 'tribal' and 'dark wave'; the band prefer to call it 'dirty ambient'.

For all you Potatoheads out there. C'est l'invasion francaise! Grinding NEO-EBM by the Dauphinois Amato with a remix by the Lyonnais Umwelt. Brought to you by 'eine Kartoffel'!

Some bots run automatically, while others only execute commands when they receive specific input. MATRIX EP!

2x12"

Having made initial waves on Cold Recordings and Osiris, Eric Baldwin returns now to Tectonic to release his eponymous album ’Cocktail Party Effect’, bringing his South London roots to Berlin for an all-weekender, under strobe lights.

Drawn by his appetite for powerful rhythmical forms and inspired by the likes of Daphne Oram, The Residents and Captain Beefheart - Eric takes uses background in sound design, knowledge of hacking VST software and adapted spring reverbs and other hardware, to create a truly unique vision of contemporary electronic music. It sits somewhere between Jeff Mills, Aphex Twin & Squarepusher - held together by a connective UK Bass Music spinal chord. A weird but intriguing beast.

We open the track with Japanese cocktail recipes, before moving into the only vocal track of the album, ‘Talking To Bricks’ featuring Bristol vocalist Redders on fine form - charged with disjointed energy and run ragged across a technologically charged dancehall style beat. The LP progresses through the rolling breaks and bleeps of ‘For The Memory Exchange’, into an IDM side-step in the shape of ‘Brutalism’, moving into the gentle, beautiful flickering glitches of ‘PDA’, before we get to the hyperactive twitching alien charge of ‘War On Codex’.

Taking a leap in another direction, we reach ‘Cause For Bad Shelving’, which sounds a bit like Squarepusher when he was on late 90s, immaculate form - taking the tempo up a few notches, while building melancholy. ‘Lack Of Wrong Format’ then gives us a moment to breathe, before diving into ‘Deerhorn’ which brings us right back to the dancefloor. Things are then turned inside out with the jittery wonder of ‘I Get It (Lost Banknote)’, redirected via the industrial clangs of ‘Low_Rise’, before rounding off our sonic adventure with the ponderous tones of ‘Loner’ - which leave you glowing and drifting off into space.

A bold album that’s just brim with a strong sense of originality, direction and grand narrative. From international dancefloors to post-clubbing ear-worms, Cocktail Party Effect is just getting started and you’ll be hearing his name more and more now.

Detroit's Filthiest closes his past (private stock) present (prime cuts) and future (premium content) trilogy, celebrating 20 years of Motor City Electro Company's excellence together with Casa Voyager presenting his outstanding electro funk works

Om Unit brings his ‘Mahakala’ triology to a triumphant close with 2 more cuts of upfront breakbeat science.

The 2nd release on 45 Loves sees a killer live disco joint with a super upfront 'Good Times' bass line driving the track along, add in sparse vocal snippets, subtle horns and spacy synths and we have an 80's jazz/funk/disco flavored jam brought right up to date.
Dancefloors were made for this, quality stuff. The flip is another fusion cut, dropping the tempo and creating an electro/disco/rap affair. Very limited

Whenever it's love or misery, hear the cry for a better life & understanding. With drums & bass! Once again, Earth Sound comes out with two exclusive tunes from the Pottinger production vault, recorded in 1966 at Federal Record, Kingston, Ja. Living In
Misery an alternative take of Go Back Home by The Harmonizers plus Oh Ye Mahee by Stranger Cole & The Conquerors.
Bongoman rocksteady is sufferers' rocksteady.

With 25 years of mercurial electronics under his belt, it's a joy to welcome Edinburgh's Dave Paton for Dream Ticket's fourth release. This is a clear-cut case of big things coming in small packages: on the A, both slices of elegant pressure level up mid-track into their evolved forms; while on the B, Miami bass and Texan electro continually mutate into ever more extravagant versions of themselves. 2-for-1 never sounded so expensive.

Repress!

Plafond enters its second decade with Cucina Povera and Haron fusing the folkloric and futurist. Maria Rossi and Haron Aumaj (real names) honour musical cinematism on 'Riffittelya', which slowly unfolds during a twenty-two minute trail of exploration, angst and redemption. Meddling voices pinch through an aural mist, Kubrickesque strings impend and cathedral organs relevate. Most striking is the compatibility of Rossi's tangibility and Aumaj's computerisation, seamlessly forming a renewed dynamic, as granular as it is loose in texture. During this unique first collaboration it can be quickly forgotten both artists have highly distinctive styles. We are reminded of these singularities on the other half of the record, featuring two solo works, both rich yet contrasting in their colour and emotion. On 'Maandag, Spiegeldag', Aumaj sketches in orange chromatics, a featherweight composition that feels far away from the greyscale fragility that Rossi portrays on 'Ajatus'. Showcasing two minimalist artists catapulted by their stunning debut albums, this sixth Plafond keeps the listener in constant awe, pointing us to the endless potential of spontaneity. Comes in Pantone printed sleeve with deep red and yellow topped with a silkscreened black, including a dreamy blue Obi-strip printed with white and black, by the BAKK Fuzz Factory.

Mega talent Holloway drops 4 on the fast growing INSTINCT Imprint. The labels been getting huge support from Ben Ufo, Joy Orbison, Floating Points, Midland and this one does not dissapoint. Huge

Industries Of The Blend is the latest project from Dj Luna-C, and it a step back into the original sounds of 1990 and 1991 old skool. Slower bpm and all hardware lead to an entirely authentic sound for this EP, and that authenticity continues with the style of sleeve (Spined like an old Euro EP) and in the overall concept. Proper underground, original, rave music. For those who know.

Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others