Beats Vinyl New Releases - News

Coppice Movements is an addendum to 'Carolina', an album released by Polar Seas Recordings. These five arrangements follow a similar formula as its predecessor; suffused with manipulated field recordings and persistent drones that gently flow. Mastered at Schwebung Mastering (Germany) by Stephan Mathieu, Coppice Movements is a continuation of solemn yet jovial paean to seclusion and quiet moments of self-reflection, bathed in shimmering reflections and a profound sense of stillness and serenity.

originally released in 1990-with Liz Lamere - Never released on vinyl-

Born in Brooklyn, Alan Vega was reared on the rock 'n' roll sound of Elvis Presley and Roy Orbison, but originally struck out on a career as a visual artist and light sculptor, making pieces out of electronic debris. But on the occasion of seeing Iggy Pop fronting the Stooges at The Stooges at the New York State Pavilion in 1969 was an epiphany for Vega. It showed me you didn't have to do static artworks, you could create situations,' he said. That show was the first time in my life the audience and the stage merged into one." It was that eradication of barriers between the two that Vega took to heart.

Their first two albums, 1977's Suicide and their 1980 follow-up, remain two of the era's greatest touchstones, beacons for others seeking to transform their worlds with sound. And even during the group's hiatus through the 1980s, Vega continued to pursue his singular vision across an individualistic solo output. From his 1980 self-titled debut and rockabilly-infused albums like Saturn Strip, through bracing albums like Power On to Zero Hour and IT, Vega forged his own singular path.

For all the darkness and despair that encompasses this moment in our world - and despite his work being depicted as bleak and nihilistic - for Vega there was always a sense of hope and a place for dreams to become reality. People have always told me that my music is angry,' he said. To me, it was always just an energy. It was the way I perceived the world. The key Suicide song was 'Dream Baby Dream,' which was about the need to keep our dreams alive. I knew back then that something poisonous was encroaching on our lives, on all our freedoms.' He fought to his very last breath for that freedom.

Created from the rotting corpse of Glam, Punk and Psychedelic rock, London's Alien Sex Fiend emerged bleeding and screaming onto the British underground music scene in 1982 to pulverise the prevailing scene's sensibilities into submission. Demonic sounds and contorted hysterics combine invitingly in the flesh and ultimately establish them as the iconic industrial Goth band. Featuring live recordings from their appearances in Glasgow, Birmingham and Liverpool during their 1986 tour with rare, promotional tracks spanning the years 1982 to 1988 on a bonus CD. Interference proudly presents the rotting corpse that is Alien Sex Fiend. Professionally re-mastered original sound recordings with background liners and rare archival photos.

Hospital are honoured to present the last known piece of new music from Rob Dickeson, aka Apex. Released in his memory, in association with Help Musicians UK, all proceeds

will go to their incredible work on the Music Minds Matter campaign. Available as a digital download, and limited-edition 12-inch vinyl, which features Unknown Error's 'The Yearning' (Super VIP mix), which is exclusive to the

physical format. Drum & bass has lost a number of unique talents in recent years, and we can only hope this release will be a positive force to raise awareness surrounding mental health issues within the music industry, and also as a fitting tribute to

Rob's memory. 'I hope that this record will raise awareness that help is out there. If you, or someone you love, finds themself in a situation where life just seems impossible, don't forget that you are not alone, and that there is help.' - Katerina (Apex's

partner). Help Musicians UK is the leading UK charity for professional musicians of all genres, from starting out through to retirement. Operating 24 hours a day, seven days a week, Music Minds Matter is a support line and service for the whole UK music community.

Building On Over A Decade Of Work, Drums & Drones Ii Follows Master Drummer And Composer Brian Chase (yeah Yeah Yeahs) Into Unchartered Sonic Realms. All Of The Pieces Are Based On The Acoustic Resonance Of A Single Drum With Each Track Designed To Emphasize A Different Method Of Sonic Investigation.

The Project Draws Inspiration From Brian's Time Working At La Monte Young And Marian Zazeela's Dream House In Tribeca, Nyc. As He Spent More Time Immersed Within The Installation, Its Complexity And Beauty Started To Reveal Itself In Its Magnitude. On The Technical Side, This Was Partly Due To The Distinct Tuning System - Just Intonation - That Was Used To Create The Sound And The Way It 'plays With' The Listening Process. Brian Grew Intent On Finding Ways To Adapt This Approach To His Primary Instruments Of Drums And Percussion.

The Album Was Recorded Over A Four Week Period As Artist-in-residence At Headlands Center For The Arts In Northern California. Spending Day And Night In A Secluded Barn At The Top Of A Hill, The Residency Provided The Opportunity To Live And Work Immersed In The Creative Process. This Focus Very Much Relates To The Way In Which The Music Functions: As The Listener Tunes Into The Sonic Characteristics And Pace Of Each Track, Its Meditative Properties Are Gradually Revealed.

Never Ready Records is honoured to release the first full length album from Deep Sky Objects (DSO), the production moniker of Stillcold Records founder Andrew Doubek and Alexander Dennis aka Eprom & one half of Shades.

DJ Support
Etch - “Super interesting record, love it”
Simbad - “Honeslty this is why i still listen to hundreds of promos, because sometimes i get sent some super dope & fresh like this album !!!! Made my DAY !! Full club & radio support thanks”
Roska - “this is dope!”
Mr Beatnick - “really nice!!!”
Addison Groove -“xxx”
Jerome Hill - “Lethwai for my old Techno brain. Thanks for sending!”
Plastician - “LDN is sick”
Yussh - “Nice release, lots of variation, interesting throughout. TY”

Rhythm People are back with a great 4 tracker.
A collection of house & garage music from talented artists spanning across the globe.

Berlin producer and DJ Marc Brauner, half of the Traffic Report duo, signs his first vinyl on Houseum Records with a new and more intimate EP, titled 'Sad But Ambitious'. The German delivers his introspective release with 5 tracks whose musical universe fluctuates between classic House, Breakbeat and Deep House. With this catchy title 'Sad But Ambitious', the EP succeeds in transmitting the musical sensibility of the producer.

We start with ‘He Said It’, a sample based Classic House track featuring warm pads, a pumping sub bassline, straight forward drums and a melody driven arrangement. It is meant as a tribute track to Clyde Stubblefield the former drummer of James Brown.

'Reach for You' is an emotional moody House track. It comes with a rolling drum pattern with moody pad sounds and a straight forward acid line finished off with some vocal chops on top. The track has a darker, more melancholic vibe than A1 but is still a dance floor ready tool. The kick drum is used in a different way to create a Breakbeat'ish African touch.

The title track of the EP has its name to mark a time in Marc Brauner's life where he felt sad about his life and work situation but still was ambitious enough to keep working on the tracks that are finally getting their release now. It comes with a nostalgic charm invoked by rising pads and classic drums combined with a deep bassline and a tear drop bell melody. It's a melancholic track, which you can both dance and cry too.

The last track of the vinyl ‘In a Dream’ is a House & Breaks piece. It consists of heavenly pads, a driving bassline, tight drums and a dreamy melody.

This Breakbeat mood brings power and energy to the melancholic piece while remaining hopeful & uplifting at the same time.

This EP promises a beautiful trip between melancholy sadness and optimism.

Two cuts from Moon King's Voice of Lovers re-imagined by SOBO friends and family.

"V/A - Underground Sonics Part 2" split.

Wicked 4 tracker of
.
Old Shady Grady & The Neighbourhood Character (OSGATNC for short) is the result of a chance meeting in Berlin the fall of 2013 between Eric Douglas Porter a.k.a. Afrikan Sciences, one of the most expansive and intensive musical torch bearers of modern experimental electronics and jazz, and Ari Robey-Lawrence, producer, vocalist, and DJ a.k.a. The Neighborhood Character, who began as a jazz guitarist and drummer. They quickly found a mutual bond and a musical partnership emerged soon thereafter, and debuted on Uzuri's The Wilderness Sessions with their EP, Tales from Caturday'.

Via their collaboration, Porter and Robey-Lawrence explore the intersections of diverse musical and emotional territories through improvisational, long format jam sessions-- experimenting both with a wide range of sampled sounds and expressive original vocals, sustained by pronounced, yet fluid rhythmic backbones.

Jordan GCZ says: I walked into their sound check at freerotation festival last year and was blown away. I feel privileged to be a part of putting this music out there'

New myths; remember downstream, the truth and sacred geometry. Unlikely and bright, it weighs waves like an anchor through pinch unconscious - unread and still. We are understanding - process born from fact. The rope is taut, calm, made of ritual and leading us back - but in telling it transforms; pre-linguistic, stamped, fully dynamic, the start refracts into new versions and inwards we fold. It remains rhythm in absence, but grows as we watch. Next thread drawn from the Mirror Zone, this one built by Vector Trancer. Our plate reads panoptic; dark dub and ambient loaded with psychoactive EBM. See further; MSB's vital experiments powered by half-speed Beat Box; distant Objets D'Art channelling through Namlook's Fax; pared down FSoL at the hands of Autocreation. Celestial fringe echoes, viridis mantra, and guttural/ceremony trudge. Direct knowledge, heavy and charged.

Medical Records is elated to reissue a very special vinyl collection consisting of a hand picked selection of vocoder and synth tracks by the one and only Zeus B. Held. Zeus is a well-known and acclaimed German musician and producer also made famous for producing Gina X Performance (also reissued by Medical Records). Zeus first began his musical career in the mid 1970's with the German prog rock group "Birth Control". Subsequently, he recorded three solo albums: "Zeus' Amusement (1978), "Europium" (1980) and "Attack Time" (1981). He performed a number of interesting live shows supporting the albums all over Europe using a number instruments such as Fender Rhodes, Hohner Clavinet, Hammond Organ, Poly and Minimoog, ARP sequencers and most importantly, a Sennheiser Vocoder VSM 201 among other various instruments. His musical influences ranged from Rick Wakeman and Keith Emerson to Kraftwerk and Steve Reich. Zeus also was involved in a very diverse roster of collaborations with such important artists as Guru Guru, members of Can as well as French space rock groups ("Les Rockets" and "Visitors"). The tracks that make up this compilation were selected from the aforementioned solo records. Ranging from straight out cosmic disco to propulsive proggy funk to the unclassifiable, this collection is a perfect representation of his solo work. Standout tracks include the cosmic burner "Held It", the total vocoder/space jam "Musik, Music, Musique" and the amazing interpretation of Beatle's "Drive My Car" complete with vocal by Gina Kikoine herself (Gina X). This collection will appeal to fans of the synth/vocoder work and unmistakable razor sharp production of Gina X Performance as well as fans of left-field synth heavy prog and disco (a more rock based Moroder if you will). Specially remastered for this vinyl reissue. Presented on high-quality 180gram colored vinyl.

Black Vinyl

Visionary synthesist Abul Mogard renders a darkly sublime soundtrack for ‘Kimberlin’ , an experimental film about the Isle of Portland on the English south coast, which coincidentally doubles up as metaphor for the mood of an increasingly inward-looking UK.
Taking its name from the local word for an outsider or “foreigner”, the short film ‘Kimberlin’ was filmed on location during the months following the advisory referendum of 2016 which lead to the current, purgatory state of “Brexit”. Combining mostly wordless, lingering shots of the Isle of Portland’s bleak and rugged landscape with Abul Mogard’s washed out but richly evocative music, made with manipulated field recordings, modular synth and layered Farfisa organ, the project came to reflect a sense of (be)longing, loneliness and outsiderness that also perhaps uncannily mirrors the putative collective feeling since that darkly historic vote, over three years ago.
Taking cues from the evocative poetry of lifelong islander, stonemason and poet Cecil “Skylark” Durston (1910-1996), as well as a news report on the discovery of a mysterious cinema found interred by foliage in the Isle’s cave systems, the merging of image and sound speak to their subject in an organic, impressionistic manner that leaves billowing room for imagination.
Mogard’s soundtrack opens out with a slow-burning, greyscale iridescence, tenderly manipulating the sound of fog horns and bird calls in briny modular spray and gloaming Farfisa organ swells that, when combined with song titles such as ‘Flooding Tide’ and ‘Playing On The Stones’, serve to evocatively connote the film’s subject matter.
The results can be heard as echoes in the digital future of an England that’s now difficult to grasp, most hauntingly transposing the meaning of Cecil “Skylark” Durston’s description of the Isle of Portland as a place where “quarry bells no longer ring, except in old men’s dreams” to the ever-present, never-ending riddle of Brexit and its generationally devastating bleakness.

Al Wootton continues pushing the Trule sound with the Operator EP. Spanning from the Ragga Garage of Levi, the UK Techno Breaks of Teresa, the UK Funky/dubwise stepper of the title track Operator and the minimal 2 step techno of Franz. All primed for the sound system and the dance floor.

Tom Wrankmore previously recorded under Eliphino and now launches new project Automne.
Automne has a two diametrically opposed themes within it, natural balance and transition and machine like, automated.
Music will explore the interplay between these two areas.

TASTATURSTUECKE VOL 1 introduces 9 outstanding new compositions for church organ, harpsichord and self programmed software. The album comprises the first collaborational recordings of Brian Parks (Atlanta) and Phillip Schulze (Düsseldorf). The two musicians first met in the early 2000s at the famous Wesleyan University, Connecticut, where they regularly attended seminars of their teachers Alvin Lucier and Anthony Braxton.

Through extended preparations for a series of live performances in Europe in 2019 (e.g. at the APPROXIMATION Festival, Düsseldorf) Parks and Schulze developed and refined a unique approach towards composition, highlighting their interest in the correlation of the invariable flawlessness of a computer versus the human performer on church organ or harpsichord.

Largely written for church organ and harpsichord all pieces also correspond perfectly with the physical spaces the recordings have taken place at. The album was recorded in three different churches in Düsseldorf which have been chosen for the different qualities of their specific room acoustics. Treating slight differences in pitch, phasing, overtones and rhythm all compositions on TASTATURSTUECKE VOL 1 offer an evocative density and flexibility that imbue the music with an organic feel.

The nine pieces range in shape and form from concise and sharp clarity such as Ranking Studies 1-3 to the extended, exquisitely paced radiance of the 8 minutes of Partials Chrorale. Mensuring Canon for 8 voices is obsessively restated in constantly changing permutations whereas the metronomic Reliefs for Ecclesial Space sounds urgent, deep and explosive.

The last piece, Activated Progression, in particular reverses the roles between computer and the human musician. The software never messes up the phase. The human would do his best to gradually change from one state to another. Once decisions are made regarding registration and finger assignment, the human should behave like a well-fabricated wind-up toy. The two hands remain offset the entire time, and at the fastest possible speed, enact patterns of three notes (left hand) and four notes (right hand). The computer meanwhile, moves from Euclidean rhythm to Euclidean rhythm over leisurely time periods.

The sickest French band, a trio called France, drums, bass and amplified hurdy-gurdy. They only performs live, in the middle of the audience - turned in to face each other - full on smoke machines and strobes. And they play only one ‘song’ for the duration of their hour-long set. And it’s the most transfixing live experience of intense physical and mental focus, and there is something of early rave too, the togetherness, the energy, the euphory. The distorted hurdy gurdy plugs France’s sound into the country’s history of folk music and popular festivities, of communal trance and immersive pleasure. The rhythmic basis is pretty much the same throughout the whole live. One doesn’t need to actually be tripping balls for the auditory illusions to start coming thick and fast. Those who’ve stayed for the whole duration of their performances know they’ve shared something. However disparate the phantom forms each might have discerned in the midst of the howls and groans. Gigs like this you leave feeling you’re not quite the same person who went in, even though you’d be hard-pressed to pinpoint precisely what has changed. Far Out Far West was the band’s first gig outside of their usual comfortable friendly circle and thus was perceived as a somewhat hostile environment. This was where they met the fellows of Les Potagers Nature who will later release France’s debut untitled album. One certainty remains at least, that there is still a France we can believe in. David McKenna (The Quietus). Sales Points: - New album from trio France - All previous releases now sold out and sought after - For fans of drone, rural trance, stoner, psychedelic - 131st release on Mental Groove Music, home of WRWTFWW

Exploring the hidden crevices between the hardcore continuum, muscular house and vintage techno, Hugo Massien delivers four tracks that crackle with energy and intensity on the 'Ghost Note EP' - released December 5 on Dusky's 17 Steps.
Having previously contributed EPs to the legendary XL Records and DJ Haus' E-Beamz, Hugo's unique sound has won him fans as diverse as Roman Flügel, Shed, Bicep, Annie Mac, Batu, Maya Jane Coles and, of course, Dusky themselves, who previously signed his 'Restart The Sun' to last year's Floor To Floor compilation.
A sign of Hugo's instinctive knack for genre mutation, 'Ghost Note' signals a clinical groove hybrid of rolling jungle breaks and cyborg acid fire. Contrasting the breakbeat vibes with a stripped back techno surge, 'Speak To Silence' pulses with industrial soundscapes and clipped acid oscillations. Elsewhere the broken beat cinematics of 'Broke The Cycle' provide a more meditative excursion that blends rave motifs with classic ambient references, whilst the Transmit-nodding 'Messier 77' closes the EP out with vintage Detroit vibes.

Setting off Signal Life's blacklabel series 011-015 as well as debuting on the label is Inner, Finland's worst kept secret at least judging from the vast radio support courtesy of crucial stations like London's Rinse FM. Based in Tampere, Finland, Inner has been making waves in his home country for a few years now and finally gets a well-deserved first international release. Drawing equally from Atlanta rap, movie soundtracks, grime and dancehall, Inner's music escapes a singular genre definition. Equally, his tracks emote as much as they bang in a club. Pain sets the atmosphere of the EP with a nod in a familiar direction, but swiftly switches up into a ice cold blend of futurist RnB and grime with a golden era Timbaland sensibility. Crystal Ember furthers this development with equal doses of south London grime melodics and feminine pressure. On the flip, Closa presents a thoroughly warped flex where staccato subs make your eyeballs vibrate as icey staccato synths double up showcasing Inner's ability to rethink the future of club music in 2017. Finally, certified emotional banger Roll Out continues the staccato rhythmics as squarewave melodics and hums are accompanied by long detuned grime bass streaks.

Numa Crew and the ’London City Warlord’ Riko Dan join forces on this dancefloor banger called ‘Babylon’.

When it comes to the influence of Ragga in the MCing styles of Grime, one of the undisputed pioneers is Riko Dan - most famously associated with Roll Deep, one of the most important collectives in the history of Grime.

The original track is an explosive mix of Grime and Dubstep sounds spiced with a Dancehall flavor that gives Riko the perfect platform to spin raw and punching lyrics.

The flip side is a remake of the original ‘Babylon’ in a pure Dub stepper style, heavyweight bassline, hypnotic skanks and mystical atmospheres that fuse the two worlds of Grime and Dub in a unique sound. Certified sound system material.

This 4 Track EP with 3 Unreleased VIP mixes of the original tracks and 1 extra unreleased track from 93. Written and Produced by S. McCutcheon (Syko) & R. Haigh (Omni-Trio) under the name 'Persons Unknown'. These group of artists collaborated on a number of tracks which were released on the Candidate Records label (a sublabel of Rob’s in-house label, Parliament Music). However, there were a number of unfinished, archived and VIP remixed tracks that are now scheduled for release on Blueskinbadger Records.

“ One day in early 91 a customer (Syko) came into my shop and played me a rave tune that he had produced on an Amiga. I was so impressed that I offered to put it out even though I didn’t have a label at that time. I then started to fuse my own existing ideas with the new possibilities of sequencing and sampling. Omni Trio grew out of this experimentation, around this time the Parliament Label was born...” - Rob Haigh

2x12"

Circle Vision proudly presents the anticipated debut album of Copenhagen producer and label head RDG aka. Ruben Nielsen.

"Planetary Sound Fiction" marks the Danish label's 10th release with a subbed-out panoramic trip deep into the current state and future of bass music, with sound allies Killa P, Rider Shafique, K Man, Ill Chill, Monti and Yaa Aisin all complementing the hands and ears of the accomplished Danish producer throughout the album.

Drawing on experience from decades of DJing, musical production, sound engineering and intergalactic excursions, RDG has thoroughly matured his undeniable skill of orbiting and perfectly blending the dimensions of jungle, dubstep, techno, DnB, experimental, leftfield and downtempo music into a coherent and captivating sonic journey.

Following more than 25 EP releases over the past 10 years, "Planetary Sound Fiction" is by far RDG's most exhaustive work to date and presents a sound, encompassing anything else released by the Danish producer so far.

With “Mirage Mirage“, avant-pop quintet Spirit Fest gifts their listeners with their richest, deepest record to date. It’s no surprise when you consider the group’s membership: Saya and Ueno, aka the duo Tenniscoats; Markus Acher, best known as singer of The Notwist; Mat Fowler, who plays with Jam Money and Bons; and Cico Beck, who’s making music with Joasinho, Aloa Input & The Notwist. If that feels like a heavyweight line-up, that’s because it is – yet the overarching mood of Spirit Fest is one of lightness and joy, of experiment and pure pop pleasure.

Sessions for the the album were split between the Tenniscoats’ Tokyo home studio in November 2018, and a small apartment studio in Munich in June 2019. Saya, Ueno and Markus pitched in songs, but sometimes, as with “Fish With Arms”, beguiling moments grew from group improvisations, often kicked off by Cico and Mat. All members stretched their instrumental limbs, too: “I was curious to explore how my home recording methods might work within the studio,” Mat reflects, and you can hear that curiosity in the aforementioned song, which folds in a recording of “a young boy showing his father a painting he'd made of a fish with arms shortly before disappearing between the sliding doors of a lift.”

That’s a lovely metaphor for what Spirit Fest do here. There’s a sincere, child-like generosity to the music, and a playfulness with an everyday surrealism you can hear in some of the experimental interjections across the album. Its final sound is the rolling click-clacking of a bicycle wheel. The bike was key to one of Mat’s explorations of the Tenniscoats’ Tokyo neighbourhood, on “an autumnal cycle ride to a local park. The bicycle had a basket, in which I carried two paintings I had found on the street.” Stumbling across art amongst the everyday; that’s also core to Spirit Fest, particularly after reflecting upon Markus’s description of their music-making practices: “Most of it develops by playing and trying, and decisions are made fast and intuitive.”

There’s more here than just avant-pop: see the pronounced folksy lilt to “The Snow Falls On Everyone”; or “Mohikone”, a gorgeous instrumental, droplets of piano pattering amongst a plangent acoustic guitar. The seven-minute “Zenbu Honto (Every Thing Is Everything)” is a spiralling psychedelic pop mantra, with field recordings and slithering electronics tracing a path under the scrub-growth of guitar, piano and drums. There are guest appearances from Micha Acher (The Notwist, Tied & Tickled Trio) on trumpet, and Aiko Okamoto, who takes part in the choral rounds of the album’s closing tune, “Saigo Song”.

Whichever way you approach it, though, the guiding force of Spirit Fest is friendship and collaboration, giving life to collective dreaming. Summing things up, Markus says, “This record is a lot about relationships, from different perspectives, about wondrous things that happen to everybody sometimes, about shared experiences (like the snow falling on everyone). I think of summer when I listen to it, because we recorded in summer, but more like a long sleepless summer night with lots of talking and music… A psychedelic feeling.” The creative dynamic that makes for those spirited nights of talking and sharing is all there in a story that Mat tells about first meeting Markus, “outside a Paul Klee exhibition we then went on to visit. One painting always sticks with me, ‘The Adventure Ship’. I still feel an affinity between this painting and our own travels on the good ship Spirit Fest. All aboard!”

Words by Jon Dale (Rose Hobart / Tristes Tropiques)

Vatican Shadow’s impossible to find early tapes finally arrive on vinyl, kicking off a completist
series of new D&M remasters with a first volume featuring: ‘Byzantine Private CIA’, ‘Mural of
Saddam’, and ‘Yemeni Commandos’
Arriving under a shroud of anonymity in 2010 with the four tracks of ‘Byzantine Private CIA’,
Vatican Shadow has since become one of the most vital projects manned by Dominick Fernow
(Prurient, Rainforest Spiritual Enslavement). Daring to grasp the nettle of US geopolitics at a time
when nobody else would (and that hasn’t really changed), Vatican Shadow hijacked imagery and
text from a plethora of news articles, books and government publications, and used them to adorn
and title his all-instrumental compositions, recontextualising U.S. foreign policy in a way that
recalls how original industrial, noise and post-punk mutants used their art and music to express
feelings towards the cold war and western socio-economics during the late ‘70s and thru the ‘80s
- with a particular, explicit thread of inspiration coming from Bryn Jones’ prolific Muslimgauze
catalogue.
The first LP ontains all four cuts from Vatican Shadow’s first release, ‘Byzantine Private CIA’, taking
in the cold thuds and clamouring background noise of ‘Deny Military Involvement’ alongside
highlights in the militant trample of ‘Cairo Sword Unsheathed’ and the sludgy industrial dirge of
‘Gunman With Silencer’. The second LP follows with three tracks off ‘Mural of Saddam’, including
the brittle, Muslimgauze-like stepper ‘Schwarzkopf Arc of Triumph’, and the furtive trip hop of
‘U.S. M1A1 Abrams Exhaust Rises Between The Hands Of Victory’, before concluding with some
the project’s most sublime work in the opiated lushness of ’Shadow War In Yemen’ and ‘Asymetric
Warfare Studies Group Double Game’ from the ‘Yemeni Commandos’ tape.
Sounding more compelling than ever, thanks to the remastering at D&M, and with original tapes
now impossible to find for love nor money, these vinyl pressings of early VS gear are practically
worth their weight in gold.

Coloured Vinyl

From Mille Plateaux to Leaf, Staubgold and Raster-Noton, ~scape, or on his own label Ripatti, the Finnish artist Sasu Ripatti aka Vladislav Delay has been exploring various iterations of the dub culture vs. electronica, since 1997. His sonic crafts and unique signature sound has been sought after by an eclectic range of bands and artists, ranging from Massive Attack, Hauschka, Black Dice, Autopoieses, Animal Collective or AGF.

Somewhere between the old-school electronica culture, the soundscaping, the experimental paths of Lee Perry and Adrian Sherwood, ghostly clubbing anthems, minimalism, pop, jazz, without being, influenced, Vladislav Delay is building a drifting and coherent sound enigma.

Vladislav Delay met Sly Dunbar and Robbie Shakespeare (the most prolific Jamaican rhythm section and production duo) thanks to a series of jam sessions. Trumpet player Nils-Petter Molvaer had been asked by the Jamaicans to join them and he invited Delay alongside guitar player Eivind Aarset to tag along, which eventually turned into the Nordub project.

The result of these jam sessions turned into an album, mixed and mostly produced by Vladislav Delay, released on the label Okeh. It was also followed by an extensive series of live dates. This one-shot reunion was the beginning of another story: a trio composed by Delay, Dunbar and Shakespeare.

In January 2019, Vladislav Delay went to Kingston and spent some days at The Anchor studios, to record drums and bass with S&R, some voice takes and a series of atmospheric field recordings. Back to Finland, Delay started to experiment with this precious material, mixing and overdubbing, in the comfort and quiet of his studio, based on the island of Hailuoto, Baltic Sea, Northern Finland, giving another feeling to the Jamaican trip.

This became a tribute to the 'dub spirit', but in a very personal way, far beyond any influence or "the obvious". 500-PUSH-UP is two worlds collapsing, merging, also showing some intriguing approach of the Jamaican groove, used as a filigree, like the echo or the ghost of reggae, converging and conversing with a post-industrial and experimental approach. To file beside experiments - for instance - such as Lee Perry's 'Scientist Rids The World Of The Evil Curse Of The Vampires' or the On U-Sound productions.

Whiney's underground drum & bass flair has flourished since signing exclusively to Med School. Now he's set and ready to present his incredible debut album 'Talisman' - a symbol of his dedication to D+B with a strong 12-track collection of dancefloor weapons

Chapter three of this excellent old school series, Jay Cunning from We Are Hardcore says "InnerCore has perfectly captured the early Prodigy vibe. Top marks!’

Debut EP from Milan newcomer Leo, crossing the borders between emotion and hypnosis. Limited to 150 hand-numbered copies, housed in semi-transparent antistatic bags. Vinyl only, no repress.

Color Vinyl

Studio Sessions At Les Ateliers Claus, 2013

Charlemagne Palestine: Piano, Voice & Organ
Mika Vainio: Electronics & Live Processing
Eric Thielemans: Drums & Percussion

Our debut vinyl-only is a VA which comes from different artists and places. At first Lowris and his solid bass line and drum metric changes on "Setup 6.0" are the perfect mix to atmospheric sounds and minimal vibes. Then arrives FÆR (The project leaded by the well-known artists Argenis Brito & Felipe Valenzuela) a cut plenty of raw sounds and acid brushstroke which fits perfectly when the euphoria is coming. Ema Remedi begins the B side with vocal slices, soft pads and devastating bass line, finally Jaffa Surfa comes with a timeless cut called "Iznot", a track lots of house vibes, breakbeats and dance floor focus.

Hypress makes a fresh start. New look, new artists, new team,
a new release as a double LP. Lots of rosé wine in a studio
refrigerator and a running gag should do the trick. No crazy
idea. The label's largest work to date serves as a work show
and at the same time sharpening its own portfolio. Various LP
electronic musicians from Leipzig are mingled with renowned
international artists on the LP. The consistent handling of
different genres of contemporary club music is very typical of
the previous label catalog. 12 different tracks in the field of
tension between techno, electro, wave and breakbeat on vinyl
+ 2 additional digital bonus tracks.

Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield's relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani's house, so she grew up listening to the radio and was hypnotized after hearing 'Remember Love', by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, If you're into bands like Cabaret Voltaire or Flying Lizards, call me'.

The duo recorded their debut album Stadia' in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the 'cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier's processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we've added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.

All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. Powerful and evocative, soundtrack music for a rising storm or revolt.' Sound of Pig magazine 1985

E. Myers returns just in time for the summer, with two heaters of contrasting styles. 'I Am Alive' is a celebration, cooked up from heavy drums, percussion and bass synth, coming together with pads and arpeggiated synths for full blown elation.

'Dreamland' keeps its poker face on throughout it's entire 9 minutes. Threatening to break out but staying cool with its restrained bump, it's equally at home in basements as it is on beaches.

one less than the infamous ILL_K is making his much anticipated return to Subaltern with a full EP on the imprint, accompanied by fellow producers Chad Dubz and Koobas.
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*A. ILL_K - **WARP 6*
Bringing back the original jungle influence into the realm of dubstep, the title track ‘Warp 6’ sets the pace of the EP right away. In his trademark crisp and weighty production style, ILL_K lays out a true roller, carried by fierce sub lines and cutting edge percussive work. The melody gets repeated and reworked into many different sounds - sticking in your head until you crave for the next time round.
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B1. ILL_K & CHAD DUBZ - NINJA TECHNIQUE
Joining forces with the ever busy Bristolian and Foundation Audio boss Chad Dubz, the second track of the release is a real bass-face inducing beast. Keeping up the dark and gritty feel, ‘Ninja Technique’ unleashes merciless waves of bass and ever-so-punchy drums that will shake raves and ravers around the globe.
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B2. ILL_K & KOOBAS - WALKING HOME
On the third track of the release - and the second collaborative effort - ILL_K and Koobas serve yet another masterpiece that transports authentic Metalheadz jungle vibes into the 140 sphere. Ground-shaking and groundbreaking.
Legend has it that the Fiesta parked in the market has still not moved to this day.

Joke Lanz travels down memory lane! Two decks a mixer and a dozen of old Sudden Infant vinyls to spin, scratch, manoeuvre, loop and juggle into a narrative new composition. Recorded and mastered by Rashad Becker in Berlin, this album combines Joke Lanz' unique turntablism and intuition for mutant-body-dramas peppered with a great sense of humour from the rhythms of amplified faders and his own breath to spoken interjections of Bryan Lewis Saunders' dream lyrics. You can dance, you can cry, you can smile, you can die!