Beats Vinyl New Releases - News

Amsterdam based Kid Sublime returns in 2020 with his new record: “The Umami EP” on his own Ballroom Radio Records .

Independent release pressed on 180 gram vinyl

A1 The Tool
The opener track of the EP “The Tool” has The MPC running steady with chopped up disco breaks and lush Detroit keys + Soulful vocal samples added on top to hype up the dancefloor.

A2 The London Bug
Inspired by his trip to London last year and a visit to the Bugz In The Attic studio, Kid steps up his game with a Broken Beat banger. A chopped up Jazz Funk breakbeat with a heavy Moog bassline lick and some keyboard action. This Bruk tune will definitely get the dancefloor moving.

B1 Left-Right-Dub
Soulful House action! Originaly released on his LP The Padded Room as “Heroes“ with vocals from Atlanta’s The Dangerfeel Newbies, Kid remixes this tune in a
stripped down Dub version. Smooth and Deep dancefloor vibes.

B2 The Force
A stripped down minimal Future Funk groove with a Seinfield-esque slap bassline and a spaced out sample. The MPC runs steady here for the deejays and the dancers!

Ali Zarin, Muslimgauze Archive Series volume 35. Limited Edition 2 x LP

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Huerco S.’ West Mineral Ltd. coax out a lather of ambient downbeats and techno mutations from Russia’s Ol & Flaty in their 2nd volume of Serwed material Forged from intuitive live jams recorded in their home studios, Serwed’s sophomore side delivers 10 fractious, shapeshifting oddities full of lopsided, minimalist rhythms and uncanny spatial complexities. Each part is cut from the fabric of longer sessions and highlights points in their creative process where intersections of their individual inputs transcend the sum of their parts, generating strange and inquisitive new permutations of rhythm and sound, or a “kind of new entity” as they prefer to call them. Collected and arranged into album format, they make a uniquely
etheric flux that resonates richly with West Mineral Ltd.’s between-worlds aesthetic and adds up to a surreal and captivating bigger picture.
Variously touching on aspects of abstract techno dub, early-hours dancefloor experimentation, and heartstrung yacht rock strokes, the results smudge definitions of club music in a way that see those spaces as playgrounds for the imagination, and not simply sites of reenactments of the past, or outlets for alcohol suppliers. As such the album offers myriad options for altered state dancers and ‘floor-edge wallflowers, exploring a mutable range of styles between the Dynamo-meetsBellows flux of ‘Initial II’, the nervously stepping tics of ‘Platm’, and the strung-out 0PN-ism of ‘In Spare’, while the likes of ‘Grip’ and the jet-streaked minimal house abstraction of ‘Plane’ are more urgent in their bassy heft.
Ultimately ’Serwed II’ beautifully mimics and evokes a state of blipping thizz associated with the later hours of an MDMA buzz, yielding an immersive, impressionistic trip likely to leave its users gently disoriented but glowing with satisfaction.

Spencer Clark is back with a futuristic eco-friendly record. It’s life on earth as you never heard it.

The story goes like this: Spencer wanted to do a soundtrack for the yet to be made “Avatar 2”. And if you know Spencer’s work, you’ll know that he engaged on this mission reading material that influenced the rich and crazy imaginary world of “Avatar”. If you think about it a little bit, something like “Avatar” could have really come out from the mind of Spencer Clark.

But it didn’t. So, he dwelled around the idea of that soundtrack, working on what is now known as “Avatar Blue”. The record we now release is a selection he made from the 2CD released last year on his own Pacific City Sound Visions.*

Like many of Spencer’s other alias or incarnations, Star Searchers introduces the listener to a new world. Besides making sounds/soundtracks for alternative realities he cares about making a world for his music to live in. It’s never superficial or dedicated just to the act of imagination, Spencer creates sounds that sustain the reality he imagined. That’s why they’re so rich and consequential in the realization of music as a medium.

“Avatar Blue” is music but also literature. And cinema. Star Searchers’ sound creates an absorbent sound about what’s happening in aquatic life. It goes beyond the perception of what we’ve seen or what we’ve known, it’s a neo-future aquatic life, with a world building structure and sounds and narratives that go along with it.

All done with a sound-aesthetics that could be described as slowed-down-trance, that fits 1980s synth nostalgia and dreams of sci-fi to come.
*Note: The 2CD version is available as a digital download with a purchase of the album on selected stores.

Here is the highly anticipated sixth volume of the well received electronic compilation series from the relaunched 1980's color tapes label. As with the other volumes you can find great examples of cold wave, minimal wave and synth electronics and pro to EDM made by obscure British bands in the 1980's such as: Berserk In A Hayfield, Lives of Angels, Silicon Valley, Modern Art, Disintegrators, Echophase, The Lord and Mystery Plane

"Up there with V-O-D selections, the Color Tapes series so far has provided invaluable insight to hidden or much lesser-known currents of the ‘80s cassette subculture which gave birth to myriad artists, styles and industry conventions whose influence can still be felt over 30 years later. " - Boomkat

“Electronic work that’s way different from mainstream pop of the period - often forgedout of the same instrumentation as the hits - but in a stripped down way - with lots of dark and moody corners!” Dusty Groove

“Evil Synths and evil beats” - Norman Records

“Gary Ramon’s re-born Color Tapes imprint is every bit as essential as it’s Minimal Wave and electro-focused predecessors” - Juno

Limited edition of 500 copies comes with poster insert

GLOK is the electronic solo project from Andy Bell of shoegaze legends RIDE (formerly of Oasis/Beady Eye/Hurricane #1). His debut album under the moniker, Dissident, was originally released last year on a limited edition cassette by Bytes, an offshoot of Ransom Note Records. That sold out in 24 hours, and was followed by a vinyl pressing of 500 copies, on transparent green vinyl, sold via Bandcamp and two online shops. However, with that edition now sold out pretty much on word of mouth, due to popular demand, Dissident is being repressed and is this time being made available to a wider audience via a partnership between Bytes and Republic of Music/K7. The name GLOK is a misspelling of the German word for Bell. The German connection fits well as there is a strong Krautrock influence in the music, especially on the title track, 'Dissident', an epic clocking in just shy of the 20-minute mark, which blends synthwave, minimalism, trance, Detroit techno and John Carpenter soundtracks, with Andy even dropping in some killer John Squire-esque guitar licks.

First collaboration ever between Japanese noise legend Merzbow and visionary/provocateur Kaoru Sato of R.N.A. Organism (Vanity Records) and EP-4 (WRWTFWW).

Side A: live recording of Merzbow and Kaoru Sato's first live collaboration ever. Recorded October 21st 2018 at Metro Club in Kyoto for a three-label showcase with avant-garde imprints Slowdown, Phonon and Kyoh Records.

Side B: Solo sessions by each artist that took place after the joint performance on the same night. Edited and mixed in their respective studios.

Our final release of 2019 is a 4-track EP by Red Axes, the prolific production duo of Dori Sadovnik and Niv Arzi from Tel Aviv. The pair were raised on a diet of post-punk, new-wave, and Italo-disco at fogged out warehouse and basement parties. Their own productions and remixes have appeared on labels such as I’m a Cliché, Correspondant, and Hivern Discs. “Voom” kicks things off with wild percussive toms and bubblegum female chants over a fat electro break. “Doom” rightly brings us into a dark, menacing cave where see pulses of light in the form of carefully placed synth lasers. “Mister Q” serves up metallic rhythms a la Front 242 backed with a strobe-ready sound. “Prblems” is the 10-minute anthem that closes the EP in typical Axes fashion: militant drums, battered electronics and lovingly drowned traditional instruments hypnotically pulse and reverberate. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The EP is housed in a die cut jacket that keeps the dancefloor vibes with a bold, DIY design by Eloise Leigh.

If we would have to name one thing our fans have been consistently asking for, it’s a vinyl version of THE FIELD’s legendary first album FROM HERE WE GO SUBLIME: originally rolled out in 2007, this much-acclaimed full-length debut of what was to become one of the most celebrated projects in our artist fold saw a regular CD edition and an accompanying 12" sampler – but never a full vinyl release. Following our long sold out 2014 limited edition reissue for Record Store Day, we welcome FROM HERE WE GO SUBLIME back as a double LP in gatefold vinyl.

Axel Willner aka THE FIELD joined the Kompakt family in 2005, bringing forward a new fusion of ambient and techno that fed on his adoration for Wolfgang Voigt’s classic 90’s projects Gas and M:I:5 as well as the shoegazer rock of Slowdive and My Bloody Valentine. Called a “techno pop landmark” by Pitchfork, FROM HERE WE GO SUBLIME almost immediately became a cult favourite, starting a trend that continues to this day – as can be seen with THE FIELD’s most recent full-length offering CUPID’S HEAD that has been lauded by critics and crowds alike.

The most striking feat of FROM HERE WE GO SUBLIME must be its sonic cohesiveness, debuting a fully-formed artistic vision that – seven years and three albums later – hasn’t lost any of its luster. As a fixture in THE FIELD’s discography, it remains as important as ever, with Axel Willner installing a blueprint that inspired many but sounds like no one else… except himself. Giving you a feeling of warmth and familiarity on first listen that you can’t quite grasp, it’s like this sound has always existed, when in fact it was the unique creation from one highly gifted producer. And it all starts here.

Wenn wir eine Sache benennen müssten, nach der unsere Fans immer wieder fragen, dann wäre es eine Vinyl-Version von THE FIELDs legendärem ersten Album „From Here We Go Sublime": Urspünglich 2007 veröffentlicht, wurde das gefeierte Debut, das zu einem der beliebtesten Projekte innerhalb unseres Künstler*innen-Ordners wurde, sowohl als reguläre CD-Edition als auch als begleitender 12“ Sampler veröffentlicht – aber noch nie als vollständiges Vinyl-Release. Im Anschluss an unsere seit langer Zeit ausverkaufte limitierte Reissue für den Record Store Day sagen wir Willkommen zurück zu „From Here We Go Sublime“ als Doppel-LP in der Gatefold-Vinyl-Version.

Axel Willner aka THE FIELD tat sich 2005 mit der Kompakt-Familie zusammen, im Gepäck eine neuartige Fusion von Ambient und Techno, die sich aus seiner Bewunderung sowohl für Wolfgang Voigts klassische Neunziger-Jahre-Projekte Gas und M:I:5, als auch für den Shoegazer-Rock von Slowdive und My Bloody Valentine speiste. Von Pitchfork als “Techno-Pop-Meilenstein” bezeichnet, wurde FROM HERE WE GO SUBLIME fast über Nacht zum Kultfavoriten und legte den Grundstein für eine Erfolgsgeschichte, die bis heute anhält – wie man anhand des von Kritik wie Publikum gleichermaßen bejubelten, aktuellen Albums CUPID’S HEAD sehen kann.

Die hervorstechendste Stärke von FROM HERE WE GO SUBLIME wäre dessen klanglicher Zusammenhalt, das Debüt einer vollständig ausgeformten, künstlerischen Vision, die – sieben Jahre und drei Alben später – nichts von ihrem Glanz eingebüßt hat. Als feste Größe in THE FIELDs Diskographie ist das Werk so wichtig wie je zuvor, eine Blaupause, die viele inspirierte und doch nach nichts anderem klingt… außer sich selbst. Bereits beim ersten Hören ein schwer benennbares Gefühl von Wärme und Vertrautheit verbreitend, scheint dieser Sound immer schon da gewesen zu sein, obgleich es sich um die einzigartige Schöpfung eines hochtalentierten Produzenten handelt. Und es begann alles hier.

Venus Volcanism is the musician and electronic artist Rena Rasouli. She presents her first solo mini-album “Rizitiko’ on Optimo’s sub-label, Weaponise Your Sound, using traditional folk songs of her native island Crete as a basis for this work.

‘Rizitiko’ evolved from Rasouli’s thesis titled “the music performances based in traditional dialect focuses on the healing ability of sound”. The songs were created and sung by folk troubadours. Expanding on these oeuvres, Rasouli seized on the idea that the melodic use of voice is the oldest form of therapy in human culture. This primary and ritualistic material was intertwined with electronic and natural ambient soundscapes. The resulting compositions express the omnipresent sensations and emotions that play a key role in the healing process whilst communicating an intense connection to the collective unconscious. Traditionally sung by men there are numerous reasons to believe that many of the songs were initially created by women. To sing them in a female voice projects a different approach to the traditional rendition – one closer to that of a lullaby.

LostSoundBytes throws us by force into the deep end of a poorly lubricated engine with this 5 tracks mini album. Hear the dirty mechanical rumble of an old abandoned tractor that LostSoundBytes has just hot wired and driven off with, leaving road kill on his way. Driving fast or slow, you may ask. Who cares ! For our beneluxian shaman puts the pedal to the metal destroying the speakers on the way with Rusty Tractor. A certain vision of combustion by our mechanic LostSoundBytes : saturated rhythms on beaten up drum machines dragging us between Brussels and Paris.

Acclaimed electronic producer Matthew Hodson presents his exciting new project, MATTHS, with ‘Velocet’ released on FatCat Records’ sub label FCR on 17 May 2019.

With his debut MATTHS release, the Brighton-based artist presents two stunning, atmospheric soundscapes ‘Velocet’ and ‘Loop’ which both immediately captivate the listener with their masterful, brooding beats. Using a bespoke modular synthesiser setup, MATTHS has designed and compiled a unique musical instrument that enables the creation of textures and tones specific to personal creative concepts.

Title track ‘Velocet’ is a dynamically charged sonic excursion which keeps on building throughout to a powerful crescendo, providing a clever balance of familiarity and disconnection.

‘Loop’ complements the title track perfectly, an ambient yet powerful cut that develops with layers of rhythm and melody, drenched in arrhythmic delays and swashes of reverb.

Recent MATTHS performances include opening for Wire; supporting Alex Banks (Monkeytown Records), Ulrich Schnauss and Rival Consoles (Erased Tapes). MATTHS has worked with the original BBC Radiophonic Workshop on their new material at Peter Gabriel’s Real World Studios. In May, MATTHS will play the Superbooth Festival in Berlin.

Orestt / Markus Gibb / Disrute / Balaban

This is another incident of despair, hope and rhythmic adventures. Nothing beautiful without struggle.

ERUPTION is an outburst of creaking energies, unconventional ideas, arhythmic thoughts, cacophonous images and musical phantasms. ERUPTION is also the name of the second album by Kluster, a band project of the musician and video artist Conrad Schnitzler, who died in 2011, together with his colleagues Dieter Moebius and Hans-Joachim Roedelius. ERUPTION was also the name of a two-day festival that took place in July 2018 at the Golden Pudel Club in Hamburg. For two days, artists and musicians from different generations and working in various fields met here, who were in one way or the other inspired by the comprehensive oeuvre Conrad Schnitzlers’, as well as by his free-spirited thoughts and actions. The result was a multi-faceted programme of concerts, performances, sound and video installations, which resulted in the release of these two special records on Pudel Produkte, the house-own label of the Golden Pudel Club. The single features a previously unreleased piece by Conrad Schnitzler & Ken Montgomery as well as a story told by Asmus Tietchens about his father and Schnitzler, who unwittingly crossed the Atlantic together on the steamboat Bornhofen in the late 1950s, one as an engineer, the other as a heater. The LP brings together the festival's invited artists, Schnitzler‘s contemporaries

such as Ken Montgomery, Wolfgang Seidel and Asmus Tietchens, as well as young artists who developed works especially for ERUPTION. Among them are Lena Willikens & Sarah Szczesny with fragments from their performance Phantom Con Ballet, the DJ Phuong-Dan who composed a musical collage from the poem About Rhythmus and rhythm studies by Schnitzler, a piece from the performance of Felix Kubin, who uses a light scanner and his modular synthesizer to convert graphic notation into sound, a theatrical sound piece by Carl & Sohn (also known as Les Trucs), the producer and DJ RVDS, who interacted with the piece Tanz im Regen by Conrad Schnitzler and many more. Initiated and curated by Nika Son, a musician and artist based in Hamburg

Clear Vinyl

Gold Vinyl

"Dope On Plastic" is a new various artist EP series on Dope Plates. The series showcases four 90s influenced tracks from both established and new artists.

Vol 01 features Sicknote & Dissect, label regulars Chromatic and Acid Lab plus new signings Dark Ops and Alg0rh1tm.

turquoise marbled vinyl

Russian drum & bass producer Black Barrel is one of the most sought after producers to come through the ranks in recent months. After his discovery by Ant TC1, a tastemaker who's founded the careers of many similarly talented artists, he was brought into the fold of Dispatch Recordings and has since dropped a plethora of heavy-hitting releases which have solidified his place within the genre. With support from many of the underground scene's pivotal heads, including Break, Radio 1's Rene LaVice and DLR, his widening back catalogue is finding itself within major clubs globally.

Following on from his 'Ghostdive' and 'Labyrinth' EPs on Dispatch Recordings, he returns with his debut 'Last Frontier' LP. The versatility and featuring artists given a platform throughout show Black Barrel's progression; the atmospherics and rolling breaks of 'Blue Sky' are your first introduction and it's a weighty one. Amongst the colossal fourteen track package, the vocal intricacies of Steo on 'Coincidence', alongside the LP's title-track 'Last Frontier' continue the high-reaching standards. 'Fallen', 'Moving Shadows' and 'Chosen One' with Arkaik follow in quick succession, whilst the clinking percussion of 'Sonar' featuring HLZ and the old-school reminisces of 'We're Falling' remain just as heavy hitting. Then Thematic jumps onboard alongside Black Barrel for 'Submarine' and long-time collaborator Nami joins the list of guests on 'Hydrophiinae'. 'Inside You' and 'I See the Light' are the final standalone tracks from Black Barrel; but Rizzle and Dissident prolong the assault with Black Barrel on slick cuts 'Undercurrent' and 'Flat Ocean'. For an artist whose output is difficult to match, not just in quality but also through the sheer volume of what is released, it's easy to imagine just how adept Black Barrel is amongst his studio tech.

Now being signed exclusively to Dispatch Recordings, Black Barrel is looking to capitalise on his ongoing success. For such a new artist, 'Last Frontier' is an outstanding feat, proving just how competitive the world of contemporary drum & bass is proving to be in 2018.

Russian drum & bass producer Black Barrel is one of the most sought after producers to come through the ranks in recent months. After his discovery by Ant TC1, a tastemaker who's founded the careers of many similarly talented artists, he was brought into the fold of Dispatch Recordings and has since dropped a plethora of heavy-hitting releases which have solidified his place within the genre. With support from many of the underground scene's pivotal heads, including Break, Radio 1's Rene LaVice and DLR, his widening back catalogue is finding itself within major clubs globally.

Following on from his 'Ghostdive' and 'Labyrinth' EPs on Dispatch Recordings, he returns with his debut 'Last Frontier' LP. The versatility and featuring artists given a platform throughout show Black Barrel's progression; the atmospherics and rolling breaks of 'Blue Sky' are your first introduction and it's a weighty one. Amongst the colossal fourteen track package, the vocal intricacies of Steo on 'Coincidence', alongside the LP's title-track 'Last Frontier' continue the high-reaching standards. 'Fallen', 'Moving Shadows' and 'Chosen One' with Arkaik follow in quick succession, whilst the clinking percussion of 'Sonar' featuring HLZ and the old-school reminisces of 'We're Falling' remain just as heavy hitting. Then Thematic jumps onboard alongside Black Barrel for 'Submarine' and long-time collaborator Nami joins the list of guests on 'Hydrophiinae'. 'Inside You' and 'I See the Light' are the final standalone tracks from Black Barrel; but Rizzle and Dissident prolong the assault with Black Barrel on slick cuts 'Undercurrent' and 'Flat Ocean'. For an artist whose output is difficult to match, not just in quality but also through the sheer volume of what is released, it's easy to imagine just how adept Black Barrel is amongst his studio tech.

Now being signed exclusively to Dispatch Recordings, Black Barrel is looking to capitalise on his ongoing success. For such a new artist, 'Last Frontier' is an outstanding feat, proving just how competitive the world of contemporary drum & bass is proving to be in 2018.

Hot new Phace! Audio will follow soon!

Hot new Phace! Audio will follow soon!

Drum & Bass duo The Prototypes release their much anticipated debut album 'City of Gold' on Viper Recordings following hit singles such as 'Pale Blue Dot', 'Don't Let Me Go' and 'Pop It Off'.

Already one of the hottest acts in the UK Drum & Bass club scene having 3 out of the Top 10 best selling tracks of 2014 on Beatport, The Prototypes are reaching new heights with their debut LP which showcases their trademark club sound and vocal anthems.

Ionisation is the first LP by Italian poet Adriano Spatola. Born in Yugoslavia in 1941, by the age of 23 he became a major force in the Italian avant-garde. “Towards Total Poetry,” Spatola’s critical study on the state of modern poetry, spells out his position: “to become a total medium, to escape all limitations to include theater, photography, music, painting, typography, cinematographic techniques, and every other aspect of culture, in a utopian ambition to return to origins.” Graphic poetry (cut-up zeroglyphs), volatile and beautiful prose (particularly his books The Porthole and Majakovskiiiiiiij), and of course sound poetry, represented here for the first time. Spatola was the editor of many underground publications: Baobab (a legendary audio-cassette magazine), Tam Tam, and Edition Geiger. Each of his pursuits spread the margins of the format, all done with a relentless, piercing curatorial eye.

Spatola has dark, drunken wit in spades. In his sound poems, an even more saturated persona is conjured. A desperate humor sneers through this LP, a humor that has surrendered to the severe joke of life long ago - lashing out on syllables and ingrown word games. Particularly, his classic “Aviation/Aviateur” (akin to his “Seduction/Seducteur,” & “Violacion/Violateur” etc.). Read by lesser performers, these pieces would falter and float by in the trough, though Spatola’s bull-like confidence tears through. “Poker Foundation” features the poet hysterically singing “the play of the words” over a classical radio piece, mocking and squawking against the string swells. Steve Lacy plays scissors, knife, and saxophone on “Hommage à Eric Satie,” a piece originally recorded for the luxurious Cramps LP boxset Futura. Collaborators Gian Paolo Roffi and Paul Vangelisti are also featured across the collection.

The LP concludes with the titular work “Ionisation,” recorded just days before his premature death in 1988. Feeling his sinking health, his belly in the quicksand, he prefaces the piece, “a funeral march for my body.” He proceeds to scrape and pound the microphone on his chest, face, and clothing. This thick pumping of Adriano’s torso rapping across the speakers abruptly stops after two minutes. A piercing moment.

I was born the day after Adriano died, which has some poetic meaning to me, naturally. I am indebted to him, his sickly sweet manner. The opportunity to publish these largely unknown sound works is an honor which brings a warmth to my torso. Much appreciation goes to Giovanni Fontana (poet and dear friend of Adriano), who helped produce this edition with me. “Every single word has been a tempest of gestures.“

Sean McCann, January 2020

"Surfing on the crest of a whirlwind year, Animistic Beliefs are releasing their 8- track debut album Mindset:Reset on the inimitable SolarOneMusic. The duo has utilized their bespoke setup and expansive list of influences to create a contemporary electro record".

2024 reissue of Thomas Bückers debut album as Bersarin Quartett, originally released in 2008 on Lidar.

With some albums, you realize within a few seconds that here you have come across something really special. It is music that touches you straight away. Music that is important, that has a story to tell – and that manages to do so without even a single line of lyrics.

Wonderful orchestral pieces full of longing and melancholy. It is that certain kind of melancholy that seizes you when you are moved while following the final credits of an emotionally touching movie, remembering special moments that have faded in the course of many years and linger hazily in your memory, when you are somewhat wistfully contemplating old, worn photographs from days passed by … not a feeling of failure or hopelessness, but a bittersweet reflection.

Orchestral cinemascope sounds provide the emotionally moving fundament, wrap the tracks up in a warm coating. Graceful strings pile up, creating big moments and repeatedly ending inmelodies that are simply heart-rending, cinematic and tragic. But the Bersarin Quartett does not merely rely on these ingredients. The songs are also repeatedly interspersed with suspenseful and surprising elements, be it frail electronica, hypnotic soundscapes, drums or reverbed guitars. Rarely has amelange sounded as convincing and natural as this, and rarely has it sounded so well produced.

Thomas himself calls his music “imaginary fictional filmscores“. And it is hardly possible to come up with a more apt term. 10 tracks for 10 movies that have yet to be shot. Music that radiates such an enormous and authentic passion in every single minute, that one can’t help but completely abandon oneself to it. And honestly: Can there be anything more wonderful that can be achieved through music?

The first Exit Records release of 2020 sees borderlandstate_the best kisser in l.a join forces for an EP that traverses through different shades without compromising on identity. The collaboration between the pairing came to being very organically according to Borderland State: "Me and The Best Kisser in LA started messing about in the studio a few years back. No intention to finish anything, let alone play it to anyone."

dBridge then heard the tracks and the result is EXIT088, a debut on the label and a great way to start the new decade. The label owner picked ‘Hello Mainframe’ out as his key track from his recent Essential Mix.

The guys go on to shed more light on the creative process:

"Our music develops chaotically. We add things and add things and throw most of them away. We use synths, pedals, and delay units and record them into a laptop which, against all odds, continues to struggle on. tracks live across three or four project files because the layering of sounds is dense. we sample ourselves back and forth, not knowing where things will end up, looking for the right texture"

The significance of dBridge, Exit and Autonomic shouldn't be underestimated for Borderland State and The Best Kisser in LA, we're told that "Our influences are disparate but Autonomic was a constant. without him (dBridge) and Instra:mental, these tracks would not exist."

EXIT088 is a new interpretation of the Exit sound by borderlandstate_the best kisser in l.a, the branches have stretched further and the roots have become stronger as the label continues its unstoppable growth.

Bullion returns with a brand new release for 2020. Black vinyl housed in reverse board single sleeve and black poly-lined inner sleeve. Includes the singles ‘Hula’ and ‘We Had A Good Time’.Follows October’s release of Bullion’s ‘4 Down’ compilation, which featured covers from the likes of Westerman, Joviale, M. T. Hadley and Bullion himself. Nathan Jenkins is a songwriter and producer from West London, currently based in Lisbon. Under his pseudonym Bullion he’s released records on Young Turks, R&S, The Trilogy Tapes and Whities. As a producer and mixer, Nathan’s worked with Sampha, David Byrne, Paul Epworth and Westerman. Remix credits include Todd Terje, Metronomy, Model 500 and Dita Von Teese.

For their second release Syntetyk brings you Chino – the Cracow-based jack of all trades. The Cave, with all its dirty drum work and heavy basslines, makes you feel as if you’re going down through a dungeon of clockwork machinery.

Repress!

Decibella makes her debut on AKO and we are so excited about this one. Outta London has been a favourite on the dancefloor for a while now and been a highly requested track.

This will be Decibella's first vinyl release and we are so proud. Decibella will be one to look out in the near future and you can expect more on AKO.

Back to wreck shop.

On this release we will bring you more funk and stomp, you'll get funky more funky and even funkier
while stomping your feet to these serious bangers.

Detroit ---->----> RotterHague

After several trips, beginning in 1994, to the Pacific and its Island Nations, Australia and subsequently to South East Asia, I conceived the idea of making an updated more ‘now’ version of some of the Exotica music that originated in 1950’s America. Arthur Lyman and Martin Denny were the two I mostly had in mind at the time, but I didn't want it to sound like them and the two words ‘Ambient’ and ‘Electronic’ had to figure large. I was deeply influenced by the ambience of the places I was visiting (Australian birds are scarily creative) and lo-fi electronics were something I had been working with in my free improvisation gigs since the 80’s. I wasn’t playing live very much in Europe, but in Australia and New Zealand regularly and I was living parallel musical lives, playing folk festivals as well as free improv and experimental music gigs. No-one was issuing recorded work by me, so I started my own DIY cd.r. label, Hipshot, and sold them via the internet. I was free to record whatever I wanted and I did, starting in 1999 with Kiribati.

Kiribati is a Pacific Island Nation and was one of the last places to be settled by humans and will be one of the first to disappear as the waters rise due to Global Warming. Is music political that has no lyrics? I would like to think so. A second edition, Globe Notes, appeared in 2001. The music was heavily influenced by reading James Hamilton Patterson’s books Seven Tenths and Playing With Water. The planet is seven tenths water.

The summer of 2004 house sitting in Palombara, 40 minutes outside of Rome, at our friend Jo Campbell’s house, in the company of several dogs and numerous cats, I set to work outside in the shed with a Zoom Sampletrack ST-224, two mini disc recorders and a Tascam four track cassette machine; a pile of Arthur Lyman and Martin Denny cds and my lap steel. My intention was to create a kind of music that I had hoped to hear when we visited Hawaii in the early 90’s (some kind of Hawaiian Futurism maybe?) which we never did. Rayon Hula appeared from the shed and was initially released as Hipshot c.d.r. HIP-007. I submitted it to the Ars Electronica awards in Austria and was very surprised when it received some kind of a prize. I think that David Toop had something to do with that, as he was on the jury (thanks David). It was picked up by Cabin Records, a new label initiated by Pete Fowler and Graham Erickson and released as a double 10inch vinyl set. Pete Fowler is an artist/designer and inventor of Monsterism toys as well as illustrator for Super Furry Animals recorded works. He and Graham designed and hand silk screened the covers for this limited edition.

Although the idea was an homage to Arthur Lyman, it was also an homage to Steve Feld who introduced me to the concept of ‘lift up over sounding’ in his book Sound and Sentiment, a study of the Kaluli people of Papua and their relationship with their aural environment. From it I gleaned, among other things, the idea of looped sounds played simultaneously but out of sync. An idea which had in fact guided me from the beginning of the series. The Zoom Sampletrack allowed me to make loops that didn't automatically quantise when played simultaneously, plus it had the capability of pitch shift, reverse and a number of other effects built in. Some of the pieces, once the samples were loaded, were recorded directly from the unit in one take.

Lawrence English at Room40 encouraged me to continue the series and combining another of my artistic roads, live soundtracks for silent films, we released White Shadows In The South Seas in 2013 followed by Fratello Mare in 2015 and Raft in 2017.

15 years have passed and the tide has risen and retracted in the islands, sometimes extremely violently in places, but we offer a re-mastered, re-edited 2019 version of Rayon Hula.

- Mike Cooper

Twisted post-IDMish electronics by Siegmar Fricke

Repress

Straight out of Switzerland, D&B duo QZB continue their Critical charge picking up where their "Unity" release left off earlier in the year. The "Take It All EP" features an array of dark, techno infused drum & bass with label regular Charli Brix adding the vocal respite on the brilliant title track

Debut release on Cantina Cuts by Radicall, featuring four authentic hardcore tracks.

RAFF debuts with a solid assembly of made-to-measure club tracks. Be it new life dawning or physical pain, these productions drip character, finding their roots in personal moments that mark and scar RAFF's day to day life. As a linchpin of Rotterdam's deejay culture, one can hear technoid elements of his homebase fluctuate along an axis of Detroitesque electro. Naming afrofuturism as a major source of influence, this release locks you into RAFF's world through its emotional touch and technical precision. Designed for clubs and headphones alike, his works can be distinguished via their frequential layering and spatial design. Analogue warmth, a timeless feel - these are five cuts for jocks that seek the real deal. Comes in hand printed artwork by the BAKK Harbour City Service.

S.A.M.'s Debut album on his own Delaphine consisting of 3x12' heavy weight vinyl in the finest gatefold artwork designed by Max Binski, Mutantexture and S.A.M. himself. Scandinavian sound resonating with love. Mastered by Stefan Betke.