Beats Vinyl New Releases - News

Kutmah closes off a series of 10 inches started back in 2010 from the cream opf L.A. Beatmakers. ... He was supposed to be on that batch of releases but for reasons well documented he had other priorities during that year.

We're delighted to finally welcome the esoteric beat wizard on board with "New Appliance" - as expected from such a singular talent this is a super strong ep, a diverse fusion of his classic beat styles and a signpost to a new departure using all his wave, noise & punk influences.

Cover photo by B+ // Mastered by Jonwayne //Mixed by Kidkanevil

Fully immersive electronic music by US composer Maggi Payne, inspired by the arctic winds. Maggi Payne's sound worlds invite the listeners to enter the sound and be carried with it, experiencing it from the inside out in intimate detail. The sounds are almost tactile and visible.

The music is based on location recordings, with each sound carefully selected for its potential—its slow unfolding revealing delicate intricacies—and its inherent spatialization architecting and sculpting the aural space where multiple perspectives and trajectories coexist. With good speakers, some space in your schedule, and a mind-body continuum willing to resonate with Payne’s electroacoustic journey, but then it will take you to places that other music can’t reach.

From the sounds of dry ice, space transmissions, BART trains, and poor plumbing she immerses the listener in a world strangely unfamiliar. Maggi Payne is a composer, video artist, recording engineer, photographer, and flutist and is Co-Director of the Center for Contemporary Music and a faculty member at Mills College, in the San Francisco Bay Area.

Belgian artist Bernard Zwijzen, aka Sonmi451, has for over a decade now been quietly making some of the most luscious ambient we've heard here at AI-HQ. We are delighted to announce him as part of the Astral family with this six-track EP - Nachtmuziek - sit back, tune in and drift away.

Svitlana Nianio and Oleksandr Yurchenko are musicians with a long history in the still-mysterious Kiev Underground. Nianio’s first group Cukor Bela Smert Sugar, The White Death were active from the late 80’s through to the early 90’s, and following an intense period of touring, collaboration, experimentation and a string of mixtapes and self-published recordings, Nianio’s first official solo album ‘Kytytsi’ was released in 1999 by Poland’s Koka Records. Oleksandr Yurchenko, a longtime collaborator and a pivotal figure in the Kiev music scene, was instrumental in creating the Novaya Scena, a loose conglomerate of artists who encouraged each other to excavate both the sounds of the West and Ukrainian tradition. ‘Znayesh Yak? Rozkazhy’ (‘Know How? Tell Me’) is the duo’s most fully realised collaboration, an enchanting, complete world in which Yurchenko’s instrumentation and playfulness with form frames Nianio’s otherworldly soprano, recalling Liz Fraser steeped in contrapuntal melody and hymnal improvisation. Originally made available on a self-released cassette in 1996 (re-issued in 2017 by Ukraine’s Delta Shock label) where the album was twinned with ‘Lisova Kolekciya’ (re-issued on LP in 2017 by Skire) this is the debut release of ‘Znayesh Yak? Rozkazhy’ outside of Ukraine.


Recorded in an abandoned park in Kiev during a fertile period for artists and musicians following the collapse of the Soviet Union, ‘Znayesh Yak? Rozkazhy’ sees Nianio and Yurchenko combine Casio keyboard, hammered dulcimer, percussion, and Nianio’s unmistakeable soprano vocalisations to create music sympathetic to the specific locations in which they chose to record. Yurchenko’s contribution is perhaps more present on this recording than anything else we have heard from the duo. His percussive dulcimer playing provides the basis on which Nianio can weave delicate keyboard lines while playfully contorting her voice, shifting from a low register reminiscent of Nico to what could be perceived as the call of a bird or an animal in distress. Whatever the intent, the effect is haunting and beautiful in equal measure.

There’s a prevailing earthiness on the recordings, found in the warm hiss of the lo-fi means of recording or the grinding, unspecified sounds that occasionally accompany the melody, like drones created on the fly by hands trying to keep warm in the ice. A prevailing mood of fragility and beauty seeps from these melodies, delicate moments of clarity spun by the two musicians. ‘Znayesh Yak? Rozkazhy’ is a dream spun in twilight, a crystalline, private world where the listener feels both alien and welcome.

This album documents a recording of Tori Kudo’s Last Song Of My Life. Some may know Kudo already as prime mover in pop-naïf collective Maher Shalal Hash Baz; his history stretches back over four decades, and he’s a significant figure in the Japanese underground, thanks to his membership of groups like Noise (with his wife Reiko Kudo), Guys ’N’ Dolls, Snickers, and Sweet Inspirations. Untold numbers of said underground have passed through the ranks of Maher Shalal Hash Baz, among them members of Luna Park Ensemble, Fushitsusha, High Rise, Tenniscoats, Los Doroncos, Nagisa Ni Te and Ché-SHIZU.

On this album, Kudo and his musical collaborators performed “Last Song Of My Life” to accompany the screening of a film work by Umi Ishihara aka Ummmi entitled The Garden Apartment. During the performance, the members of the ensemble were instructed to play either the eight-bar score that Kudo provided, or noise, depending on their response to the film work that was being projected. If you’ve been following Kudo’s recent releases, particularly his recent, prodigious output on Bandcamp, “My Last Song Of My Life” feels almost like a totemic score for him – he returns to it repeatedly, elaborating different takes on its graceful melancholy.

Here, that melody cycles slowly for fifty minutes, the spine of a performance that sees Kudo and his ensemble stretching out, members of the ensemble drifting off on diversions, floating gusts of loose improvisation across Kudo’s gorgeous melody. It’s a beautiful, hypnotic performance that, across its fifty- minute arc, brings to mind, fleetingly, The Red Crayola With The Familiar Ugly, Walter Zimmermann’s Lokale Musik, Christian Wolff’s Exercises, James Tenney’s Postal Pieces, but stays fundamentally Kudo throughout. It’s another excellent example of the deeply human beauty at the core of Kudo’s approach to music-making.

Levi Bruce, aka Unknown Mobile, has been a prominent figure of the Canadian Underground for quite some time He resides in Montreal and has contributed to a number of North American labels. It seems only natural that he is the next release on Planet Euphorique. “Mobile Sorcery” could be his most rhythmically diverse 12” yet, recorded in just a couple of weekends it breaks free from 4 to the floor, experimenting confidently with syncopation, voices dipping in and out of focus. The opener Broke Melt presents a driving baseline filled with attitude, flickers of glistening synth arpeggios to soften the clanging drum patterns, working in harmony with delicate top lines. The hypnotic haze of textures carries through the record, A2 lifting in energy; shooting stabs, ricocheted sub base filling the space between commanding snares. The Beat Dub of Sorcery strips the track back to the essentials, resulting in a perfect tool for DJ’s building tension. Surprisingly keeping the essence of the tune whilst offering hints of more dubbed, percussive club pushing UK bass.

The B Side explores more of these unconventional rhythmic themes whilst highlighting the power of melody. Heavenly Depression accurately depicting it’s title, pulling on the struggle of your emotions through an ever-progressing lead woven tightly over sweeping pads. The closing track Wilders Lake ties the record together cohesively, lifted stabs to calm the tripped out percussion swooping in and out, growling bass alluding to darkness. The EP blends genres to create new feelings from familiar foundations, channelling Detroit inspired grit and emotion; well rounded to suit hazed and hedonistic dance-floors.

"Coconut Grove started as a secret. I wrote & recorded it in deliberate solitude over the course of a year, in long sessions when I was alone at home or after everyone else had gone to sleep. I had the uncanny sense of discovering something quite old rather than of making something new.

Every album I've made revealed itself over time - Coconut Grove snaked its way through my psyche, going back to my beginnings. While working on it, I found some notes I had jotted down back in 2006, when I was 22 & first inching away from punk towards electronic music. I wrote that I had been dreaming of something humid and menacing, melting but also alluring. I heard some of that in the haunting, dubby minimal techno of the time, and imagined it crossed with the slashing urgency of my favorite no wave & post punk bands. I imagined the catharsis I experienced as a performer rerouted through techno's mercurial endlessness. Those visions never left me, and I've been dreaming of them in one way or another ever since. Coconut Grove folded that time back onto the present, letting me start again from the beginning.

A lot can happen in a year, and, at the risk of sounding coy, a lot happened to me in 2018. Coconut Grove was an exorcism, or maybe a rebirth, but whatever it was it moved with a little extra fluidity. You can hear it for yourself, but I will say the album's softer touch is no accident. Living in that secret space, it felt good to let some air in."

-Daniel Martin-McCormick aka Relaxer

‘Rain, spit, ice, neon, plants, steam, mercury and soil. This is dream music categorised by a language of senses; visual, poetic, and abstract sound that draws on techno and dub ambient.

‘Somewhere between pastoral impressionism and cyber-noir, its surface evokes the tensions of a fluctuating, fizzing atmosphere, pictures emerging and dissolving in the mind’s eye. Thick layers of field recording flood tracks fabricated from erratic, oddly distanced rhythm.

‘The sensation whilst listening is not unlike hearing the world from a place within the body; swimming in the bloodstream, cutting through the turbulent landscape secure in a metal tube.

‘Or being over-exposed to lushly textured environments with the anatomy far receded; an out-of-body experience where subtler senses are heightened and the landscape begins to take on surreal qualities.’

Helsinki´s own underground powerhouse duo Trevor Deep jr. collaborates with young Berlin based and Korean born producer Wewerka. Flavourfull four-track ep is titled “KINDRED”.
Opening track “4 The Ladies” is paying homage to warehouse parties. Raving stabs and vocal samples screaming to start a riot. Followed by the second track Namu, pure deep house music inspired by breakbeats. B-side opener ”Nuna” displays the soulfull side of the producers, where African singer Nanghiti provides beautiful vocal foundation for Magic Manfred´s funk on the live bass. I guess you can call it Detroit soul.
Last track ”Spirits” is driven by soul sampled breakbeats and heavenly synths, transcending you to new hights.
A kindred spirit: ”Someone who you share a mutual meaningful connection with. Kindred spirits will encourage each other to develop as people and offer positive energy to each other.” That´s exactly what this record is all about.
limited 300 copies

For its second installment Subject To Restrictions Discs presents a split EP by two of Switzerland’s most underrated producers. First there is CCO. A modular wizard known from his involvement in groups such as Wavetest and Savage Grounds. He presents two Techno cuts that are bound in organic sounds and filled with driving energy. The three mellow cosmic wave tracks on the back are coming from Narco Marco. He’s active in Bern’s music and nightlife scene for almost 30 years. His music knowledge is legendary and shows itselfs in his productions which are filled with sparkling details.

Modern electro tracks on Fundamental Record that comes with nice silkscreen printed sleeves in the same color of the vinyl record.

We live in the era of 'more'. We spend our days trying to keep up with a seemingly infinite range of links to follow, pictures to see, sounds to hear, places to go, objects to desire, events to anticipate, heroes to cherish and villains to loath. But rather than freeing, too many options can become paralyzing. Consequently, we often find ourselves frustrated because of the experiences we will never have... without even knowing what we really want. The same goes with music creation in digital environments. Too many possibilities can also mean a tyranny of the "what if...". In this light, celebrating 'less' becomes vital. And that's exactly what swedish producer and Studio Barnhus affiliate Simon Haydo does in 'Redux'. All of the sounds in the album's nine tracks come from just one synth: the Korg MS20. As Simon puts it, the idea was to "maximize the use of less, basically. Less gear, less effects, less input from other people, less everything."Using only between 2 and 6 channels for every track, the result is a stripped but surprisingly rich sound, that delineates spatial Techno vignettes coated with the unmistakable charac- ter of the MS20 filters. Even more interestingly, this restraint is not only applied gear-wise, but also from an emotional point of view. "Instead of involving my own feelings, I let the voice of the MS20 take care of it", says Simon. All this makes 'Redux' an expression of techno in its purest form. After all, it's a kind of music that has always gravitated around simplicity, austerity and, of course, the believe that the machines have their own soul.

3 Feet Deep Records’ very first release is a 4 track UKG Various. With 5
artists behind the project, the label dives into the depths of UK garage.
Parisian producer, Pépé Elle, kicks off the EP with a deep melancholic 2-
step track, featuring dreamy chords. GLOCKTA, then, brings us to his
“North East Abode” with chopped up sugary R&B vocals and dancy
drums before flipping to the other side, where DJ Sunroof transports us
to the dancefloor with a solid banger built around heavy basslines. “Who
Goes There” by Earthnut sets a perfect conclusion to the EP, mixing rich
shuffling drums and old-school R&B samples.

Kniteforce and Just Another Label (owner of the Bear Necessities Sub Label) have been friends since the early 90’s, so when JAL wanted to remaster and repress some old and much sought after classic EPs, it was only natural for Kniteforce to take on that roll. Here we have the fourth of those EPs, and it’s a 4 track stunner that many have been looking to get hold of for a long time! A timeless old skool EP and one that has been high on many a collectors wants list for decades!

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

Following the huge success and subsequent instant sell out of Sublove Legacy Volume 1, Kniteforce shocks the world by bringing out Sublove Legacy Volume 2. Once again, a superb selection of remastered classics with a few tasty remixes from Kniteforce head honcho Luna-C and Knitebreeds underground mayhem master T.N.O Project thrown in for good measure

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

Kniteforce and Just Another Label (owner of the Bear Necessities Sub Label) have been friends since the early 90’s, so when JAL wanted to remaster and repress some old and much sought after classic EPs, it was only natural for Kniteforce to take on that roll. Here we have the third of those EPs, and its another one that many have been looking to get hold of for a long time! A timeless old skool EP and one that has been high on many a collectors wants list for decades!

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

Seven Hills is pleased to be reissuing 3 sought after tracks from Glyn Bush's mid 90s side project Airgoose, perhaps better known as part of Brummie dub/reggae-techno group Rockers Hi-Fi, Outernational Wah shot up in price recently following a resurgence in its popularity symptomatic of the current trend of digging old obscure records. Extreme amounts of sleaze on this dusty, strange deep house track, with some very unique production make Outernational Wah a timeless dance-floor bomb, finally getting the recognition it deserves. The flip side, Programmable Rhythmer (Top Gear Mix) is taken from the only other record made under the Airgoose alias, similarly weird, raspy synth lines and a deep plodding groove.

White Vinyl 10"

A new release this winter marks a landmark moment in an important musical story. Way back in little 2009, the label hfn music was born in Hamburg, and made its introduction to the world with the release of the Trentemøller compilation Harbour Boat Trips: 01 Copenhagen.
Founder Tobias Lampe wanted to start a label that was more broad in scope than his previous, more electronic-focused projects, and the compilation provided the perfect opportunity to launch one. In the 10 years since then, the label has survived the whirlpool waters of the early 21st century’s constantly changing music industry, and released everything from pop to art-punk, with artists ranging from New York to the Faroe Islands.
Now, they’re about to put out their 100th release. Fittingly, given the label’s focus on new and innovative music, and the historic aspect of the release, hfn100 sees one of hfn’s best songs of 2019 put into the hands of the man it all started with, Anders Trentemøller. His Danish compatriots Blaue Blume’s new album Bell Of Wool is one of hfn’s standout releases this year, and so hfn100 sees Trentemøller remix one of that record’s standout tracks, the fragile, but soaring “Lovable”.
In Blaue Blume’s original, “Lovable” is an airy, tormented song, a gossamer-delicate composition that carefully stitches together layers and layers of shining synths that gradually build up and up into a peak, before crashing into a subtle beat, a musical journey that mirrors vocalist Jonas Smith’s trip from anguish to numbness. Whereas the original’s music sounds woven together from light, Trentemøller takes it into darker territory. He hooks the song to a harsh, sparse beat leaving Smith’s vocals bare and isolated in the burnt-out, dystopic musical landscape he creates.
Trentemøller mirrors the original’s careful building up, adding new elements to fill in the song’s sound, before it collapses into a tough, noir disco groove. It’s a perfectly realised remix – Trentemøller keeps the original song’s skeleton and soul, but fills in the space with sonic touches that could be no one else’s but his.Ultimately, it’s a fitting song for hfn’s hundredth release. For a label that’s always been a platform for its boundary-pushing artists, a collaboration between two of them, that sees an already innovative song pushed into a bold new shape is the perfect way for hfn to step into the next 100 releases..

CHI started in the late punk years in the early eighties. A time of change and mind-blowing albums. We started doing sound experiments in an old farm in Moordrecht (thanks to Jan van Rhee and Kees van der Veer). In the summer, all the doors and windows were open; birds flew in and out. In the distance we saw the highway to Rotterdam. In the winter we sat close together, no heating, only blankets, candles and brandy.
We did sessions of 3 days and nights. We brought a full PA-system for every session (thanks to Jurgen and Fijko) to get the right feel. Usually we played from the late morning untill sunrise. Fijko was playing his spacey videos and projecting trippy slideshows. Jurgen was creating all kind of effects and recording everything.We used the Commodore 64 to create sequences. We had two synths (a Juno 60 and JX3P), a few guitars, an old Revox tapedeck for loops (some loops were 7 metres long running past bottles) and a lot of weird handmade instruments, percussion, bamboo flutes; an old, broken piano, a small Philicorda organ and various effects like water, shaken yogurt (Soppin), mouth-sounds, street-noises, etc.
Essentially, the music is half electronic, half acoustic. What made it special is that we also performed it live. We brought our personal hifi-sets on stage for easy listening comfort. We carried 7 monitors for the video and had 3 big screens for slideshows.
Highlights were our premiere at Lantaren/Venster (Rotterdam, 1986 - 2 nights sold out, thanks to Theo Hensen) and our Paradiso (Amsterdam, 1987) show on the main stage broadcast live on national radio. We ended up with a bunch of punks and freaks, but they really loved it.Our cassette was a collectors item at the legendary Amsterdam based label and record store Staalplaat. They released a CD 15 years later in 2000 on their new label Container Music. Now, 30 years later, Astral Industries (thanks to Ario Farahani) releases an exclusive vinyl limited edition. We've added the track 'Hopi', which was previously only released on cassette. It's a track that I made as a guideline for CHI in 1984, featuring a Hopi elder speaking of Hopi prophecies and the future of the world. Who knows what may happen next....

2 x Cassette Box

Mali’s DJ Diaki rains 170bpm ‘Balani Fou’ fire in two tapes of incendiary original productions and contextual mix sets for the unstoppable Nyege Nyege Tapes.
A proper party starter hailing from 20km outside Bamako, Mali’s capital city, Diaki Kone is a producer/DJ and originator of the Balani Show style that favours rapid coupé decalé rhythms lit up with whistles and crashing cymbals. The style was conceived by Seydou Bagayoko in the late ‘90s as a cheaper alternative to Balafon groups used for celebrations and dances, and was progressed by his apprentices DJ Diaki and DJ Sandji in the 2000s, resulting the current style of ‘Balani Fou’ (or ‘Crazy Balani’) which favours remixes made on-the-fly with additional drum pads and sometimes nths, as heard in this exhilarating double tape which introduces the style to listeners beyond the
region.
Balani Show hit a peak in the 2000s, with DJ Senateur performing on Malian TV, but in recent years it’s returned to its road level roots, soundtracking block parties and neighbourhood shindigs.
Shows are high energy affairs, and get even more raucous in the country, where dancers prefer faster tempos than in the city, occasionally leading to moral panic at the sight of young ravers dancing provocatively at night, and attempts to ban the sound which has resulted in fewer Balani Shows in Bamako.
But DJ Diaki lives in the country and it’s different there, where he pushes the rhythms to bodyrattling breaking point in the hypnotic style of Balani Fou. This set showcases 10 original productions in this mode on the first tape, ranging from the breathtakingly frenetic ‘But Show DD1 Mix’ to the entrancing melodic appeal of ’Shekey Mix’ and the thrilling percussive pelt of ’Show Time Mix’, all primed for the nuttiest DJs and dancers. Meanwhile the 2nd tape’s two mixes put it all in context across seamlessly-blended 30 minute jags recorded in Sanankoroba during 2018-2019, that bring you as close as possible to the crazy energy of Balani Show without actually being there.
Super strong stuff. A must for anyone who loves the reckless rave of Tanzanian Singeli or hardcore dance music of any strain for that matter.

Heinrich Dressel was an archaeologist, epigraphist and numismatist, creator of a table, still in use, for the cataloging of Roman amphorae. For over ten years, one of the founders of MinimalRome, Valerio Lombardozzi, has embraced the name of the German scholar, becoming both the guardian of a dense collection of sounds from the past and the creator of new brilliant electronic ones. “Completion Of The Amphoras Table”, originally released on cd by Legowelt's Strange Life Records, was the final chapter of the so-called 'Studium Amphorae Trilogy', a triptych of albums which tried to 'evoke' in notes not only the discoveries and the studies of Monte Testaccio's fragments made by the former pupil of Theodor Mommsen.
The first vinyl release of “Completion Of The Amphoras Table”, curated by Souterraine.org and Envlp_Imprint, fills not only a recording void, but also gives posterity a remarkable album to rediscover, worthy successor of “Mons Testaceum” (2007 ) and “Escape From The Hill” (2008),
which reconstructs one more time the ghostly atmosphere of a Rome at the dawn of the 20th century. Heinrich Dressel adopts the stylistic features of gloomy soundtracks and, above all, relies on a set of polyphonic synthesizers that, starting from the rare Elka Syntex, favor the composition of abstract textures, punctuated by some appropriate variations, and harmonies which, net of the
deep bass, make every single track even more magnetic.

Paranorman are back with 3 expertly-crafted club torpedoes!

‘RFG Inventions for Cello and Computer’ is a steeply adventurous, highly structured and rewarding electroacoustic collaboration between pioneering British/Russian inventor and engineer Peter Zinovieff and reeminent cellist Lucy Railton.
The collaboration is notably issued as Peter Zinovieff’s first album and also becomes the follow-up to Lucy Railton’s acclaimed solo debut ‘Paradise 94’ for Modern Love.It finds Zinovieff, co-founder of London’s influential EMS Synthesizer company and owner of the world’s first home computer, using custom computer software to create and orchestrate a “soft” version of Railton’s vast instrumental vocabulary, modelled from a large series of cello improvisations inspired by objects such as an Egyptian figure, pots, and old computer boards, as well as tales of pre-revolution Russia from his grandfather. Railton added solo cello to
the manipulated results, before these quasi-improvisations were recombined into the work’s filigree matrix during final co-production with members of ZKM in Karlsruhe, Germany.
Initially conceived as a live project and performed at festivals including Norberg, Atonal, Rewire and FAQ between 2016-2017, the final 35 minute recording thrillingly sustains the duelling, visceral tension and unpredictability of their live shows in its brute scrapes across 17 variated sections.? But, with the ability to unstitch/embroider sounds outside the ? strictures? of real-time live performance, the resulting structure is confoundingly labyrinthine, assiduously swerving the prosaic and sentimental in pursuit of explorative, emotively in/human expressions of complexity and ? unpredictability in a manner that has always been key to the ideals of experimental music.
In effect, the pair speak as one through an electro acoustic prism in a symbiotic, syncretic process of transformation. Railton is here the catalyst for some of Zinovieff’s definitive work in a career spanning 60 years. Her performances provide a radical variable - a sort of spirit in the machine - which is diffused, inverted and scattered by Zinovieff using various software applications, so that Railton plays around herself like a fractal mise en abyme, cutting her warped image to ribbons in a double refraction of the “real”, the instrumental, and its virtual allegory. In this (un)common, metaphoric language and poly-temporal syntax, they incisively speak to ideas of an uncanny valley of perception between the haptic and the intangible, conducting an absorbing dialogue that transcends and bends the story of avant-garde and electronic music
in beguiling, free fashion.

One of the best Piero Piccioni's contribute for the 7th art. Recorded for the homonymous documentary (1974) by Folco Quilici and Carlo Alberto Pinelli, looking for some people who reject civilization to withdraw in nature and peace, “Il Dio Sotto La Pelle” was released for the first time long time ago (2000), quickly becoming one of the
most sought after records by many collectors and fans. Musica Per Immagini e Sonor Music Editions are proud to release a renewed edition of “Il Dio Sotto La Pelle”, where jazz, exotic and lounge music and psychedelia are mixed in an admirable way: introduced by the dreamy voice of Catherine Howe for It's Possible, Piero Piccioni's
organ gives us fragments of a dazzling splendor such as Night To Come or Give Love A Chance, while Inventions and Katmandu handed down to the posterity the guitarist vein of the opera, demonstration of the period of great creativity crossed by the Italian composers, capable of filtering their traditional and classical action with some
rock elements. “Il Dio Sotto La Pelle” is available again as double-LP album with tracks remastered by Claudio Fuiano from first generation master tapes and sequenced by Lorenzo Fabrizi, also including twelve unreleased gems, new graphics inspired by the original posters and designed by Luca Barcellona and Marco Ferretti's linear notes.

French-Canadian newcomer Racine transmutes the worries of the world into sorely bittersweetelectronic compositions for Aïsha Devi’s excellent Danse Noire label.
Seemingly coming out of nowhere with a fully realised sound that makes a virtue of biting point dissonance, Racine is placed in good company among Danse Noire’s roster of fleshy conduits for what Aïsha Devi terms her Spirit Liberation Front. Fluidly adept at speaking the language of hypercontemporary electronica, in ‘Quelque Chose Tombe’ Racine spells out a labyrinthine album intended to reflect a modern life of “grinning through worry, living in insecurity”, where “to be vulnerable is the new normal; afraid, a bare minimum”.
Much like Arca, Emptyset or even Aïsha Devi before them, Racine wrings as much emotion as possible from each curdled chord and warbling note in fractal patterns that connote the elusive nature of the future and the intense flux of emotions that never seem to go anywhere, but only compound into feedback loops of anxiety and impotent anguish as the bridges burn in front of us.

Experimental German Rock And Electronic Music - Part B Soul Jazz Records new 2018 edition of their long out of print classic first Deutsche Elektronische Musik - Experimental German Rock and Electronic Music 1972-83' is 'a near-definitive guide to some of the world's most extraordinary music' (The Guardian). The album comes as two separate double-vinyl (+ download code) editions and a large double CD pack (+36-page booklet), featuring a stunning line-up of groups including Cluster, Can, Faust, Popol Vuh, Neu!, Amon Düül, Harmonia, La Düsseldorf and Tangerine Dream as well as a host of lesser known groups such as Kollectiv, Ibliss, Between and many more. This new edition is fully re-mastered and features all the original artwork and tracks. The first seeds of German rock and experimental electronic music were planted in 1968, as students and workers in Paris, Prague, Mexico and throughout the world demonstrated against mainstream society, the war in Vietnam, imperialism and bourgeois values. The birth of a counter-culture, drug experimentation and social change expanded musical worlds. Germany experienced its own cultural revolution fuelled by these worldwide student and worker revolts and by a generation's desire to rid itself of the guilt of war.
German rock and experimental electronic music grew out of this worldwide counter-cultural revolution of 1968. The objectives were to create new music, 'free' from the past, many German youth turning their back on mainstream society. From the opening of the first collective/cooperative, Kommune 1, in Berlin, to the formation of the Baader-Meinhof terrorist group and the bombings, kidnappings and killings of the Revolutionary Armed Forces (RAF), young Germans sought out new values and a lifestyle outside of 'the system'.
These cooperative and communal experiences led to a number of new collective German bands forming such as Amon Düül, Faust, Can (all featured here) and others and these ideals drove this new movement. A music that gave seed out of the cultural 'nothingness' that young Germans felt as a consequence of Germany's role in the Second World War. A generation who grew up stifled by the recent history of Nazi atrocities, the guilt of their parents' generation and their disillusionment at the reintegration of old Nazis into mainstream society. Influenced equally by the electronic experimentalism of Stockhausen, the progressive rock of Pink Floyd and the black American jazz and soul music played at the occupying armed forces bases, young German artists seamlessly created out of this a new unique music with its own unique identity. Double CD pack with large 36-page outsize booklet encased in slipcase. The vinyl edition is made up of TWO separate volume heavyweight loud gatefold double albums (+ free download codes) featuring all sleevenotes and text.

The Flying Luttenbachers’ “Shattered Dimension” is the first offering by the seminal cult band since 2007. It is released on CD and download on March 1st, 2019 via ugEXPLODE Records and on gatefold double LP in April 2019 via the Austrian God Records label. The current New York City based version of the group on this recording features stalwart leader and primary composer Weasel Walter on drums, saxophonist Matt Nelson (GRID, Elder Ones), bass guitarist Tim Dahl (Child Abuse, Lydia Lunch) and guitarist Brandon Seabrook.

Hot double LP of beats and scattered rhymes (JPEGMAFIA, Retro X & Jeshi feature) from this highly inventive producer. Having gained notoriety for his work with Frank Ocean and Travis Scott among others, Only Diamonds Cut Diamonds is overjoyed, heady and nervous at once. It offers a proper introduction to the massively imaginative sound of Vegyn. 2 slabs of vinyl, including insert and stickers. Ltd edition. TIP!

OH MY GOSH! Chromatic are new to the Tempo Records artist roster however not new to the Drum and Bass / Jungle scene. Always nice to see producers working together on new projects. On this "Blend" ep they work together with established producers Soul Intent, Tim Cant and RV. A fine blend of different styles & vibes. Track four "Blend" is already rinsed and heavily supported by the legendary LTJ Bukem. The fifth track "Day Trip" is a digital bonus track! This release comes as a limited 140g crystal clear vinyl pressing with full artwork sleeve + white glossy inner sleeve, including a mp3 download voucher + a free poster/inlay and all tracks mastered by Stuart Hawkes of Metropolis Mastering London.

Nastia (Ukraine) “Thank You, Downloading and supporting”
LTJ Bukem (Goodlooking Rec, UK) “Thanks for sending over the tracks, looking forward to more, i’m supporting Blend, very good, peace”
Klute (Commercial Suicide, UK) “Like this release a lot Frodo, nice one”
Laurent Garnier (It Is What It Is, France) “merci”.
Bailey (Inta Natty, UK) “Thanks for the tunes”
Madcap (Goodlooking Rec, Fokuz, UK)
John Rolodex (Dread Recordings, UK) “Thanks, great ep”

This is the debut release of Greek prolific Drum & Bass artist mSdoS on Tempo Records. Four diverse & energetic tracks of the highest quality covering all styles of the Drum & Bass / Jungle spectre. On A1 'RunDos' we have a nice rolling production with the famous Predator movie sample: ''She says the Jungle, just came alive and took him''. With ''Night Ride'' on A2 mSdoS delivers a dreamy moody low pas Amen roller. On the flip side AA1 we have ''The Duke'' that's all about a simple steppy break combined with acid bleeps. The finishing touch comes on the AA2 track called ''Tanaka'' that uses a sample from James Bond's ''You Only Live Twice'', this beautiful liquid roller delivers the funk. This release comes as a limited 140g crystal clear vinyl pressing with full artwork sleeve + white glossy inner sleeve, including a mp3 download voucher + a free poster/inlay and all tracks mastered by Stuart Hawkes of Metropolis Mastering London.

Early Dj Support & Feedback
More Coming Soon!
Doc Scott thank You'
Grooverider ok'
Ltj Bukem thanks For Sending'
Gremlinz nice Stuff!'
Drumsound & Bassline Smith nice One'
Dj Clarky nice Tracks On This'
Dj Chef (ministry Of Sound) nice 1'
Physics 'thank You!'
Bulletproof Tiger (nyc, Usa) real Pleased To See Msdos Here. Digging The Bpm On The Duke, All Tunes Are Great. Gonna Get A Lot Of Airtime On Dnbradio, Biggups!'
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Radio & Podcast
More Coming Soon!
Chris Muniz (insomniac / Bassrush) like A Blast From The Past Or A Future Still To Come'
Overfiend (bassdrive) super!!'
Stunnah (bassdrive) big Release!!'
J Swif, J Swif Dnb Hq Podcast great Release Dudes!'
Thomas (pulse Fm) run Dos And The Duke Will Get Our Support '
Harper Czworka Polskie Radio (funkadelia / Basstion) nice New Release From Tempo Records. rundos' And tanaka' Are My Favourite Cuts'
Rbrt (kane Fm) wicked Tunes. Good To Hear Some New Music On Tempo.'
Matthew (one Hour One Dj) love It. Great Tunes, Perfect Balance Of Chilled And Gnarled.'
Simon (see You Next Life Podcast & Night) loving The Movie Strings On Mr Tanaka. Cheers!'
Parallel Motion Aka Mark Cossey (dnbradio / Universal Drumz) feeling The Msdos Beats!!! Thank You'
Dj Ransome (in The Mix, Dnbradio) lovely Vibes! Supporting'

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Reviews Blogs & Magazines
More Coming Soon!
Julian, Mixmag Germany Dnb Reviews night Ride Is Cool.'
Chris (dnb Universe)
Rohan G. (dj Mag, Spain) big Upz Msdos!!'

Multicast Dynamics returns with a sixth studio album that marks something of a new chapter. Ancient Circuits is an advancement from previous works on Denovali and one that stands the project aside as a powerful electronic act that tells stories while also serving up heavy hitting soundscapes that are persuasive, unexpected and disturbing.

Each of the four 25-minute pieces of Ancient Circuits are clearly demarcated yet sequential sci-fi stories that introduce new characters and are drawn out of long and complex studio experiments. They are collages of sound that glimmer, disturb, shine, dive deep and explore new realms and make for ambient so arresting that it pulls you deep inside.

Once again here, Multicast Dynamics draws together cinematic sound design and conceptual intergalactic fiction to come up with a work that is a multi-sensory exploration that puts you as the central character in an expressive musical world.

SDEM aka Tom Knapp lands on CPU with a cybernetic electro E.P. entitled 'Index Hole'.

4 tracks of exploratory electronics held together with expertly crafted - hip hop influenced beats. Knapp ran the legendary IDM label ICASEA with Team Doyobi member Alex Peverett and Satoshi Aizawa. Index Hole is certain to ease your Icasean withdrawal symptoms. Fans of ICASEA, Skam and the Gescom crew don't miss this.

Basel-based group Varuna returns to amenthia recordings with their impressive debut long player. Four sides
full of deep and ethereal sound exploration.

Part four of Hivern Discs' Fragments compilation. While compilations tend to look backwards, 'Fragments' is far from being a retrospective. Since its launch in 2008, Hivern Discs has favoured a documentary approach, capturing the most vital and exciting sounds within its orbit at each particular moment. In keeping with the ethos of the label, this extensive compilation, comprising 29 new tracks across six 12?s, offers a panoramic glimpse of Hivern's present and gives indications as to its near future. The artists featured comprise both fresh and familiar faces; some of them have been a foundational presence since the beginning (John Talabot, Pional, Marc Pinol), others are recent acquaintances (Epsilove, Fantastic Man, Inga Mauer, Samo DJ). Together the compilation makes for a snapshot of Hivern's current identity, with a wide array of names and projects connecting the dots between the sounds, moods and ideas that continue to inspire and move the label today. Hivern was born a decade ago as a platform to celebrate a shared sensibility beyond any semblance of categorization. And that's what this collection of music is all about.

After more than 2 decades, Dj Force & The Evolution are back, and in a big way. Returning to the label that first released their music, the Scream EP mirrors KF03, their first release in lots of fun ways. Bright blue vinyl, the same old skool looking label, complete with mistakes (33/45 bpm? What?), the same needle moving nonsense in the A side grooves, and of course, 3 superb tracks guaranteed to move the dance floor and destined to become classics in their own right!

Club/DJ Support: Shimon, Andy C, Randall, Ray Keith, Chase 7 Status, Zinc, Jack Frost, Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder, and ... many others.

Kromestar and N-Type join forces again with the release of long awaited “Nu Era Dub” and “Mutants” on limited White label vinyl. This marks the first of many new collaborations they have made for the launch of their new label “Krome & Type Recordings”.

“Nu Era Dub” was originally made as a Dubplate for N-Type to play at Outlook Festival. It went down with great reception and gained support from Caspa, Loefah, Big Kani, Spooky, Hatcha, Lost, Sicaria Sound, Kelly Dean, Cimm, Mr K, Sepia, Joe Nice, J Kenzo, Finwa Distance & Darkside to name a few.

“Mutants” Is a Jungle inspired 140bpm roller, reminiscent of days gone by. This has gained exclusive support from Loefah, Benton.

LTD EDITION.

002RAIN comes from Bristol based producer Rygby and features one of his most anticipated tracks to date. Pasqualina has seen immense support over the last year, from big names across the 140 scene and beyond and recently featured in Commodo’s Boiler Room. The A-Side features highly sought after Pasqualina, a melody driven, certified crowd pleaser and coming in on the flip YU ME US, is a dancefloor focussed number that refuses to stick to boundaries. Both tracks make for a unique sounding release that shakes off expectations.