Beats Vinyl New Releases - News

Following on from 2018's Yosei 12” Necrotype returns to Diamond Life for 2 more cuts of top shelf junglism. On a-side track Fever he slaps us around the face with multiple layers of meticulously programmed hardcore breaks, juxtaposed by the sweetest of pads and stuttering synth stabs. So Fine is a slow burner, starting off sounding almost like an 80s R&B jam, over the course of 4 minutes it builds up towards its second drop, morphing into a lush jungle D&B roller.

* "The Longest Sleep Through The Darkest Days" is the sophomore album from Plymouth shoegaze post-pop electronic project Winterlight. The project was originally a solo endeavor started by Tim Ingham back in the mid-oughts but now sees his daughter Isabel taking on bass guitar duties.
* This new album is the culmination of nearly seven years of on and off creative spurts, false starts, and second guesses reflecting the turmoil hinted at in the album's title. Yet those that follow Winterlight know Tim's been making music pretty much all along and releasing occasional demos via his Soundcloud.
* This lengthy process has yielded one resounding result: If it ain't broke, don't fix it. "The Longest Sleep Through The Darkest Days" has all the Winterlight earmarks: divine organs, thoughtfully constructed drums, the occasional electronic flourish and, Oh... Those immaculately soaring guitars! While Ingham considers Winterlight to be post-pop, and for the most part the duo still brings those melodies to the table in spades, there are some unique changes happening under the surface in the album's bookends that move way beyond simple ear candy. This shows The Inghams are starting to take risks while still staying true to the original vision for the project.

'Control Voltage Project' is a long running project of Alper Maral & Mert Topel; Alper Maral is one of the most significant sound discoverers around Turkey through auditory and academical researches he has made about experimental electronic music.

Mert Topel is a versatile musician, one of the most important keyboardist for many artists in popular music in Turkey. He has released his first solo album “Serendipity” in 2017.

Control Voltage Project is named after the electric signals which are used for the interactions between various physical sound layers. Recordings of CVP -first album from the duo- was finished in 2005, and released in 2015 on “Müzik Hayvanı” as free download on web.

The album is making its roots through an endless sound pool that created by synthesizers, vocoders and tape recorders such as KORG MS 20, YAMAHA Motif 8, PROPHET 5 and TASCAM MS 16 which have characterized by different styles and times.

The duo’s 12 track album is a complete adventure from abstract
and fragile moments to groovy but spooky sounds.
Control Voltage Project is finally released on vinyl via Müstesna Records.

For the new Arma release Ena explores different, distinct facets of his sound across three productions. “Pale” distills his vision of techno as a minimalist, repetitive construct. Working around non-standard time signatures, he creates a densely woven lattice of percussive pulses, which cut a polyrhythmic path through nightmarish sheets of noise. “Secondary Color” uses a broader palette that opens the Ena sound up to the light,,, “Wired” heads further away from the grid in pursuit of sound design exploration, as a rack of pipes and chambers strike, boom and chime against artful distortion and cavernous reverb. While Ena has historically been hesitant about remixes of his material, he warmed to the idea of long-time Arma friend JASSS reworking “Wired”. Taking the track into her own fiercely individual sound world, she uses the harmonic tonality of the original as a jump-off point for an epic, emotionally forthright chiller loaded with coldwave bombast, trap hats and Silvia’ own voice. Coming from entirely different angles of approach, Ena and JASSS are bound together by their fearless individuality. You can sense the slithers of pre-existing music somewhere in their constructions, but such familiarities are no more than faint echoes of places they passed through on their way to somewhere new.

'This album was created over the course of 2017-2018 and is heavily influenced by descriptions of landscape and environment in the work of authors Shusaku Endo, J.G. Ballard and Cormac McCarthy. Fragments from a land that is a largely silent place. An ancient place. A non-place. A wilderness.'

Artikal Music welcomes Mystic State back to the label with their second release entitled the 'Tomahawk EP'.

More info soooon!

Glad to rescue this authentic lost treasure from music genre. TEMPLEBEAT, Italian group now extinct which moved between EBM and Industrial. The formation created in 1990, is part of the self-named second generation of EBM groups. Originally published on cassette in 1992 by label also Italian, Energeia.

Come and join us on our final journey to the town of Twin Peaks, take a seat at the Roadhouse, grab a drink & witness some of the finest musical performances any dive bar in America has ever seen!

This double LP features tracks by different artists: NIN, Eddie Vedder, The Chromatics, Otis Redding, Lissie and of course Julee Cruise and Angelo Badalamenti. An incredible dive into the musical mind of series creator David Lynch; this really is an incredible document of the artists that visited Twin Peaks during the Limited Event Series.

Once again our release has been mastered by Mike Bozzi at Bernie Grundman Mastering, cut by Bernie Grundman himself with pressing duties being handled by QRP (Quality Record Pressings) in Kansas.

Sounding superb, this is sure to transport you back to your favorite series. You can taste the whiskey and cigarette smoke the minute you drop the needle on the record!

The musical origins of this album comes from an avid fascination with the ocean and its secrets.The idea of how the pressure and darkness of the depths may sound and the unknown mystery attached to the Pacific abyss of the Marianas trench evokes both a calmness and a breathtaking feeling of bottomlessly sinking into the darkness way down deep. ‘Marianergraven’ is AKB’s own take on the ambient genre, with melodies moving slowly, forming a menacingly areal atmosphere, where the soaring laments are able to float freely across the sonic panorama. She utilizes the electronic tonalities from syntheses, loops and effects to create a slowly growing and floating ambient structure, which is both melodic and dissonant combined.
Behind the name AKB resides instrumentalist Anna-Karin Berglund from Gävle, Sweden. The first release under her own name came in April 2016 on the EP Söndagsbarn (via Lamour Records), on which the four tracks carries clear influences from the 70-80's ambient with its space-fragrant, cosmic soundscapes. In 2017 AKB was awarded ‘Best Solo Act’ of the year at the Local Heroes Gala in Gävle, Sweden.

Rhythm Syndicate Records is proud to present their debut vinyl release. Both tracks come from a true veteran of the Drum & Bass scene, and an exclusive release from top level producer Blade. DJ Blade, has a sound that is much sought after amongst headz, and his following has continued to grow steadily over the past few years. His production style is distinctive, and has seen him have various releases on labels including, Good Looking Records, Fokuz Recordings, Soul Deep Recordings, Smooth N Groove, Liquid V, Think Deep, and Flight Pattern, to name a few. Known for producing big anthems, and a prolific unreleased back catalogue die hard fans can only dream of owning, its no surprise that Blade receives continuous heavy support from some of the top Deejays in the game. The song, "China Town Womad", has been supported consistently by scene legend, LTJ Bukem. Now this sought after track is available on a limited vinyl run, so get one while they last!

Not Waving aka Alessio Natalizia is back. His Human Capabilities album was one of the highlights of the label in 2014, so it seems only right to get 4 artists to create their own unique versions for this EP. Starting with Pye Corner Audio, Martin Jenkins solo proto-electronica project has been a growing success since fist putting his cult tape recordings to vinyl. A great live performance at Cafe Oto got the label wanting more and the recent split LP release with Not Waving on Ecstatic Recordings made a remix
inevitible and he does not disappoint. 7 minutes of brooding, slo-mo dub dance s a perfect opening, haunting and searching in equal measure. This is followed by the new project from Valentina Magaletti (Shit & Shine) and Tom Relleen (The Oscillation). Tomaga's recent debut LP Futura Grotesk is a mesh of live expermenation of electronica meets percussive, kosmiche interplay and worth checking. Taking the industrial loops of the original they provide a improvised jam of drums, bass and anything to hand to trip the light fantastic. Perfect. On the flp, we head for the dark corners of a (techno) basement via L/F/D/M's remix of Double Blind. With releases on Optimo Trax and Clan Destine Trax, Richard Smith's project seemed perfect to take
on the industrial dance of the original. Stripping things right back, the core of the track is looped incessantly for maximum intensity before far away melodies bring you back again. Finally, the EP closes with a wonderous remix from drone specialist Abul Mogard. With his recent SchleiBen split series LP on the label, Abul is again at his best, taking the melodic ambience of the original and modulating it in to a brooding and emotional remix that is a perfect marraige of the artists minds.

To celebrate the 30th anniversary of Deep Listening, we offer you the definitive double LP combining the classic, complete original 1989 release with selected tracks from the Deep Listening Band’s 1991 album The Readymade Boomerang. This elegant double LP is packaged in a gatefold sleeve with original and updated recollections from the perfomers, the engineer and a mesostic from John Cage, to which these recordings are inextricably linked.

Recorded in a cistern, this double LP reverberates with brilliant sonic clarity and masterfully improvised performances combining live electronics, vocals, trombone and accordion. Deep Listening is a classic in the fields of improvisation, minimalism, ambient/drone and modern classical. 
Listen with attentiveness, listen while lying down, listen with headphones - as recording engineer Al Swanson entices the listener to become a virtual performer in selecting the many different ways to perceive these phenomenal tracks. Whatever you do, listen deeply.

Dauw welcomes back the California based r beny to the label for his new album “echo’s verse”. It forms the follow-up of his acclaimed “saudade” album (selected as one of the best ambient albums of 2018 by Fact Magazine).

“Echo’s verse” forms no exception on that regard and continues along the same melancholic lines of his previous work. However, whereas the initial albums were much more centred around feelings of loneliness, isolation and solitude, the new album clearly moves away from a sole focus on sad and distressing emotions. “echo’s verse” touches the other side of the spectrum as it is about emotional connections, bonds and not feeling alone in the universe.

* The classic Remix Records label returns with 4 huge remixes of one of its most popular tracks. Six Days, by Jimmy J & Cru-l-t, was a worldwide hardcore anthem at the peak of the rave years, and these remixes showcase a stunning return to form and a wide variety of styles from some of the biggest names in the scene right now. It also includes and exclusive never released mix from Al Storm, from an old rediscovered DAT tape…
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

Lone Delivers The Final Instalment Of His Stunning Ambivert Tools Series.

Started In 2017 Ambivert Tools Gave Lone The Chance To Step Outside The Confines Of Writing Music For An Album And Get Back To The Basics Of Crafting Tunes Primarily For His Intoxicating Dj Sets.

Inspired In No Small Part By The Rich Seam Of House That He's Been Excavating With His Fine Magicwire Imprint Ambivert Tools Parts One To Three Have Been Stacked With Breezy, Rugged House Excursions Full Of His Trademark Atmospheric Melody / Harmony . Each Track Instantly Recognisable As Music That Could Have Only Come From Lone's East London Studio.

This Final Transmission Again Finds Lone In Vintage Form - 'pulsar' Takes Inspiration From Classic Uk Techno And Idm From The Likes Of Stasis And B12. This One Shares Dna With The Rolling Breaks Of 'temples' From Volume Three But Goes Deeper In Search Of That 6am Dancefloor Feeling.
'oedo 808' As The Title Suggests Gets Busy With Some Tight 808 Drum Programming Bringing An Electro Feel To The Mix . The Rude Bassline And Glistening Electronics Only Work To To Tighten It Up Further For The Dancefloor.
'blue Moon Tree' Rounds Things Off In Style Staying True To The Dj Tool Theme Of The Series, A Killer Bassline, Crisp Drums, Spiralling Vocal Sample And Stabs Are All This One Needs To Be A Staple In The Right Dj's Boxes For A Long Time To Come.

After a digital single on Optimo Music Digital Danceforce, Optimo Music welcomes Bergsonist to the main label with a full album. Ridiculously talented and prolific, Bergsonist is one of thee most interesting, thoughtful and important artists of our times.

Bergsonist aka Selwa Abd is a New York–based artist and musician originally from Morocco. She is the founder of Bizaarbazaar, a music platform and publication that publishes podcasts and interviews by DJs and producers from around the world.

Under the guise Bergsonist (derived from Deleuze’s Bergsonism),
she uses a variety of media to investigate social resonance through divergent conceptual aesthetics (minimalism, techno, and music concrete, to name a few). Through her work, she explores notions of identity, memory, and social politics.

In 2017, she started Pick Up The Flow, a resource to promote congregation and exchange between peers. Currently, co-run with Stephen Decker. In 2019, she co-founded 3afak with DJ Sanna, a collective that aims to empower Arab women’s creative vision in
New York.


Words about the album:

Middle Ouest is an ode to my history, present and future self. Like a sonic autobiography, It’s the first body of work that realistically depicts my identity. It’s a statement towards all the people who tried to put me into a box. I’m not a box but a genre-less ocean. I don’t make genres, I just make music I feel making in the moment.

It’s all about capturing the moment in a given time. If the aesthetic happens to be house or techno then it is. But I’m not a techno artist... I’m just a free sonic ‘voyageur’. I make music as i feel the world; it can be dark, jovial, weird… I mirror the feelings into sonic compositions. However, the only variables that never change in this equation are the message and intention.

Derrick & Tonika - Holy Sheep EP is influenced by the mountains of the world and his inhabitants and combines Carpathian motives, deep mantras and meditative wind instruments. Carefully programmed drums and multi-layered bass lanes get deep inside your mind on the dancefloor.

"In 2015, it remains a rare and enchanting thing to hear a piece of convergence culture this effortless; which, after all (...) may be one reason Utakata still sounds so otherworldly." by Pitchfork 8.5 -
"best new reissue" - 25 September 2015.

The 1983 cult classic 'Mariah - Utakata No Hibi' sees it's re-release
for the first time. The long sought after final record on the legendary Better Days label, Utakata No Hibi is the culmination of composer and bandleader Yasuaki Shimizu's early 80's work, often compared to his contemporaries Ryuichi Sakamoto and Haruomi Hosono, as well as experimental new wavers Flying Lizards/David Cunningham, all of whom Shimizu has worked with.

Recognized in Japan for the hit, 'Shinzo No Tobira,' the entire record is a masterful studio production of Japanese folk and pop idioms filtered through a chamber disco, new wave, synth production, sounding more relevant today than upon it's release over 30 years ago.

The packaging features additional artwork from Ira Okudaira, who created the original stunning jacket drawings. It retains the original double 12" 45 rpm play format, and includes a full English translation of the Japanese and Armenian lyrics on the printed inner sleeves.

RIYL: Blood Orange, YMO, Arthur Russell, Julee Cruise.
'PFRLP003' Repressed & Reissued; Limited numbers.

Minimal wave from Greece 1983. Remastered version of a lost & found demo-tape by the band.

Despite working often alone, Savvas Metaxas is someone who rather thinks in terms of community and connectivity, who prefers alliances over ego, who is a sound artist as well as a musical activist.

Coming from Thessaloniki, Greece, he co-founded Granny Records, puts up local shows, worked with the Goethe Institute, did site-specific sound installations in London, collaborates with other experimentalists like Spyros Emmanouilidis and released brilliant albums on fellow tape travellers Coherent States and Falt, among others.

Why is it important for us to write down these trophies/landmarks/selling points? Because Savvas is not at all about trophies/landmarks/selling points, he is about connecting things, and this, in our humble opinion, is one of the most fundamental qualities of experimental music, and experimental art in general. It is about rearranging disparate materials, transcending different layers of reality, speaking without the use of words or clear significants.

On the four tracks of „Transmitter“, he is exploring sound in a classical set-up, experimenting with chance-operational radio frequencies and their impact on harmonic structures extracted from synthesizers.

The result are compositions with a haptic quality, a glimmering, grainy music that is directly effecting the room in which it is played in. So despite its broad frequential range: don’t play this tape too loud, as it really interacts with its surroundings. Hence, the names, or rather name tags of these tracks are mostly devoid of interpretation and are purely descriptive. „Words“ is, easy to suggest, a composition based on a voice talking in greek, while „Stormy And Colourful“ is a specification of what is heard on that piece. These two are framed by „Heterodyne“ and „Paradoxical“ - characterizations of the techniques used in the working process.

The artwork of the tape is a continuation of this work method. Clear structures, using the specially built typeface and the spinning of letters and words to manipulate perception and to obstruct a simplification, reducing the logic of words to a sign language that obliterates meaning and identity, a process which, as Simon Reynolds put it, induces ecstasy.

Experimental German Rock & Electronic Music from 1971-81. This latest instalment in Soul Jazz Records' successful Deutsche Elektronische Musik series delves deeper into the German nation's vaults to bring a fascinating new collection that again brings together a selection of classic German electronic and rock groups, including Neu!, Cluster, Popol Vuh, La Düsseldorf, Agitation Free, alongside a host of rare tracks by lesser known artists which includes Michael Bundt, Bröselmaschine, Dronsz, Achim Reichel and others.

The music of 'Deutsche Elektronische Musik 3' ranges from the introverted pastoralism of Hans Joachim Roedelius and Bröselmaschine, to the angular and futuristic electronic experimentations of Klauss Weiss, Pyrolator, Deuter, Michael Bundt and others, to the proto-punk of La Düsseldorf and the heavy space, progressive and cosmic rock of Missus Beastly, Niagara and Dyzan.

The music on 'Deutsche Elektronische Musik 3' was all recorded in the 1970's up to the early 1980's, at a time when forward-thinking German electronic and rock groups were searching for a new musical identity in order to separate themselves from both the cultural legacy of post-world war two Germany as well the 'cultural imperialism' of USA and UK rock.
In this process German groups created some of the most unique and inspired music, the defining motorik beat alongside a host of ethno-musical influences from far afield - including Turkey, India, Brazil - as well as the musical and futurist possibilities of developments in electronics and technology itself.

"Deutsche Elektronische Musik 3" is released as a heavyweight 3x12", deluxe double CD pack and digital release. The new extensive sleevenotes are by David Stubbs, who is the author of the acclaimed book, 'Future Days: Krautrock and the Building of Modern Germany' (Faber & Faber).

The hugely anticipated second full length album from the incredible Stormzy.

Following the release of Gang Signs and Prayer, his award-winning, platinum-selling debut album, Stormzy may no longer be stepping between the street and the sermon, but he’s still walking between two worlds: that of the celebrity and of the Everyman. His desire to stay grounded is evident; as his career continues to soar, he seems more and more determined to help others reach new heights of their own.

Lovely album from artist and musician Dolphin Midwives (aka Sage Fisher) using harp, voice and electronic processing. It's a controlled and dynamic album that blends the organic with the digital, resulting in a body of work that fuses the tranquility and intense strength of the natural world. Recommended!

The album was recorded in early 2018 by Jason Powers (The Decemberists, Chromatics, Matthew Dear) at Type Foundary, and mastered by Rafael Anton Irisarri at Black Knoll Studio (Alva Noto, Ryuichi Sakamoto).

X-Kalay returns to close out the year and kick off a fresh run of releases with another label debut from UK up and comer, Lewis Taylor aka “LT”.

Releasing his first ever record via Rhythm Section last summer to great success, LT serves up a clinical three tracker for X-Kalay spanning pacey tech, slo-mo drum funk and breaks laden hazey house.

Sure to move fast - don't sleep!

Welcome to Lyla's world. Getting things moving with the five track VA is 'Exile', straight off the mark with a pacey affair from TC80, spiralling you in to a whirlwind, teeing things up perfectly for what is to come. Taking it back with the '1996 Shoots'. Released over twenty years ago on a limited run by legendary producer Ivan Iacobucci, he has dug deep in the archives and remastered for your listening pleasure. Opia regular Audri shows his cards again on the label bringing the 'Acid Rain', definitely packing a punch. The South American B side features tracks from both Omar and Z@p. Intelligently arranged broken drums carry you through 'Techno Victim'. Z@p swings in to round off the EP with a driven dancefloor mover entitled 'Different ways'.

As winter strikes, the summery SFV Acid reappears fully-fledged with some sluggish San Fernando Valley funk and his signature acidic aesthetics. Mostly slow-burning tracks that meander the boulevards, twitchy due the right dose of acid and vocal jabs scattered across. It's always summer in the valley.

Limited edition 2LP on Deutsche Grammophon incl. remixes from Kiasmos, Rødhåd, Alva Noto, Scb, Antigone, Antonio Ruscito etc
Tale Of Us breathe new life into their acclaimed 'Endless' release on Deutsche Grammophon, enlisting a diverse set of remixers to interpret the compositions. The album's celestial atmospherics and classical melodies provide rich source material for the eleven remixers, whose contributions range from serene ambience to barrelling techno. Beginning with Kiasmos' version of 'Notte Senza Fine', Endless Remixes continues with similarly dreamy and delicate house music from Giegling duo Kettenkarussell and Sebastian Mullaert (of Minilogue fame). Highly-regarded acts Monoloc and Antonio Ruscito provide downbeat electronica and there are icy, beatless reworks of 'Destino' and 'Venatori' from Raster-Noton luminary Alva Noto and Antigone respectively. Eerie techno comes from Dystopian artist Rødhåd and Scuba under his SCB alias, whilst Somne and Woo York's remixes are closest to what you might expect to hear in a Tale Of Us DJ set. All in all, a remix collection that lives up to the quality of the 'Endless' album and takes it in fascinating and effective new directions.

Part two 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.

zake's first solo album of 2020 will be released by Canadian ambient label, Polar Seas Recordings. There are three physical options. Each LP version transparent blue/green/yellow is limited to 100 units each.

"Carolina was produced during a four day excursion in several secluded areas in Cherokee and Spartanburg counties, S. Carolina. The primary emphasis in each composition is field recordings captured in the quiet hills of rural Chesnee, solemn wooded areas of Gaffney, and hidden creeks in the outskirts of Spartanburg. Carolina is a fitting title to these arrangements as its definition translates to 'song of happiness or joy' from a French origin. These arrangements represent the joy, solitude and reverence I experienced in these beautiful parts of S. Carolina."

LTD. YELLOW VINYL

"Aporia" is a New Age album from Sufjan Stevens and his step-father and record label co-owner, Lowell Brams. In the spirit of the New Age composers who sanded off the edges of their synths' sawtooth waves, "Aporia" approximates a rich soundtrack from an imagined sci-fi epic brimming with moody, hooky, gauzy synthesizer soundscapes. The album may suggest the progeny of a John Carpenter, Wendy Carlos, and Mike Oldfield marriage, but it stands apart from these touchstones and generates a meditative universe all its own. This is no mere curio in the Sufjan Stevens catalog - but a fully realized collaborative musical piece. Stevens and Brams recorded "Aporia" over the course of the last several years during Brams' visits to Stevens' home in New York with the help of several frequent Asthmatic Kitty collaborators, including Thomas Bartlett (Doveman), D.M. Stith, Nick Berry (Dots Will Echo), John Ringhofer (Half-handed Cloud) drummer and longtime collaborator James McAlister, keyboardist and trombonist Steve Moore (Sunn O)))), guitarist Yuuki Matthews (The Shins) and vocalist Cat Martino.

Portuguese artist Armando Mendes makes a huge statement with his debut album 'Parallel Universe', which was written and recorded over two and half years between LA, London and Berlin with legends including Robert Owens,Ithaka from the N.W.A. crew and Defected's Jinadu.

Armando Mendes is one of Portugal's most assured artists. His rich and musical sound is informed by jazz and funk and he has played all over the world from Russia to Australia, all while picking up more than 80,000 monthly plays on Spotify for his music. His tremendous debut album ranges across the electronic music spectrum from downbeat and jazzy to deep house and electronica.

Ithaka is the guest on the album opener 'This Life's All We Got,' which is a lush downbeat song with pensive lyrics. Late night jazz house stylings define 'Things U Do 2 Me' while 'Acid Yardies' looks to the club with its serrated 303s and dub wise drums. Chicago vocal royalty Robert Owens lends his heartfelt and buttery tones to the perfectly deep 'No Regrets' and after an acid and piano ambient fusion on 'MS20 Interlude' there is more rich, spiritual and jazzy house ('Parallel Universe,' ' Khun Pui - Mae Nam' and 'The Melody Inside') as well as more synth laden and electronic grooves to get dance floors moving ('One Night in Bangkok').

The majestic, percussive and colourful 'Tropical Affair' is just that, then things get tender and introspective on the gorgeous 'Electric 88' before a radio edit of the classy pop house that is 'The Melody Inside' feat. Jinadu closes things out in emotional fashion. This is a widescreen musical journey that makes a lasting impact from an artist who is looking set for big things.

18 months after the digital release on Daytoner's 'Shedits 3' EP, "Apache Steet" finally gets pressed to a limited edition 7" wax by Dinked Records/Friday's Funky 45.

This mash of Lou Rawls' tales of tough times with Michael Viner's famous Apache break has proved popular with funk, soul and breaks DJs, holding it's own in Juno Download's Breakbeat Top 10 for a year leading to discerning DJs demanding a vinyl pressing.

On the flip is another Apache fuelled monster, 'Michael's Incredible Twin', this time supplying the Skatalites to breaks DJs having featured on the digital 'Shedits 2' EP back in 2016.

Huma is the personal project of Andrés Satué, half of the duo Esquelas, project in which they released “Inciso” (Ensmble) and more recently “Un pozo lleno de anzuelos” (Bestiarie). He was participant in the RedBull Muisc Academy BassCamp in Madrid 2015. He is also cofounder of Versal and Bicefal.

This is his first EP as Huma. “Las tres fases del movimiento” is based on two ideas, on one hand the three phases of movement of Meyerhold biomechanics, and on the other hand the three phases of movement in bodybuilding. Joining these two ideas he generates a very physical, visceral and emotional journey.

«A visceral and emotion-laden situation that sometimes seems to set in front of the abyss, but the most important thing is that it generates a movement.» —David Gozálvez, Neonized

“… Huma manages to make his music a purely corporeal act: his cuts are like dancers who move in complex and different ways in space. Sometimes they move as if they want to touch the sky … » — Fantastic Plastic

«The intersection between extreme, saturation and depth is what describes this new project of Andrés Satué …» — Frankie Pizá, This Is Underground

* Jennifer Lucy Allan’s Arc Light Editions releases Here, the debut album by little known electronic and tape music composer Ruth Anderson (1928-2019) who died just before she was able to see her first solo release out in the world. Here reinserts Ruth Anderson as a trailblazer in the history of electronic music in the USA, as one of the first women to set up an electronic music studio. Here gathers microtonal electronics, drone and meditative long-form works and a mischievous plunderphonic collage into an album that is playful, meditative and bold in its minimalist approach to sound.
*  Ruth Anderson's work is often stripping back to the basic building blocks of sound, speech, or poetry. In an article written by her partner, the composer Annea Lockwood, Ruth describes her music “evolved from an understanding of sound as energy which affects one’s state of being. These are pieces intended to further wholeness of self and uni- ty with others.”
*  Anderson was born in Montana in 1928, and originally trained as a flautist and composer, studying with Darius Mil- haud and Nadia Boulanger in Paris on Fulbright scholarships, and was the first woman to be admitted to Princeton University Graduate School in the early 1960s. She also worked as an orchestrator for NBC-TV and the Lincoln Cen- ter Theater production of Annie Get Your Gun with Ethel Merman (1966). After joining the faculty of Hunter College, CUNY, in 1966, created its Electronic Music Studio. She was engaged in studies of psychoacoustics, Zen Buddhism, and was a committed teacher. She remained at Hunter teaching composition and music theory until her retirement in 1989. As Louise Gray writes in her sleevenotes to Here: “That it is released now, in 2020, to a musician born in 1928 and who has had an active musical and compositional life, certainly since the 1950s, is a cause for celebration as well as for some dismay.”
*  “Pregnant Dream” is a collaboration with poet May Swenson (whose poem of the same name is reproduced on the inner sleeve). “Points” is constructed from pure sine waves, a veil of microtonal sound intended as a healing piece that generates quiet energy. “So What” hovers in electroacoustic space, and crescendos in oscillations and phasing. The playful proto-plunderphonics of “SUM (State of the Union Message)” is constructed from sounds sampled from TV commercials, made one January while Anderson was waiting for a studio to become free, offers tongue-in-cheek resistance to politics and communication as pertinent today as then. She wrote that her intention with "SUM" became “to say as little, and by omission, as much as the President (Nixon) would in his address.”
*  Side B of Here is taken up entirely with the restful and meditative “I Come Out Of Your Sleep”, constructed from the speech vowels in Louise Bogan’s poem Little Lobelia. It is a deeply calming and mindful piece, intended to be played at low volume. Anderson intended the shape of the vowels to become breathy melodic arcs and tones, which be- comes the core of a stylised meditation. As Gray writes, it is “both intimate – a breathing, gentle entity – and simulta- neously vast – the wind whistling around a mountain, the slow unfolding of something that only an attentive listening will reveal.”
*  Ruth Anderson died on November 29th, 2019, aged 91, just after approving test pressings for Here. She was a Pro- fessor Emeritus of Hunter College, CUNY, where she was the director of the Hunter College Electronic Music Studio from 1968 to 1979, one of the first in the USA to be founded and directed by a woman.
*  Mastered by Giuseppe Ielasi. Arc Light Editions thanks: Ruth Anderson, Annea Lockwood, Giuseppe Ielasi, Louise Gray, Chris Muirhead/DMS, and Carole Berglie at The May Swenson Estate, who kindly gave permission for the re- production of Pregnant Dream by May Swenson.

On Howard Williams' (Japan Blues) trip to play Strelka Bar in Moscow earlier this year, his host, DJ, collector and Strelka tech guru, Sasha Grishin regaled him with some wild and wonderful tapes from the boogie box in his kitchen. On departing, Grishin kindly gave him a couple of unassuming cassettes on Andrey Suchilin's Objective Music label. A refreshing listen they were too, in amongst this improvised music, a sudden detour down a strangely dancefloor avenue, where kick drums hold together a set of free improvising masters of modern Russian jazz. Recorded way back in 1999, appearing for the first time on wax, this session is available, on Williams' earliest and recently revived label, Ethbo.

Palma Mira (Palm of Peace)
Fidgety digital bass, chivvied along by an array of Mikhail Plotnikov and Zukhrab Ali Bukhani's timbales congas, and kick drum, smothered by an intrusion of organic / industrial grind. Then those pads seep in, ushering a cosmic, bitterwseet optimism, a classical tidal wave, Sergey Letov's sublime saxophone goose riding it. Andrey Suchilin and Aleksander Pillayev's guitars pastiche a funk scratch, and mutate into a speaker-cone tearing distortion, blurring the lines between minimal hard rock and jazz improvisation, bristling with harmonics, threatening to descend into a mass of feedback at any given moment. And we're only half way in. The two axes grapple with the sax, while the proto-acid bassline re-affirms its supremacy, the melange bringing to mind the universes of Pepe Bradock.

In a world full of copycat digitised mouthwash, here was a gaggle of seasoned improvisers, convening in a good old fashioned rinse out. And somewhere in that running riot is Andrey Panov's sampled tuba (Panov is a legendary punk musician, leader of Automatic Satisfactors.)

Finale is a more sedate(d) affair, with a hint of early Wally Badarou, the downbeat quasi-tribal rhythms of Ivan Sokolovsky and Mikhail Plotnikov sounding like plucked cello. A watery cellulose groove, the background for breathy flute, Letov once more providing a sublime melancholic riff, leading to Suchilin's distorted steel pickups, as if Santana acid-jammed with the Butthole Surfers, or to Johnny Hawksworth's theme to Roobarb & Custard, turned up beyond 11. Letov's sax sings its free lament, underpinned by submerged cathedral keys.

Andrey Suchilin was considered a rock pioneer in the days of the Soviet Union. Among other bands, he was a member of Do Mazhor (C-Major) producing an odd blend of jazz, rock and avant garde music. The band released one album for Melodiya, in the last days of the state owned record label. He was a founder of the Moscow Rock Laboratory, set up under the supervision of Moscow’s Communist Party headquarters. They held a rock festival, during the changes that led to the USSR breaking up. Punk, rock and jazz groups, blacklisted by the authorities only a year earlier, began to play without restrictions.
Sergey Letov is an avant-garde soprano, tenor sax, flute player, and composer. He has appeared in numerous Russian bands and collectives, including The Moscow Composers Orchestra, Russian punk outfit DK, winds ensemble TRI-O, and in the Arkhangelsk collective - a symbol of the transformation of the soviet reality that took place in the provinces rather than the more sophisticated cities. He has played with electronic artists, rock bands, in improvisation, theatre, cinema, dance, art, and regularly lectures.

LOSS004:
For release number four Soul Intent comes up with something truly special.......

The Fruit Club is a big nod back to the famous 'Fruit Club' event that was held at The Brunel Rooms in Swindon throughout the 90s. This is where Soul Intent first heard dnb as it should be via underground hero's like Doc Scott, Kemistry & Storm, and DJ Lee. Infact even the label artwork has been designed around their old flyers (big up to DJ Faydz & Stephen Reid for permission to use the Fruit Club logo).

The track itself features all the elements of those classic mid 90s tracks along with production and arrangement straight out of 2015. On hearing Soul Intent drop it as his first tune Dillinja hunted Alex down and asked for the tune, which he smashed in every set through out his busy 2014 festival season. Dropping the track at Outlook both Doc Scott and Xtra ran up to the DJ booth asking Dillinja what the track was. They both have since championed the track and helped it become one of the hottest dubplates of 2014.

Would Have Loved You has been getting a lot of interest from DJ's and clubbers alike. Janette Thompson's beautiful vocals (written herself) ride over a tough break and sinister distorted bassline. A fine example of Soul Intents love of combining rough with smooth fused with that classic 90s headz vibe.

Rude Raver is a out and out dancefloor roller. Packed with samples from the early hardcore era where labels like Reinforced owed the UK underground rave scene. A distinctive synth riff, ragga vocals and a fast paced break make this a sure fire killer in the club. A Straight up club track, and we're not ashamed to say so

Sunwatchers are a New York-based ensemble (featuring current & former members of NYMPH, Dark Meat, Chris Forsyth's Solar Motel Band & Arthur Doyle's New Quiet Screamers) that blur the lines between avant-jazz, punk, psychedelia, Ethio-jazz and desert blues, creating joyous, chaotic, mystical elegies to modern sound. Their eponymous 2016 album was released on Castle Face Records in 2016, followed by their Trouble In Mind debut, "II" in 2018, and their third album "Illegal Moves" in 2019. Despite (perhaps) being the band's most accessible & melodic work to date, New York quartet Sunwatchers` fourth album arrives in a flurry of notes with the buzzing hum of Sunwatchers vs. Tooth Decay"; the title referencing a 1976 album featuring athlete and activist Muhammad Ali. A cheeky nod to be sure, but laced with the utmost reverence. This attitude sums up Sunwatchers' aesthetic in a nutshell; the acknowledgement (typically via the band's irreverent song titles or album art) that the things in life we should take seriously are better faced and understood when disarmed by a wink or nudge. The band may cloak their fiery activism in a jester 's outfit, but it does nothing to dull the force of their attack. The one-two punch of "Love Paste" & "Brown Ice" hits next, with the former 's tender opening melody punctuated by exuberant "WOO!"s while the latter launches into an urgent, stuttering march that utilizes an effective musical wind-up and release, ratcheting up a ferocious intensity across its near six minute runtime. "Thee Worm Store" closes out the first side, beginning with a lumbering synth growl, until it picks up speed and ends as a frantic noisy free-for-all. Side two strides forth with "The Conch", an obvious `Lord of The Flies' reference, and a delicious subversion of the idea of a "hero's anthem" weighted down by the trappings of tribalism. The album's showstopper however is "The Earthsized Thumb", the near twenty-minute closing track. Guitarist Jim McHugh lays down a hypnotic Saharan guitar melody as the rest of the band ushers themselves in one by one over the tune's distinct musical movements, a cosmic "Quick One" for all the heads perhaps? The album's title "Oh Yeah?" is at once an homage to Mingus, Thee Oh Sees' album "Help" (whose Brigid Dawson hand-sewed the tapestry adorning the album's front cover), and (naturally) the rallying cry of oolBrave himself - the Kool-Aid Man-as-Braveheart avatar the band adopted as their symbol.