Beats Vinyl New Releases - News

'WRWTFWW Records' is insanely excited to announce the first ever vinyl release of Tom Raybould’s award-winning movie soundtrack for excellent AI-themed sci-fi thriller The Machine (2013). The limited edition LP boasts 16 superb tracks and is housed in a special glow in the dark sleeve.

"Tom Raybould’s Music For The Machine Is Amazing" - Bloody Disgusting.

Undoubtedly one of the greatest (and most overlooked) movie scores of the 2010's, The Machine finds its influences in the works of John Carpenter, Vangelis, Brad Fiedel, and Tangerine Dream, but presents its own unique twist, one that cleverly evokes the thin line between man and machine that haunts the whole film.

Cold and tenacious rhythms suggest mechanical killer instincts, brooding synths crystallize the fear of an AI-controlled future, but the warm and gentle sounds of guitar and piano ease the tension and bring hope of humanity. From its menacing introduction to it's tender ending, Tom Raybould’s masterwork ingenuously blends ambient, electronic, neoclassical, and synthwave to recontextualize and upgrade the classic 80's sci-fi movie score template, holding it's own against mammoth soundtracks like Blade Runner or The Terminator. Truly.

Cold with a touch of humanity like the perfect machine, Tom Raybould’s movie score won the BAFTA Cymru award for Best Original Music in 2013.

777 returns with its second remix EP expanding the affairs from house to jungle by four special guests!

What are the bounded limits of sense? How is it we come to know the world and moreover how is it that we share that experience collectively? Where are the points of mutual understanding and how can we approach the spectral aspects of our sensing of the world?
It’s these questions that have shaped the approaches used by Werner Dafeldecker on his first fully fledged electro-acoustic outing. Parallel Darks charts out a divergent, yet relational sound field that reflects an intensity of practice that Dafeldecker has cultivated over the better part of three decades.
Concerning himself with sounds that often lie at the periphery of our listening, Parallel Darks layers dense spatial textures into a tightly woven sonic fabric. Calling on materials collected through field recordings, analog synthesis and through his extended instrumental techniques, Dafeldecker seamlessly draws together
these sources, creating an at times blurry harmony between elements that might otherwise appear incongruous or in contest.
The sound world Dafeldecker creates is one that is simultaneously musical and profoundly abstract. As potential elements of harmony emerge, they are pulled away through various dynamic interjections, which the draw the focus of the ears. Even in the moments where the sound world settles, micro shifts and submerged densities call the listener deeper again. There is no one singular plateau of sound, rather a constant deepening, a beautiful abyss of spectacular pressure and vital acoustic darkness.
Recorded across 2018 and 2019, each of the editions two pieces dwell on sounds’ capacity to be a spectre.
Parallel Darks uses sounds at the very threshold of perception that suggest uneasy acoustic spaces and haunted zones within which the rules of listening in the everyday must be abandoned. In these zones, Dafeldecker carefully crafts hidden sonic relations that call for an intensity of listenership. He rewards us for our auditory efforts with a music of profound detail, subtlety and exquisite beauty.
“It compares music and reality. The music functions like an observer: the music observes reality. And it is precisely the limits of this approach that make us realize something about the observation instrument.
The music, the culturally created, thus becomes a metaphor for perception. A perception that can in no way do justice to what has been perceived, and in this failure can tell us all the more about the limits of our perception and about the process of creating reality in perception.” — Peter Ablinger

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."

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."

It’s been a year since the Adana Twins conceived their label TAU. In that time they have successfully signed and released a slew of tracks that have captured the imaginations of influential selectors and dancefloor lovers alike. To celebrate their first anniversary, and all the success it has brought them, the Adana Twins take charge of their label’s 10th release with a three-tracker full of high quality, melodic electronica aimed straight at the floor. Kicking off with D.J.A.M.H. the duo get straight into it with a stirring analogue bassline that pulsates with dark intent. Gentle pads envelop the low end, counteracting the darkness with a lighter atmosphere. An extended breakdown, punctuated by Ridoutt’s spoken word vocal ushers in the dramatic main body of the track. The bass is modulated and warped, the pads become eerie and drum rolls heighten the tension. A second breakdown pushes the energy levels higher as a contagious melody joins the fray and we’re transported out of our bodies into an unknown realm. Next up is ‘Maya’, which hits hard from the outset with its jabbing beats. A wistful, melancholy melody sweeps across the chunky drum patterns, touching our hearts with its sorrowful tune. The main riff comes in after a couple of minutes, adding more emotion to the sombre narrative. This is a cut that will move the dancefloor physically and emotionally, encouraging contemplation and perhaps some nostalgia. Lastly, ‘Spaceman’ turns things gnarly with its grumbling b-line and slapfunk beats. As per usual the Adana Twins create a magical melody that prances above the low end enchanting the listener and whisking them away to a dreamland. Meanwhile the snarling bass maintains its belligerent flow, advancing with malicious intent. A kooky breakdown lightens the mood before we’re immersed in another wonderful blend of rugged bass and playful melody. Clearly in celebratory mood, the Twins deliver an outstanding EP as they hit TAU’s first anniversary. A fitting release for a label that is going from
strength to strength.

Smell the perfume of the Mediterranean coast with the brand new project born by the minds of Don Carlos, Cosmic Garden & Rhythm Of Paradise.

Invisible Island is a fitting title for an album that seems to exist in a place quietly removed from the problems of the world. It's playful and imaginative, living in a soundscape filled with exotic fruits that fall from invisible trees. The record feels like a continuance from her album Minor Planet (2016) that shines through as an ethereal fog.

Although the pieces on the album mostly centre around the piano - played in a soft, minimal way - it's the way they are presented that creates the personality that defines Invisible Island. The keys are coated in sound experimentations, perfectly accompanied by layers of synthesizers. It's a dreamy album that seems to emanate from a fantasy full of warmth, channeling both classic Japanese ambient music and a more modern electro-acoustic sound. Midori has a special sense of creating touching, melancholic pieces that float on the borders. As someone who grew up in the outskirts of Kyoto for then to later move to Berlin, one can sense the influences of both places - without ever settling down on either.

Midori's Invisible Island is a safe place. Though it's one full of life and colours : birds, animals, wind and waves, fond memories of lost or unknown places and people that exist only in the hidden edges of this album. This especially comes to light for the albums centrepiece, the beautiful Belong, featuring Christoph Berg on violin. It's as if the protagonist - after roaming around the island for a long period, lost in its intrigue - finally finds what he/she has been searching for. A few tracks later the album ends on the title track, an uplifting ending that seems somehow unreal once the album stops and we ́re back to reality. Though the piano seems to keep performing in ones head with its repeating chorus and slowly drowning theme. An album of true visible beauty.

'Renée van Trier' is a transdisciplinary artist that mourns the loss of the comfort of disconnected life. Her songs will soothe our anxieties, heal our torments and make us smile for weeks. The fifth CAF? release is skipping between genres such as songwriting, punk, breakcore, jungle, hardcore, and parody.

Repress

Some proper break beat rave tracks. Including a Rivet remix.

With a previous release on Hokkaido Dance Club, the infamous "Soul Mass Transit System" is back with another fire EP, this time for the Rhythm 'N' Vibe faithfull.

Underground garage music.

Employing a toolkit of cutting-edge DSP, Swarm Intelligence reimagines classic rave frameworks for dancefloors of the future. "Ultraware" traces a path through electro, big beat, jungle and acid - optimising and reconstructing until only fragmented traces remain. Following up from his widely acclaimed "Against the Dying Light" album, this EP marks a new shift in the ever-evolving Swarm Intelligence sound. A relentless explorer of audio technology, here he utilizes spectral processing alongside convolution and granular synthesis to craft a gritty sonic repository for the four tracks. Even in moments when the sequences disintegrate into chaos before reassembling into a coherent form, there is never a feeling that Swarm Intelligence is not in full control - this is an artist who thrives on complexity.

Lexachast is an ongoing collaborative work by Amnesia Scanner, Bill Kouligas & Harm van den Dorpel. Initially birthed as a joint, improvised performance between Amnesia Scanner and Kouligas at the ICA, London in 2015, it was later recreated and extended
with visual artist van den Dorpel into a 15-minute online-only audiovisual work – known simply as Lexachast.

Since then, it has expanded into a live show that has been performed at Transmediale, CTM Festival, Unsound Krakow & Adelaide, Next and LEV Festival and during Paris Fashion Week in collaboration with the brand Ottolinger. Now to be released on PAN, is a new document of Lexachast in its current, full-grown form.

Whilst broadly inspired by the experience derived from and exposure to algorithmic patterns as generated by visual artist Harm van den Dorpel’s specially-devised program, the work is a sonic reference to the fallouts of avant-EDM and cyberdrone.

This in turn is simultaneously mirrored by the perturbing visuals, created by a unique algorithm that sources and blends various
filtered imagery from DeviantArt and Flickr in real time – with a bias towards the NSFW, extreme banality, and ornamental melancholia.

The results were a perfect fit for the deliberate intention of non-intent, an anti-video of sorts, which ended up as a defining element for the project.

Deriving from the acclaimed performance and exhibition — staged by Anne Imhof at the 57th International Art Exhibition of La Biennale di Venezia and awarded the Golden Lion for Best National Participation— the album Faust is part documentation and part elaboration, the sonic capture and extrapolation of the gestures, intensities, and durations of the live event.

Serving as the dramatic backbone of a several-hour long performance seen by thousands over the course of the Biennial, the soundtrack was a product of the collective and its individuals, animating and organising the performers while immersing the audience in the potent images of power and paradise.

The music for Faust was written in a band-like process by Imhof and her close collaborators Billy Bultheel, Eliza Douglas, and Franziska Aigner during the months leading up to it's premiere at the opening of the German Pavilion in Venice. From the chaos of the performative, the album is constructed out of live recordings and original arrangements, teasing out the most potent strands and weaving them into a new composition of brutal feeling and baroque intricacy,
each track a testament to the energy that brought it into being.

Faust is anchored around three pieces — Medusa’s Song, O.W.E.N., and Queen Song — written and sung by performers Eliza Douglas and Franziska Aigner, whosesonorous and elegiac voices imbue the work as a whole with their crushing depths and dolorous moods. Between these urgent vocal interventions march and twist the winding fugues and electronic abstractions of Billy Bultheel, who has dismantled and reassembled the sonic landscapes of the pavilion, crafting new
arrangements that couple the forcefulness of the physical encounter with the artifice of the studio.

Throughout the album and culminating in its closing act — the brutal chorus of Douglas’ Faust’s Last Song, a pulsing canon of looped and layered voice pierced by black metal screams.Faust is the record of a lost event and the promise of a new creation. The release of Faust illustrates the centrality of music to Imhof’s artistic practice. Her musical collaborations with Bultheel began in 2013, and this generative constellation expanded to include the contributions of Douglas and Aigner, together scoring Imhof’s Angst (2016) and recently her performance trilogy Sex (2019).

Singing bowls, bronze bells and gongs resonate through the mindful layers of Japanese percussionist and ambient producer Kazuya Nagaya's music. In Zen Buddhism, bells are believed to wash away the cares of the mortal world, as the listener follows the resonance of the bell into the silence and stillness within all beings. It is a penetration into the depths of one's self.
Nagaya's music is rooted in Buddhist (Zenzhu) philosophy and sensibilities unique to Japan. Concurrently, his work and interests are also contemporary and traverse a broad spectrum of cultures.

coloured vinyl / incl. dl code

Machinedrum and Holly team up for the next output on Vision Recordings.

Pressed on pink marbled vinyl and comes in a full colour printed inner- and outer sleeve. Download code included.

Following Not Waving’s stellar recent recordings with Jim O’Rourke , Colin Potter & Jay Glass Dubs, ‘Downwelling’ finds him in a striking Pas de deux with alt. rock god Mark Lanegan (Screaming Trees, QOTSA). It’s one of those rare link-ups that truly transcends the sum of it's parts, with Not Waving’s rolling range of nuanced electronics acting as backdrops for Lanegan’s smoky barritone storytelling.

Delivered in a husky but pliable voice that has come to define the American alternative rock scene since the early ‘90s, Lanegan inhabits the songs with a reserved presence that has served him well for decades, but which has never been heard in quite this context.

Pairing music recorded by Natalizia between London, Italy, and Paris over the past five years, with vocals recorded by Lanegan in LA, the duo arrive at dreamy non-place that’s not defined by geography or time. Instead the album offers a timeless insight into human behaviour, as reflected in the sleeve art details from the ‘Lights of Canopus’, a Persian version of the ancient Indian book of animal fables, the ‘Panchatantra.’

Thanks to Lanegan’s classically dusty tone - famously described
as being “scratchy as a three day beard yet as supple as moccasin leather” - and the breadth of Not Waving’s production, the results draw listeners deep into the artists’ shared plane of world-weary
but quietly hopeful conception, emphasising the power of closeness and empathy.

Their songs come on like waves lapping a shore that’s ever-shifting, ever the same. This cycle is epitomised on the opener, ’Signifying The End’ with Lanegan’s raspy tone met by honeyed synths, before scaling the nocturnal heights of ‘City Of Sin’ and coolly channeling Suicide in ‘Burn Out Babylon.’ The waters calm again for ‘Persimmon Tree’ suitably set to harp-like arps, while the deathly croon and impending throb of ‘Murder In Fugue’ comes to rest in the serene resolution of ‘The Broken Man’ in a manner that’s entirely modernist but speaks to eons of human emotion.

Echoing everything from latter-days Scott Walker to David Sylvian at his most strung out, and even the odd energy of Moebius, Conny Plank & Mayo Thompson’s ‘Ludwig’s Law’ album, or the arcane
creak of John Duncan’s ‘Bitter Earth’, Natalizia & Lanegan’s efforts will surely realign listeners presumptions of both artists and place them in a category all of their own.

Ghost Box is very proud to present a new EP by Paul Weller. The eclecticism of his career goes without saying and in Ghost Box Weller finds the perfect home to explore his interest in experimental tape music and early electronics.

The four tracks here though are more than just experiments. Tape manipulation, field recordings and instrumental passages are artfully arranged to create a gently uncanny and psychedelic atmosphere.

During the final piece Rejoice the abstraction starts to resolve into a more conventional and joyful group sound. No sooner has the melody taken shape when it suddenly collapses, deepening the magic and mystery of the whole work.

In part this is musique concrète in the tradition of Pierre Schaeffer. The “sonic art” of Trevor Wishart being perhaps a closer parallel. Unlike the mid-century pioneers of avant garde music, Weller introduces subtle melodic elements and ghostly fragments of song. Pianos drift in from next-door rooms with an atmosphere not unlike the work of Virginia Astley. The resulting impression is melancholy and reflective with a dreamlike sense of loss.

Darkside Kuduro continuum styles from Lisbon’s PML Beatz, racking up the heaviest Angolan-Portuguese gear this side of Nazar on their debut for Príncipe Lobbed from their respective bases in Lisbon and Luxembourg (one of the countries Portuguese have traditionally sought a better life), the three tracks of ‘Pedra de 800 Kg’ hustle a strong introduction to siblings Lisandro and Ivan aka PML Beatz.

Drawing on a shared Cape Verdean and Angolan heritage, the duo started producing in their early teens back in 2010, but got distracted, as teenagers are prone to do, before returning to the software circa 2017 with a little help from their their former neighbour and mentor, DJ BeBeDeRa - whose grinding tarraxhos have been issued on 7” by Promesses - to finally produce this killer trio of club workouts.

Hypnotic and hard in a signature Príncipe style that firmly resonates with SA Gqom, strains of syncopated UK Bass and mutations seeping out of all corners of the internet, the EP kicks off with a mesmerising mix of New Beat-esque choral drones with synthetic Berimbau-like riffs and flinty rhythm in No Cubau’, before ‘Manganza’ doubles down the darkness with murderous bass drones and distorted drops recalling Durban taxi techno vibes, and ‘Pedra de 800 Kg’ - so titled after their father’s motivational expression “That’s easier to lift than a 500 Kg rock” - recklessly pushes the dance to a steely, uptempo frenzy.

From crossover success to being pillars of the drum & bass community, both René LaVice and duo Future Cut have histories which highlight the genres diversity. Whilst René LaVice has spent over two years on the Radio 1 airwaves, showcasing the very best tracks from throughout the global scene, Future Cut have several UK #1s, alongside helping the growth of drum & bass within Manchester’s pivotal growth during the 90's.

Now together they unleash a new three-track release on imperative platform Metalheadz, an imprint which has already played host to Future Cut and one which will soon be seeing its first delivery from René LaVice. Spearheaded by Goldie, it's heritage is undeniable, and it’s become a lasting part of UK dance music culture, stretching it's influence throughout the world.

Rolling breaks and growling bass layers characterise the opening track ‘Nine Strings’. Meanwhile, ‘Eyes’ looks at contemporary trends through a new light alongside drum heavy sequences. Aptly named ‘Deeandbee’ then draws the release to a close, amongst searing synthesis and pounds of sub bass following its first breakdown.

Each track pulls together another massive signing from Metalheadz; together René LaVice and Future Cut add three more tracks to the label’s antique collection.

Operating with unwavering musical dedication, St. Louis' Dub Sector imprint readies their next pressure volley with none other than Rumble on the controls. Also known through his prolific mastering efforts for various quality labels and artists, the London-based producer and engineer has been wreaking considerable havoc with his original productions - yielding support from the likes of Egoless in the process. A signature style that's gravitating towards industrial and experimental inclinations, authentically being paired with original sound system music flavours from his past single on the Dub Sector Compilation. Now really stepping into the limelight with a whopping amount of five heavyweight cuts (supported by The Widdler, Hebbe and Youngsta), it is safe to advise for you to get ready for Rumble’s first major breakthrough.

Unshrouded in mystery: what once started as an anonymous underground project with stamped white labels and a clever take on sampling, has since then unfolded to be one of the longest-running and most successful teams in current dance music. Nurtured by the sounds of the past and blessed with the techniques of today, the music of Tiger & Woods always kept evolving in and around the tropes of disco, house and boogie. Classic dance music, if you will.

Celebrating the 10th anniversary this year, Marco Passarani and Valerio Delphi managed to arrive at album number three. A.O.D. is a pun on A.O.R. (adult oriented rock) and a play on their own sound. Defying the restricting rules electronic music record shop crates, it's a departure and an arrival at the same time. Inspired by the faded buildings and images of discotheques on the Italian countryside, the romantic start and bittersweet endings of summer, beach life and the excitement of travelling through the landscape to get to aforementioned temples of dance and subsequently the morning after.

Except for the 100% sample-free 1:00 am, everything on A.O.D. is based on a quiver of cleared samples from the Roman institution that is Claudio Donato and his Full Time and Goodymusic emporium. In Tiger & Woods hometown Rome, the often very electronic and futuristic sound of Italo Disco had a different twist. Much more boogie-based and influenced by the song-writing styles of New York City's dance scene, it played in a league of its own. Tiger & Woods use these materials to take them apart, out of context and into contrasting areas. Molding something completely new, one gets fooled to recognize Sade songs that aren't, pop music instrumentals and a reprise of memories that never existed. A ride through ones brain in a convertible with an Italian FM radio station playing in the background. Or to use less stiff poetry: a chill out album you can dance to or a dance album you can chill out to. Adult Oriented Dance.

‘’The Duel’’ is a sonic portrayal of the process of one coming to terms with a loss of a loved one. Each musical piece paints the emotions of such a processes. The ‘’Intro’’ shocks at a realisation of such a loss and immediate denial, which is portrayed by visceral and tightly searing sounds. Its questionable tone and thin layers of frequencies symbolise one’s own questioning for the reasons of such loss and the thin layer of security one feels without the presence of its loved one. The second track promotes the idea that denial cannot be continued due to the anger and self-blame within oneself as envisioned with deeper frequencies and more foreboding synthesizer soundscapes. ‘’Transition’’ lifts up the atmosphere by suggesting false hope of one somehow able to put off or delay the ordeal completely while ‘’Depression’’ hits back with heavier sounds confirming the reality of one’s loss of a loved one and subsequent quieting of the soul that follows the departure of a loved one.

The silence of the last pieces promote the space to think and feel in-depth which gradually evokes the feeling of acceptance of one’s loss. The sense of time limitations and realities of impermanence vibrate through in and out the release, forcing one dealing with such a loss to fight and duel oneself until a transformation pushes one to accept the loss, realise matters of life further and enrich one’s life by embracing life while it’s here and appreciating the life of others who are and were here for one another.

The third installment in our Dubwise Revolution series comes courtesy of Dubbing Sun. Vinyl only, strictly limited to 400 pcs, no digital, no repress!

Repress

The debut EP on Council Work from label owners Frankel & Harper. The Trimmers EP contains 2 originals, the first in the form of "LHR.AMS", a heavyweight slice of UKG with strong influences taken from the European house scene and also their drum n bass background. "Trimmers" is a raw dub and jungle infused cut with a sub layer guaranteed to shake speakers stacks. INSTINCT joins for a remix and switches things up by adding a catchy vocal which definitely passes the old grey whistle test.

Part one 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.

Though known as a touring and recording musician associated with Nine Inch Nails, Alessandro Cortini has really come into his own via his Forse trilogy, and his 2014 Hospital Productions debut, Sonno. For his Hospital follow-up, he maintains the grittiness and intimacy introduced on his debut, but expands on it, offering a wider spectrum of emotion and depth. Like Sonno, Risveglio was written and recorded while on tour. The drive to create intimate works during late-night downtime reveal Cortini to be committed to personal vision beyond the call of duty. While Sonno was created using only a 202 and delay, Risveglio adds a TB303, synced to the 202. In his own words, 'The 303 can be such a haunting instrument used in a certain way, and I felt it completely fit the mood of the previous work I have done on the 202, especially when given a specific location in space....it's such a living instrument.' The addition of TR606 gives one of the pieces a rhythmic pulse that separates it from the preceding synthscapes and renders Risveglioaltogether a more dynamic affair than Sonno. With Risveglio Cortini emphasizes the imperfections and visceral textures of electronics absent from so much contemporary solo synthesizer music. He carves out a similar space to that formed by Kevin Drumm's releases for the same label in the worlds of Drone and Noise by finding the emotional and, ultimately, human voice within synthesis.

Dutch producers Mindmapper & Fre4knc team up to deliver the 'Martial Manners' EP in celebration of Translation Recordings' tenth vinyl release, which comes on a visually stunning piece of crystal & transparent white vinyl! Up first is 'Collessius,' whose heavy-rolling bassline rushes in with the
force of a tsunami, leaving a wake of dancefloor destruction in its path. 'Shutter Angel' is a futuristic track where tight, snappy breakbeats slingshot back and forth between an electrifying bassline that surges across the airwaves like a beam of focused energy. Mindmapper & Fre4knc
delve into darker territories on 'Fenryr,' whose gritty atmospherics and subterranean low
frequencies deliver a unique and immersive listening experience. They close the EP on a deep, meditative note with 'Mind of Steel' (digital only) where drum edits slice through growling bass riffs with blade-like precision. The 'Martial Manners' EP strikes the perfect balance between dancefloor and experimental to carry on Translation Recordings' ongoing mission to bridge audiences with quality music that can be enjoyed in all listening environments.
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Translation Recordings is proud to unveil its summer 2012 project capturing all moods sublime with the 'Universal Grooves LP'. A limited press on transparent blue vinyl, this special edition 12inch showcases a diverse sampling of Translation's full album that will not disappoint. The A-side brings the thunder showcasing the heavy hitting, rolling and dubby sounds of Loxy and Resound's 'Civil War' and Theory's calculated genius behind the ragga and amen tear-out, 'Final Confrontation.' Flip to a switch in vibe as DBR

Stellar full-length album selection of archival material from Tim Jackiw ranging from timeless late night techno and deep space soundtracks through to electronic jazz and ambient atmospheres. All music sequenced and recorded in Tim's Adelaide-based bedroom studio between 1995 to 1997 using an Amiga 500 interfaced to various analog synthesizers, drum machines and samplers. Limited colour vinyl double pack - big tip!

‘R U Happy’… A simple question. But is there a simple answer? Allow Guti and Tripmastaz to look you dead in the eye and find out once and for all.

Their first ever collaboration – conjured in a rare real life, real time, real vibe collabo scenario in Tripmastaz Moscow studio – this fact alone should be a reason for happiness. The music seals the
deal furthermore; a bubbling analogue bass, relentless jacking beats, filters set to their juiciest coordinates and that insistent loopy vocal sample, there are some serious strong tones of Chicago in the blend. The sharpness of early Trax, the fatness of early Classic and that rolling vibe that captures
the essence of house like no other city.
If your happiness status relies on more of a French lift then allow D’Julz to take your hand with his remix. Still just as jacking, but with a little more beef in the bass, more dynamic strip-backs and several new layers of funk-riddled filters, if you’re not happy by the time this kicks in, you need to consider some of your lifestyle choices.

With the Pets guys and Guti both fresh from big album excursions and Tripmastaz enjoying a rich vein of form on the likes of Tatouffe, Bass Culture and No 19 already this year, all parties are kicking with vitality on this one. Are you happy? We certainly are…

A Credible Eye Witness teams up with enigmatic Ghost Ride to create a new aesthetic and musical identity to his ACEW project. Loud yet energetic "Stellar Tunes" introduces four dancefloor electro cuts characterized by European noir tones and US funk sororities. From the Detroitish influences of opener "Sound Odyssey" to the ultimate 90's groove of synth pop 'Political Collapse', passing through the cosmic analog style of emotional "Purple Sky" or the hammering vibes of psychedelic "Obsidian", the 12' brilliantly combines acid abstract sounds, experimental and structural elements that underline the mastery of Emilio Urbano in developing original and intricate electro music. 'Stellar Tunes' sees the Italian moving on a bit from his first productions to explorate funkier landscapes. Expect nothing but electro at its finest!

The drum and bass chart-topping artist, CURRENT VALUE, whose tunes are often a staple of Aphex Twin’s performances, returns to METHLAB RECORDINGS with his SENEX LP, which features twenty one of his most technical and innovative sonic works on the
ike-minded label.

A twin release with it's more upfront & riotous cousin PUER delivered via Souped Up Recordings, SENEX displays its half of the CURRENT VALUE sound with an expansive array of sonic sequences marked by their forward thinking sonic character and the singular timbres for which CURRENT VALUE is known.

Early in the album’s span come the glittering arpeggios of MEGACITY, which filter downwards above the bassline pursuit that plays out beneath their fluttering rays. Further in, DISMANTLE deconstructs a set of classic rhythms before reshaping them within the milieu of it's hazy pads under the pressure of it's mechanical low frequency generator.

An elysian piano melody wafts through the opening percussion of FRIENDLY TAKEOVER and therein masks the brutalist companion frequencies that await within the track’s second section.

ACCESS POINT surges within a stream of bitcrushed binary at the albums third quarter, and opens the way for the enigmatically warped sonics that course through the albums final sections and flow within the depths of it’s voidborne closing track, CRYSTAL BALL.

With SENEX, CURRENT VALUE delivers one half of his joint 11th and 12th albums as he explores his most experimental sonic leanings to both a further breadth and depth than ever before upon the METHLAB RECORDINGS label.

* The original sister label to Ram Records from the old Ram HQ studio in Essex, Liftin Spirit Records now celebrates it’s 25th year with a special ‘RELOADED’ limited vinyl series of remastered classics, alongside rare and previously unreleased tracks since the beginning in1992.

* DATs from artists such as Andy C, Ant Miles, Shimon, Joint Venture, Interrogator and Red One have been located in the archives. Also from the Ram & Liftin HQ came tracks for the Deep Seven label in 1993 and all these rare DAT masters have been located and now re-cut by Simon, the original Ram & Liftin vinyl masterer at ‘The Exchange’. Initially, Deep Seven remasters will present on a printed white label and unreleased tracks will have a black label.

* Desired State are back again on Liftin Spirit Reloaded with an EP from the early years of the RAM and Liftin Spirit HQ spanning 1991 to 1994. Previously unreleased tracks have surfaced in the archives and are presented here on one heavy weight EP. King Nightmare (1994), The Message (1993), Duckin' and Divin' (1992) and Asid (1991) make up the package. Desired State's second ever release was an EP on Strategy Records in 1992 just before the inception of Ram Records. Duckin’ and Divin’ had always been a favourite from that release and now sees the light of day once again some 27 years later

Promotion across chosen internet websites and Hardcore/Jungle 12” vinyl communities.