Beats Vinyl New Releases - News

* 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.

* Ant Miles's 1993 alias 'Folosaphers' brings another 2 Hardcore tracks to our Deep Seven Series. 'Realization' & 'Age of Insnaity' make up yet another sought after 12" from the 1993 label Deep Seven. Both tracks have been remastered from the original DAT and pressed onto our 180g heavyweight vinyl.

Matt Jencik is back on Hands in the Dark with his new album, Dream Character, the follow up to his first solo record Weird Times back in 2017.

Whilst all the songs on his debut album were created using the same sampling method on the same instrument, this time the Chicago artist’s approach is slightly different. Using a combination of 4 track cassette, digital recording & sampling, he added live improvisations and a wider selection of instruments including guitar, bass, organ and string synth to his work.

What Matt Jencik achieves on Dream Character this time is, like a powerful dose of psychedelic drugs, not to be taken lightly. There are layers, and if you’re prepared to dig you will find yourself drawn into a maze of pathways that can take you in multiple directions, via feelings of escape and release alongside suffocating claustrophobia, or soaring, triumphant beauty paired with cold, lonely despair. These eight titles can both tuck you in and make you feel like you’ve got to fight your way out. Either way there is great value in the experience. There is a purity and a clarity to Jencik’s sound, but one that can only truly be accessed by listening with your own intention.

Minor Planet Music's fifth release. Various Artists
Where thought and concept are intertwined with light and sound
Where cosmic shudders become Music.
Where categories are obsolete and there is only impression.

‘Elettroencefalogramma’ scans the full breadth of electronic composition by Italian musical mastermind Antonino Riccardo Luciani, who’s perhaps best known for his library records, but on the showing here had a strong, prescient line in mind-bending, fathoms-deep experimental and academic work with tape and early, pre-synth devices.

Awarded unprecedented access to polymath composer “Tony” Luciani’s archive of inter-disciplinary work, Finders Keepers’ Andy Votel follows his pressing of Maria Teresa Luciani’s ‘Sounds of The City’ with a first compilation survey of her sibling’s vast catalogue, newly issued via the Dead-Cert label he curates alongside Sean Canty and Doug Shipton.

The set falls deep within the label’s remit of reissued and previously unreleased work by overlooked and undocumented pioneers of 20th century sound, revealing a distinctive mix of material that nods to contemporary, tape music, neo-classical, jazz, electro-acoustic and counterpoint composition.

Drawn from original tapes recorded during the 1970s, ‘Elettroencefalogramma’ spans the heyday of Luciani’s work, before synth music was popularised. In this sense it’s worth noting Luciani’s links with Teresa Rampazzi and the pioneering electroacoustic group NPS - and namely Serenella “Serena” Marega - with whom he shares a strong affiliation toward embracing the possibilities of new music at the dawn of an unprecedented sonic epoch.

There’s a sense of being in transition between worlds and eras in the opening blend of melancholy strings and bubbling electronic rhythm ‘Battery Farm’, and likewise the cranky mixture of bestial growls and dissonance in ‘The Zoo’, while the rattly rhythm of ‘Offices’ uncannily recalls Trunk’s recent issue of ‘Mechanical Keyboard Sounds’ from the modern day.

But Luciani excels at quieter, introspective styles, as with the flute-led vision of ‘Desol 2’, and most remarkably in the stygian, primitive drum machine pulse and clammy string droens of ‘Forest of Chimneys’, which is surely crying out for imagery of Satanic mills, while the rupturing tape of ‘Bombardment’ sets him firmly in a lane of advanced Italian noise that connects him to Gruppo’s Roland Kayn and Maurizio
Bianchi.

Chasing up Good Morning Tapes’ standout EPs by HTRK’s Jonnine Standish and UK synthesist, XVARR, the ’All Welcome’ 12” pairs three previously tape-only tracks with a trio of exclusives on a killer compilation from the promising French labelSupplying a varied and engaging experience ranging from Tapes’ classical Indian invocations to Eszaid’s gutted D&B and Kiki Kudo’s fizzy electro-dub, ‘All Welcome’ renders the label’s aesthetic wide open with a wonderfully shine-eyed appeal to mutual, empathetic ambient souls and lovers
of electronic magick.

Tapes, aka South London enigma Jackson Bailey, coaxes the EP into action with the woozy title tune of his 2018 tape ’Silence Please’, meshing electronic tanpura drone with mysterious winds and sloshing tabla drums in a respectful tradition of English artists including Robert Wyatt and Shackleton, before Eddie Ruscha’s Only Thingz spies Eno via The Orb and Vangelis in the glyding
synth pads and smeared brass tone of ‘All Eyes Open’, and Berlin-based Brazilian artist INNSYTER follows a deliciously groggy ambient hunch in ‘Morning Blend’.

The label then play it closer to home with an eviscerated D&B dub by Eszaid, co-owner of the Paris-based Collapsing Market label, with ‘The Most Sacred Syllable’ primed for fans of Andy Stott or Demdike Stare, and Anthony Naples takes it to NYC with an extended mix of his scudding piano house workout ‘Goodness’ off the ‘Take Me With You’ tape (not found on the LP released by ANS!), and Kiki Kudo keeps it stateside with the palpitating electro-dub fizz of ‘Hala Dub’ in a style relatable to E.M.M.A. or Jay Glass Dubs.

Arandel's new opus, 'InBach', released 24th January 2020 by French label InFiné, pays a poetic, infinitely respectful and innovative homage to Bach's sacred workings.

Arandel was granted limitless access to the galerie of (sometime rare and ancient) instruments, as a well as a countless recordings of the prestigious Musée de la Musique in Paris with a view to sounddesign his brand new creation. He performed a few months after at Philharmonie Paris a hybrid live performance/DJ set 'Switched on Bach', named in acknowledgement to the legendary 1968 by American composer Wendy Carlos (Tron, A Clockwork Orange, The Shining).

From candles to LEDs, from DJ sets to museums, from historical instruments to machines, from Bach's themes that have entered the collective unconscious and inspired contemporary flesh and blood musicians… 'InBach' was a foregone conclusion.

In the immensity of Bach's oeuvre, in the company of his fellow wanderers, within the constraints of his-torical instruments, emboldened by the delightful, sometimes technically dangerous friction between acoustics and electronics: Without a net, Arandel walks a tightrope without a faux pas.

Vital Sales Points:

- Strong French environment including institutional support from Philharmonie / Musée de la Musique in Paris with a big shows' scheduled.
- A hybrid album with a mix of rare instrument sounds, synthesizers and innovative creative bias.

A Weird Trip of electronic music in a genre transgressing way with the extraordinary thrilling voice of India de Vere from London, produced by the Salzburg-based musician Gerald Peklar.

Both single releases "Fly Away" and "Don't Fall" already on heavy rotation in Austrian public radio FM4 (ORF).

A profoundly original record steeped in millennia of pre-Islamic (pagan) and Islamic theology and Arabic tradition, ‘Dhil-un Taht Shajarat Al-Zaqum’ translates into “a patch of shade under the zaqum tree” and sees Myslma convey an ancient sense of existential angst via the contemporary prism of electronic music in his singular style of emo-R&B and weightless grime expression.

Although entirely sung in a form of classical Arabic that even modern day speakers may not comprehend, Msylma’s impassioned delivery and intonation conveys the gravity of the album’s themes in no uncertain terms, meaning that native and non-Arabic speakers alike will be absorbed by the album’s emotional pull.

Turning cues from a rich knowledge of pre-Islamic and Quranic poetry into a work of subversive literary fiction, Msylma charts a transition from a romanticised childhood, thru the rising self-awareness of adolescence, to problems with parents and the sardonic cynicism of adulthood, before looping back to childhood, and resolving with a burned-out, sore conclusion in an eternal here and now; effectivey mulling ontological and existential themes that surely resonate with a lived human experience wherever you’re listening from.

Whether channelling a pained sort of R&B/soul spirit in the aching delivery and floating chords of opener ‘Inqirad (Rihab-U Dhakir)’, singing from the midst of a weightless grime skirmish in ‘Min Bab AlKamal-i w AlDawam’, or scaling the lofty heights of ‘Astaqi AlGhamam’, no knowledge of the lyrics’ meaning is required in order to immerse in and empathise with Myslma’s music.

But if you’re the inquisitive type, we’re sure that a quick Google translate of the track titles will offer more concrete pointers to each song’s meaning and, in turn, open listeners to a world that’s familiar yet beyond their immediate conception.

This is an album that will stick in the mind long after the music stops playing, opening windows into parallel dimensions as fascinating and dramatic as the visions of Scott Walker, as haunting as Omar Souleyman’s lamenting mawwals, or futuristic as Fatima Al Qadiri.

New release from Paolo Macri with four housy and break tracks on Squeeze The Lemon, a new electronic music label based in Turin, founded and curated by Paolo Macri and Dario Zappavigna. Don't stop yourself and squeeze the lemon

Blue Vinyl The Caretaker despatches the final scene of a 20 year-long act that has uncannily lurked in the shadows of so many of our listening lives. Clad for the last time in Ivan Seal's specially comissioned artwork, this final stage sees The Caretaker mirroring the ultimate descent into dementia and oblivion, again using a patented prism of sound to connote a final, irreversible transition into the haunted ballroom of the mind that he first stepped into in 1999.

The project really took on new dimensions in 2005 with the 72-track, 6CD boxset 'Theoretically Pure Anterograde Amnesia', which was accompanied by an insightful unpackaging of it's ideas by cultural critic Mark Fisher aka K-Punk; a stalwart of the project who identified it (alongside music from Burial and Broadcast) among the most vital, emergent works of Hauntological art, a form of music often preoccupied with ideas about memory and nostalgia (but one distinct from pastiche), and the way that they possibly overwhelm, occlude, or even define our sense of being.

By using fusty samples from an obsolete analog format, and by doing so in the 2nd decayd of the 2nd millennium, The Caretaker perfectly and perversely bent ideas of anticipation/expectation with his arrangements, playing with notions of convention and repetition.
The project crystallised as a real gesamtkunstwerk for these times, and one arguably defined by a stubborn and intractably chronic drive against the grain of modern popular culture, or even a refusal of it.

And so to the project's final goodbye. With the outside world muted, and only the timbral residue remaining like smoke, everything moves as slow as a Lynchian dream sequence, until a conclusion so ineffably sublime occurs that we can't mention it for fear of waking up.

With his departure, we'll just take respite in the fact that The Caretaker was always there, inverting our world and supplying space and time and theory for thought, prompting us to dwell on the realest and darkest matters via the prism of the surreal and the unreal in a way that, in the long-run, can prove to be more effective at grasping the immediate state of cultural amnesia and the world's increasingly tight feedback loops, and arguably bring us to the realisation that it's
all a hyper-complex mess beyond anyone's conception, but we must at least attempt to try and understand, no matter how futile it seems.

Br Welcomes A Special Release For Its 4th Episode. This Time It's A Team Work, Showing A Large Scale Of The Label's Tastes With Strongly Different Tracks Between Breaky House-techno, Downtempo And Idm.

Bit of an enigma this one, the debut release - a decade in the making - from an artist about which we know very little. Soaring Wayne Phoenix Story The Earth is a fascinatingly intimate yet elusive record honed over years by a trained pianist recording a kind of all-encompassing audio diary that reminds us of everything from Klein to Burial, to RZA’s incredible Ghost Dog OST.

After marinading in the archive while trends passed by, the fleeting stop/start collage of honest humility and ephemeral thoughts in ’Story The Earth’ resembles a time capsule of a former, or parallel, self; one the artist is only now at ease to come terms with. Vacillating moments of profound lucidity and penetrative pangs of anxiety, Wayne lays his soul bare in that most vulnerable way that can sometimes lead to great art, and finds himself in solid, empathetic company among Halcyon Veil’s sensitively intuitive spirits such as Myslma, Mhysa and of course, Rabit.

One of those debuts that feels uncannily familiar on the first encounter, the album dredges a remarkable and unshakeable depth of feeling and human insight via its mazy tile of vignettes, drifting from softly textured, deep blue witching hour logic to more grizzled, Tricky-esque realisations and glossolalic expressions that practically, poetically say as much as his legible lyrics.

In between, pockets of fractured music box melody and sorely textured beats flower and weed in the gaps, sounding something like RZA’s ‘Ghost Dog’ OST adapted from dilapidated NYC rooftops to the same drizzly London streets inhabited by Burial, Klein and Mica Levi.
Maybe best of all though, there’s very little pretence to this record. It simply sounds like the artist is working out their feelings thru music in an exposed, genuine way that doesn’t matter if nobody else ever hears it. But here we are, and Wayne Phoenix’s frayed, dreamlike tapestry of self reflections are set to become part of our contemporary consciousness in 2020.

Distinct Motive returns to Navy Cut with another weighty two track release! Hamburg; a fast paced percussive driver. The A side that did serious damage at this years festival in USA and Europe. “2-3-4-5-6-7-8...Doww ww wn” Haste on the flip side ... A stripped back minimal roller which transforms on bigger sound systems. Packed with bass energy and synth lines.

Joonam is here. The new project from fellow NY friends Elon Admony & Nima Khalilian is landing its
breaks and techno laden debut EP on Vakant this Summer. On remix duties we welcome OCB from
Casa Voyager.
Fotography by Expreso Nova (Valentín Rodríguez)

Om Unit kicks off 2020 with ‘Submerged’, a six-track EP comprised of varied uptempo grooves, which in his own way defy categorisation once again.

The EP draws influence from various aspects of the techno landscape as much as borrowing from tropes of previous work including his trademark use of space, rhythmic tension and sub-heavy hypnotic bass melodies.

A record that showcases further diversity and sonic innovation within the realm of what has been coined ‘160’, a loose term to describe a movement which he himself has helped to pioneer since the early 2010’s.

The new album by Robert Piotrowicz does not fit any category. What this multicoloured electronic instrumentation aims to channel is the acoustic experience and energy of the performing musician. As a result of a wide range of creative means used, the narrative language of the compositions bursts withtension and mystery.

The album includes slow hypnotic passages of stone electronics (“To Fleh”), vigorous tempos and circular repetitions (“Euzo Found Gitar”), sprawling artificial soundscapes, back-to-origins ethnicity (ethnical subsoil and elements) liberated from any geographical identity (“Ocarina Wars”), as well as dreamlike minimalism with unpretentious cinematographic traits (“Flares Et Wasser Hole”). Some of these unusual melodic patterns may resemble the corporality of the animal throat rather than any human-created instrument (“Electros Spong”).

Although Euzebio was recorded with synths, the final shape of individual tracks and the album’s overall acoustic image go far beyond any electronic genre. The instruments have not become a goal in itself. They were merely a building block, a tool that helped achieve the album’s extended structure - a diverse whole with rich spatial features.

All sounds performed and recorded by Robert Piotrowicz on Buchla and Serge synthesizers at EMS Elektronmusikstudion in
Stockholm 2013/2014. composed, mixed and premastered by Robert Piotrowicz artwork and photos: Robert Piotrowicz design
and layout: Lasse Marhaug special thanks: Ocarina Jones and Tomasz Gil mastered and cut by Rashad Becker at D&M Berlin
Produced by Musica Genera

In The Dust Of Idols is an album exploring mortality, existentialism & the dread one can feel in the face of an apparently meaningless world. The journey you embark on when trying to create meaning where there is perhaps none. These initial senses of dread can be brought about by the insignificance you feel in the face of greatness, where others have seemingly found meaning and purpose in the face of your own wavering path. Other then these can be expressed in grandness and can become historically significant human feats, the fact that they have stood the test of time can become in itself overwhelming when reflecting on your own journey. Whilst these moments in time may hold no specific meaning to you - despite their impressive nature - you are driven into senseless awe. In the Dust of Idols ties in this sense of wonderment coupled with the overarching dread you feel as you contemplate your own existence, where you fit into the significance of society and as Ruth Tallman quotes ' the search for answers in an answerless world'. 'I wanted to create something dense & heavy. When you listen through, it makes you feel like it has the weight of time stitched into it' explains Ives. As well as expanding the range of instrumentation used on this,his second album, Ives also enlisted the talents of Cellist Charlote de Burgh-Holder and experimentalist Joe Summers on the tracks 'The Unread Library' and 'Twisted Necks' which further adds to the dynamic depth and range on this record Clarity was not my main objective, like an old piece of furniture covered in dust, you can tell what it is but the details are obscured,

12" (Clear Vinyl, Limited) +CD+3 Posters

As a follow-up to the Roads series, it is in the Faroe Islands that the prodigy of the French electro scene, Thylacine, decided to record his new EP on board his Airstream caravan.

This Vol 2 is the continuation of a creative journey, the story of which begins on board the Transsiberian, the famous train that links Moscow to Vladivostok where he recorded his first album (2015), which revealed him to the scene.

He continued his journey with the Airstream caravan, transformed into a mobile studio and with which he travelled along the Andes Mountains on the Argentinean side to write his second album, Roads Vol.1.

These four new tracks tell the story of the wild and powerful environment of the Faroe Islands. Eysturoy subtly combines the aerial melodies of Moderat with the techno power of Paul Kalkbrenner. The amazing voice of the Faroese diva Eivør.
Saksun transports into Nordic atmospheres with the presence of strings in an ethereal and minimalist style.

Stormur is reminiscent of the hypnotic tablecloths of a Jon Hopkins. Alda projects a bewitching electronica where Thylacine's favourite instrument, the saxophone, mixes with the sound of the waves.

In the last years, Asfast (aka Leon Leder) has established himself between Deconstructed Club Music and Dark Ambient. Originally socialized in the Breakcore scene, which also had a strong Metal impact, Leon Leder merges his diverse influences in order to create a new level of aesthetic entity called „The Prime Same“. He almost skips musical measures while using a slow narrative linked to oddly rough and intrusive rhythm passages. These noteworthy characteristics emphasize the idiosyncratic sound world of Asfast. While „Altar“ (Amen Records, 2018) already revealed moments of mysticism and symbolism, „The Prime Same“ sets out to deepen these impacts by deconstructing genre boundaries. Asfast celebrates a ritual, which faces the conflict of accessibility and confrontation without losing its inherence and particular focus.

Focus in restraint
Ascend and descend
Disembodied rituals through wordless narratives
Something opens and closes in slow motions
The inner becomes the outer, drawing paths and lines that eventually,
somewhere, cross each other again
In the end, these puzzles might solve themselves

In 2018 Asfast released his latest single "Drag Shift" in cooperation with SOAP & SKIN and EVELYN PLASCHG. His new album „The Prime Same" is the first one for denovali.

Gafacci is well known for notable artist collaborations, eclectic edits and his Asokpor productions. On this new four track EP, he steps out of familiar soundscapes, driven by his steady desire to ex-plore a more melodic side of his own production style. This led him to experimenting with the ,Lo-Fi' and infuse it with afrobeats as well as diverse tropical sounds.
Over the past three years, the Accra based producer, DJ and songwriter Gafacci had been circulating around the term ,Low Fidelity' and he dedicates this album to all those across the globe who can relate and support the music.
The Title ,TASH BNM', meaning ,Tash bought new music' is inspired by the notifications of a music connoisseur's weekly purchases on bandcamp.

Noteworthy are also the featured artists, from multi instrumentalist Nii Quaye to Chefbanku, singer Amaarae, Ghana Music's OG Kyekyeku and rappers Tinuke & Lazee, each guest complements to this timeless piece of music in their own unique way.

New Critical

Danish musician/composer Mads Emil Nielsen continues his Framework series; a collection of open, hand-drawn graphic scores and recordings. The series includes Nielsen’s own subjective translations of the visual material and sound pieces accompanied by visual notations, and collaborations – in this case with Andrea Neumann, Jan Jelinek and Hideki Umezawa. Framework 2 consists of printed scores and recordings, released on 2 x 10” vinyl + DL.

Circles (Disc1: side A) is a dense, 03:45 collage of synthesizer recordings made during a residency at EMS (Elektronmusikstudion), Stockholm. The first graphic score is an illustration in three parts, based on sketches and drawings made intuitively while listening during and after the recording process.

Framework Fragments (Disc1: side B) created in collaboration with Andrea Neumann is derived from live recordings made with electronics and inside piano, and is based on the second score. The piece was made by the two musicians improvising from the seven graphic score fragments, sequenced using individual timecodes and then edited by Nielsen into a more complex collage, following closely the structure of the original recording. Originally a 4-channel composition, Framework Fragments was presented as part of the two artists’ “Creepage Current” sound installation in Berlin, Copenhagen and Milan, 2018 & 2019.

Nielsen then invited two artists to interpret the notation & score – electronic musician Jan Jelinek and sound artist Hideki Umezawa. These recordings are included on Disc 2 (on transparent vinyl). Jelinek chose to focus on the second part of the Circles score – following its structure / timeline and translating the elements into three separated loops blending in and out, one after another, surrounded by additional sounds and random textures.

Umezawa interpreted the Framework Fragments score. Various recordings based on his improvisations made with the Serge synthesizer – once again during a residency at EMS (2019) – were organised to ensure the sound material correspond to each element / score fragment. Finally, the material was re-arranged in detail and edited into the 9 min. composition.

Circles written & produced by Mads Emil Nielsen, Stockholm / Copenhagen, 2015 / 2017. Made for “Sichten 1” compilation curated by Frank Bretschneider (raster-media 2018). Framework Fragments (4-channel piece) mixed & completed by Andrea Neumann and Mads Emil Nielsen, Berlin 2017 / 2018. Circles – 2 written & produced by Jan Jelinek, 2019. Framework Fragments – 2 written & produced by Hideki Umezawa, 2019.

4Weed Records is very grateful to announce its new 12inch vinyl release.
Featuring Higher Regions’ boss Mighty Prophet outta Italy and the young and highly talented Baodub outta Spain.

On A side ‘Cradle Of Civilization’, Mighty Prophet shows his hi-quality dub producer’s skills. Played by King Shiloh as last tune in many dances, this track and its dub side fit perfectly in your heavy dubwise selection! Meditative melodies and spacey arrangements. Just powerfull!

B side ‘Echo Cave' arrives with an incredibly potent sub-line, combining tribal percussions, ancestral echoes and superb drum work to provide an energetic vibe. A jewel by Baodub!

Tlamess (Sortilège) is Oiseaux-Tempête's first original soundtrack composed for the second feature film by critically-acclaimed Tunisian Director Ala Eddine Slim (Festival de Cannes' 51st Quinzaine des Réalisateurs, BFI London, ADF Argentina, Geneva GIFF, Rome Medfilm Festival, Marrakech International Film Festival).

Combining hypnotic feedbacks and synthesizer orchestral work, drifting ambient with shamanic beats, Tlamess (Sortilège) was entirely improvised while watching the movie's rushes. On those sessions that took place between Mikrokosm recording studios in Lyon and Magnum Diva home studio in Paris, we find Oiseaux-Tempête's quartet core team: Frédéric D. Oberland, Stéphane Pigneul, Mondkopf & Jean-Michel Pirès (Bruit Noir). Fully instrumental, including extended versions and unreleased tracks, this immersive film score is also their most electronic album to date.

25 years ago the Pacha Ibiza vibe was brought to Belgium by Patrick Soks, who has been hosting the Paradise parties at Café d'Anvers since then. Derrick May, Derrick Carter, Stacey Pullen, Todd Terry, Pete Tong, Dimitri, Marcello, Doc Martin, Laurent Garnier, Sven Väth, Bob Sinclar, Luciano... they all played their first Belgian DJ set at this legendary Belgian party. Enjoy this anniversary release full of seminal tracks... Music is the answer!









I E2 | Night Communication - Lose Control (In Dub We Trust Mix)

The second release on Artefakt's De Stijl expands the sound of the imprint introducing three new names to the catalog. The record ascends into a subterranean rave with Aphelions' 'Temple 7' depicting a ritualistic gathering carved out in distorted analog transients, shimmering melodies and modulated voices moving over deep pounding sub frequencies. Label founders Artefakt sustain the urgency on the A side with 'Agents Of Reality', a high energy uncompromised off-beat structure venturing into eery resonant pads gravitating towards a subdued acid motive. Energy shifts towards subsonic atmospheres takes place on the B side, as Artificial Drm envelops the listener in a layered driven spectacle with his heady piece 'Human With No Name'. From the residual hiss and feedback tones of the B1, Northern Electronics affiliate Korridor emerges with an epic ambient piece titled 'VI'. Lush pads and analog square bass-lines drift off into rhythmical arpeggiations bringing a close

Sub Rosa presents a fundamental collection devoted to rare and lost recordings from '20 to '60's.

PUT A NICKEL IN THE JUKE
AND BOOGIE 'TILL YOU PUKE

Is it really possible to imagine what modern music would sound like if a few pioneering geniuses had not had the idea of electrifying their instruments, especially guitar and harmonica, between 1945 and 1950? Some purist will regret this evolution, but, in the 50s, the new sound will be heard in all the studios and night clubs of the United States; it will become a staple on the radio, in stores, at weddings, and private parties. It will radically transform the music scene and allow hundreds of artists to express themselves, create, hope, and innovate.

This collection pays tribute to about thirty artists, some of which later became known, like Albert Collins, Jack Dupree, Homesick James, Sam Myers, Dr. Ross, and Joe Hill Louis. However, the real treat is having an opportunity to hear fabulous unknowns who all, one day, had the chance to be recorded, either in a studio, on the street, or on a back porch, before going back to anonymity shortly after.

Almost all of the artists presented here hailed from the south of the USA. Some of them stayed there their whole life, other emigrated toward the north, moving up the Mississippi, or toward the west to settle in California. The music included here is part of the foundations of all the modern music that would take the world by storm up to our time.

"In his solo work and as a member of Nine Inch Nails, Alessandro Cortini's music casts the listener into an intricately rendered vortex of emotive dynamics,where he expertly maximises the boundaries of contemporary electronic music. His new album, 'Volume Massimo,' combines his fondness for melody with the rigour of experimental practice. Follows on from 2017's universally acclaimed album ‘Avanti. 8 tracks of deftly arranged synthesizers saturated with sonic artefacts and luscious pop sensibilities.
+ Includes download code."

MUSIC IS MEDICINE. - Produced & Mixed By Johnny Jewel.
Artwork By Johnny Jewel. Mastered By Mike Bozzi At Bernie Grundman Mastering. Vinyl Cut By Bernie Grundman In Hollywood.

Chromatics share a new video for "Move A Mountain" which is directed by Johnny Jewel - The track is taken from their album 'Closer To Grey'.

- The album is available to pre-order on 180g Coloured 2xLP. -

When was the last time EDMX served you what you expected? Maybe you drop the needle down in anticipation of some slick boogie-inflected synth pop and get walloped in the face with hellfire techno. Perhaps you were itching for body-popping electro and got cerebrally hijacked by pagan coldwave.

On this latest magnum opus, his first on Queen Nanny. Ed Upton is in the mood to get down low in every sense of the word. On the frequency range, this is a record dripping with lard-fed bass at every turn. The arrangements too are devilishly low in channel count – raw riddims with just a few key ingredients to do the necessary damage. Then there are the tempos, which predominantly set cruise control at 90 BPM and glide.

It’s not hard to tell where EDMX’s inspiration has sparked from on this album – in the spirit of celebrating the compatability of oddball sonics from all corners of the globe, he’s patched his sound into a specific vibe and struck gold with some of the most distinctive riddims you’re likely to hear all year.

Concealed within the eclipse, Overdue presents a new black-label 12" series - symbolic of its sinister auditory contents.

Further proof of their unbridled dedication to sound system music and commitment to quality, the Belgian Dubstep imprint unravels
it's fifth physical release. Based in Denver, its newest signee by the name of Ghast returns to the spotlight, following up on heavyweight releases on prominent labels such as Encrypted and Gradient Audio.

The talented American artist sets the stage with two unruly armaments, alongside murderous remixes by Denmark's bass music stalwart RDG as well as the label operators themselves, Substrada & Caba.

Starting the engines, 'Mothership' immerses the stage in flickering echoes and haunting wails - the air bustling with anticipation. Eerily disfigured, granular reverberations materialize amid a pressurized and truly outlandish soundscape, barren at its core. Heading into the second section with renewed vigour, no dance floor remains unscathed in the ensuing aftermath.

The subsequent doomsday scenario, as engineered by Substrada & Caba, strips the ship to its bare essentials - laced with trippy drum instrumentations and the psychedelic foley samples. The meticulous flow presents itself in a bleak dungeon style - hoodlum vocal fragments rounding off the resulting low-frequency inferno.

Flipping the record to its equally profound B-Side, 'Vehement Mess' unhinges another portal into madness - dance floor upheaval guaranteed. Showing no signs of mercy, the infernal armagedon proves to be emblematic for Ghast's dystopian sound design. Profusely industrial and with clinical efficiency, hitting all the right frequencies as the second wave ignites but all available power reserves.

Finishing off any remaining survivors with his irreproachable signature style, RDG's remix marches onwards with unrestrained might in a four-to-the-floor fashion - super-charged, galvanizing the rave in a no-holds-barred shutdown.

Kennebec will become part of an internationally respected roster including Khraungbin, Leifur James and Ash Walker.

2 years of patient, daily labour to complete this album, during which time,

influences such as Studio Ghibli s composer Joe Hisaishi, cult hip hop artist Nujabes as well as Australia’s Taylor Crawford

and Tycho’s ambient electronica began to permeate the soundworld.

Libra is the sigil under which Latvian composer and artist Agata Melnikova delivers her mystical, musical musings. Sea to Sea, Melnikova’s sophomore album, operates at the node between cerebral and celestial, the complex and magnificent systems of our immediate and greater cosmos arranged into exquisite and eccentric sound patterns.

Closer to the Equator, Melnikova’s debut album (originally released on Sounds of the Dawn, and then Antinote), was composed for a contemporary ballet choreographed by Milana Komarova and performed at the Latvian National Opera in Riga.

A microcosmic rendering of rainforest activity equally informed by BBC nature documentaries, Closer introduced Melnikova’s penchant for impressionistic, pseudo-anthropological and intimately synthesized environmental visions, executed with detailed and balanced arrangements.

First-ever vinyl edition! The Young Gods 2007 album,
"Super Ready" and "Fragmenté" are finally released on vinyl with a beautiful artwork by 'Ich&Kar'.

The twelve compositions of Super Ready/Fragmenté are of a pure sonic power. From the nasty rock song “I’m The Drug” or “Freeze”,
to the abstract “C’est quoi c’est ca”, the playful “El Magnifico”, the psychedelic and moving “Stay With Us”, “Super Ready/Fragmenté” (nine minutes of sound journey and pivotal track on the album),

The Young Gods have delivered a great album inhabited by Franz Treichler’s clearer, warmer and more powerful voice. That being said, words are, as always, of paramount importance to the Gods.

With the political and poetic “About time”, the group rises up against fear as a market value. Fear is a very current signature of today’s world, recalls Franz Treichler. How many politicians get elected by selling fear by the kilo? Or describes, in detail, the relationship between the couple and the imaginary “Everythere”.

For this first volume of Musax Background Music Library, Farfalla Records continues exploring the maze of the french library music through one of its most discreet and prolific representatives: Jacky Giordano and one of his many projects, the Musax label. Farfalla Records carefully selected this tracklisting among LPs recorded between 1978 and 1979 of which the originals became particularly sought after by the collectors. Jacky Giordano who appears under his aliases Joachim Sherylee and José Pharos, is surrounded by qualified and renowned musicians such as Jean-Pierre Decerf, Jean-Claude
Pierric, Serge Planchon, Patrick Petitbon, Gérard Gesina, Jean-Charles Capon, Daniel Humair and also a band composed of members from the legendary Crazy Horse cabaret, namely Pedro Perea, Claude Brisset, Bruno Bompard, Jean-Claude Guselli, Claude Thirifays, Vincent Momplet and Joseph Gatineau. This selection mixing explosive jazz-funk, lascivious jazz and electronic music more spacey
or experimental, which could also be the soundtrack for a TV show, a porn movie or a car chase between cops and gangsters in the bad neighbourhoods of Paris. A fascinating slice of the French music scene of the late 70 is brought to life before our very eyes. (Erwann
Pacaud)

Tunisian leftfield experimentalist Deena Abdelwahed returns with an EP that takes her message back to the dancefloor. Straying away from personal identification, these tracks focus in on the sonic influences of her home region, be it in terms of rhythmic structure, sampling or other local sources. A highly versatile package for any forward-thinking DJ and further proof of this producer 's unique ability to fuse Arabic music references with club music.