Beats Vinyl New Releases - News

On Laughing Gas, the third EP from Wild Nothing, songwriter and multi-instrumentalist Jack Tatum delves deeper into the territory where he thrives: namely, the synth and sophisti-pop of the 1980's. Working within a more mechanical and synthetic framework than his previous releases, Wild Nothing continues to delicately toe the line between the organic and the unnatural. These are still pop songs, but there’s an underlying sense of uneasiness that threads the music together.

Recorded in Los Angeles, CA and Richmond, VA with the help of Jorge Elbrecht, these five songs were originally imagined alongside last year’s Indigo and were written and tracked simultaneously with the album. When work on the full-length was nearing completion, Tatum set these ideas aside; they seemed to fit better on their own.

In spare moments between tours, Tatum began to look back and piece the songs together at his home studio in Richmond, reconnecting with Elbrecht to mix the EP. With Elbrecht in Denver and Tatum in Richmond, the two went back and forth on the final touches, molding a common thread from the Lô Borges inspired new wave of “Sleight Of Hand” to the propulsive, icy synth funk of “Foyer”.

Often considered a secondary or transitional format, Wild Nothing has always used the EP to further explore new ideas and influences. Laughing Gas is no exception.

Post Pluto's third release "Abercrombie St" brings together Sydney based producers Adam Stromstedt, t.hanks and Subaske for a diverse EP suitable for the dark room. All three producers bring their own flavour to the release which traverses tripping techno, booty shaking house and dubby electro

Andy Rantzen, Sydney, Australia.
This one is a special for us as we love dub and lo-fi music and also love the experiments of Andy Rantzen like "Rain in the Morning, Sun in the Afternoon / Dark Sea".
The more interesting part of the story is, that both tunes are written and recorded nearly 20 years ago by Andy - 1999-2000. But definitely still hot and vibing our sweet and sour DIY motto. We like!!!
A must in your collection!

A DECLARATION IS NOT A REENACTMENT. A Pastime For Semi-Gods is an evidence to a new mythology, is the genesis of a collisions. Of waves to a statement on the static, extending in perpetual change. With this album, Ekman is describing the chaos of erotic imagery that is unbroken. On the border of mythology and science fiction.
A Pastime For Semi-Gods is Ekman's fourth release on Bedouin Records and his album debut on the label.

Repress

In Spain the soup is harsh but tasty served cold to staff in empty winter discos it replenishes their souls devoid of joy as they scavenge through left behind belongings The Beatle grins and stirs the pot His recipe of gruesome memories reverberates through the stagnant air As tears fall into stale sangria.

12" (Black Vinyl) +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.

2LP + 7x Posters

Following the release of the second volume of Roads from the french
electronic prodige Thylacine, Intuitive Records presents a deluxe version with Roads Vol 1 & 2, coming in a 2LP slipcase including 7 posters. Also available as 2CD slipcase + 16p booklet.

This boxed set retraces the two journeys of the prodigy of the French electro scene in his Airstream caravan transformed into a mobile studio. Vol.1 was recorded on the roads of the Andes Cordillera and Vol.2 in the Faroe Islands, drawing inspiration from Moderat eerie, Jon Hopkins textures and Paul Kalkbrenner power.

Control Voltage Project is a long running project of Alper Maral and 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.

The much anticipated debut album by Giant Swan, the brainchild of Robin Stewart & Harry Wright; an acerbic marriage of industrial percussion, abused guitar, hypnotic bass and liberal vocal manipulation.

Having built a formidable reputation for their hi-octane improvised performances, relentless international touring and a succession of acclaimed EPs on respected imprints such as Whities, Timedance and Mannequin. 'Giant Swan', on their own freshly minted Keck label, sees the pair stepping things up significantly.
A full-length musical statement that bristles with the galvanising energy for which they're known while introducing a fresh depth, range and sonic nuance to the equation. File under: techno-not-techno.

Named after a beloved track by screamo overlords the Blood Brothers, Giant Swan was originally conceived as a side project from the duos role as guitarists in the band The Naturals, with formative influences such as My Bloody Valentine and Lightning Bolt being distilled over time with inspiration from the varied and always vibrant local music scene in Bristol.

From dub soundsystem teachings at the Trinity Centre and Black Swan or the fiercely experimental early transmissions of friends in the Young Echo collective. Equally at home setting up their table of machines and pedals in the middle of the dancefloor at legendary clubs like Berghain and Tresor as they are playing the Glastonbury Festival, Supersonic or the Royal Albert Hall, Giant Swan have grown to take their place as one of the most singular and determined groups to emerge from the UK underground in many years.

From Bryan Ferry’s side on stage for the past decade to lighting up your night sky with a neon symphony, Jorja Chalmers’ debut album Human Again is here … Beware! Rewind.

In 2004 Jorja Chalmers moved to London from Sydney, Australia with zero cash, her saxophone & a massive crush on an English boy she met while he was visiting Australia. Fast forward 3 years later … Bryan Ferry’s assistant caught Jorja performing at a nightclub in London. The next day she received a message inviting her to audition for his band. She met Ferry at his studio, played some Roxy Music tunes & as anyone who has caught one of Ferry’s live shows of the past 10+ years knows, has been a salient addition to his band ever since.

Human Again was written & recorded by Jorja in hotel rooms after performing Roxy Music & Bryan Ferry songs drenched in sweat each night. Finishing touches were added & distilled inside Ferry’s London studio & then brushed by Johnny Jewel’s glittering hands with Dean Hurley at the legendary Asymmetrical Studio in the Hollywood Hills. The combination is intoxicating.

Human Again bottles that stark loneliness the artist faces night after night on the road. Sonically, the album explores the spaciousness alive inside the minimalism of Bowie & Eno’s Low, her vocal reflects early Laurie Anderson alongside the troubled smoke of Badalamenti’s score for Lost Highway, & the impeding doom of Goblin. Chalmers embraces the claustrophobia of a John Carpenter film cut with the patience & precision of Amon Duul. The quest to be Human Again is to be a stranger in a strange land.

In ‘Red Light’ metal machine magic grinds as a wish is granted. The saxophone wails, humming a new strain of serpentine song. The triggered, vast descent of ‘Suburban Pastel’ unfurls as the landscape expands the mystery. This is visual music that slowly coils its wings around the listener. Jorja’spale blue eyes glance across the vivid landscape. Suspended in reverie, bathed in sound, adrift until the tidal brass of ‘This Is Where The Night Sky Begins’ calls the dreamer back down to earth.

As the needle drops again, the petal soft synthesizers sprawl toward the event horizon, hypnotized by the distant call of the Siren. Visions of intimacy & sentient contact triggered by endless weeks on tour. The human heart of a Saturday night still beating on Tuesday morning. The album’s closing track ‘Ship In The Sky’ is the heroine’s journey into the unknown, without a compass.


INFORMATION ABOUT PRODUCING THIS LP: Recorded & Produced By Jorja Chalmers. Executive Produced By Johnny Jewel. Mixed At Asymmetrical In Hollywood By Dean Hurley & Johnny Jewel. Photography By Karolina Paczkowska. Artwork By Johnny Jewel. Additional Sax & Vocals Recorded At Studio One By Chloe Beth Smith. Mastered By Mike Bozzi At Bernie Grundman Mastering.
Vinyl Cut By Bernie Grundman.

After years of releasing other artists on the label, Martyn returns to 3024 himself with two brand new tracks. Properly reflecting the music he has been DJ'ing out recently, these are two high energy drum workouts that can go straight in the bag. One Eye is an electro based melodic builder, while Nerve Centers is heavily inspired by a more international Drum sound, forwarded by producers such as Noire, NKC, Ahadadream, Principe crew etc.

Mastered by Juke and Footwork Prince from Poland, Rhythm Baboon. The Mix was made by DJ Earl from ''Teklife'.

Originally a collaboration that started in 2004 between the talents of electronic music aficionados Michael Sickinger (USA) and Jonas Thor Gudmundsson (Iceland), Octal Industries has been sketching out cavernous sounding, glacial tinged, dub-infused techno that carries with it a unique radiance that is all too often missing from the genre. Now solely the oeuvre of Jonas Thor Gudmundsson better known under his Ruxpin guise, the Octal Industries catalogue spans over the last 15 years and totals nearly a dozen releases.

After a couple of meetings between Jamie (Exalt Records) and (Andy Verdant Recordings) bosses, the idea of a label collaboration seemed a natural progression for both imprints and ‘Vertex’ was spawned. To honour their common love of music that have depth, width and atmosphere, approaching Gudmundsson for material to kickstart their new venture was an easy choice for both involved.

As the title suggests, “Our Seasons” is a 10 track excursion into the soul of the Icelandic experience, a reflection upon the stark contrasts found in their natural environment. A collection of music that continuously morphs and throws down a variety of tempos and soundscapes over two records: the total sum retains a certain character that is unique to Gudmundsson’s touch.

Setting the scene on record one with the welcoming tones of “Borg Tekin”, you’re met with an expansive sonic vista that seeps into your consciousness - vocal elements calling back and forth. Like the passing of a restless midsummer night, “Thorp | Vanda” digs further down and focuses on the pulsating axis of sub bass and swirling pads that eventually find their peace. The heavy fog of “Roblegt” is more intense by contrast, the cyclical ambience closing in with little room as tension builds. “Dreki Flyr” eases back off: gentle curves, whispering synth patterns and rhythmic patter join as they flit through the night-air.



Switching to the second record, expansive percussion and glistening atmospherics characterise the dreamlike state and playfulness of “Forever”. After which you’re brought back by the slow march of “Winter Techno”, a reflective mood brought to the fore through icy shards of synthesis that take hold. As if waking from a deep slumber, the slow poise and airy tones of “Asleep” capture that peaceful, hazy moment where light breaks in and life begins to stir. The onwards and upwards feel is continued with the fresh energy of “Another Day”, the breezy composition bathing you in the warm glow of a summer’s morning. However, the juddering intensity and tones of “Lullaby” steep you in an almost unexpected surge of heat, before the closing notes of “Times fade” bring you back to an uneasy serenity that is somehow magically unerring – a perfect summary of Gudmundsson’s vision and how he feels the world around him.

Jonas’ recordings have been lovingly engineered by José Diogo Neves and cut by Curvepusher. Consistent with both labels passion for releasing beautiful records, Our Seasons presents commissioned artwork from Andrei Kedrin with layout by Grid Pattern.

The LP will be a limited 250 edition with bespoke artwork printed on 400gsm paper inserts, printed labels, stamped outer sleeves all housed in heavy PVC outer liners.

No.17 marks the return of Sepia to Infernal Sounds as he pops the lid open on some long-lasting dubs from his locker. The title track, 'Flutez' is an uplifting journey, and has been in constant rotation across the dance floor for over 3 years now, having received support from the likes of Truth, Foamplate and Sicaria Sound.

The B1 'Cross The Line', a more recent creation from the Bristol-based producer switches it up and delivers a more direct, cut-throat aggression through the chopping synth, conjuring up a sense of anguish, with the appropriate addition of a daunting vocal sample. Stripping things back and rounding things off is 'Tales From The Crypt', a perfect way to bring things down and lay out that trademark Sepia sound. Emotive notes and progression gives this track a real all-round feel of solace.

The EP has also received support from Mala, Distance and Darkside, amongst others.

'Benjamin Lew was an enlightened amateur, in the noble and almost Renaissance-like sense of the word: he dabbled with equal grace in photography, writing, visual arts ... and worked part-time as a cocktail mixer in a tropical bar which was one of the favourite watering holes of Brussels' thriving artistic community of the early '80s. Tuxedomoon had just moved to Brussels, and Steven Brown was among the many musicians, designers & artists who patronized the bar. Benjamin had a secret passion: he wasn't a musician, but had acquired a small analog computer, with which he had started creating these strange mysterious little pieces. Benjamin played them to Steven and asked him if he'd agree to record with him. Steven was taken with them and accepted. The Douzième Journée was largely created in the studio by both protagonists, with the help of Gilles Martin and myself, in the spring of '82. Listening to his albums (he went on to record four more with Crammed) is like embarking on a dream journey to the Sahara or the Far East. You'd think that some of the pieces feature non-European musicians or samples but: no... this is just Benjamin's imagination, his synths, and his friends...'

Marc Hollander, Feb. 2019

Western Lore closes out the year with a special edition record, featuring a collection of unreleased tracks that have seen constant rotation in Dead Man’s Chest’s DJ sets over the last eighteen months.

Sampling an early 90s snippet of Fabio & Bukem (discussing the roots and inspiration of Jungle music), ‘Lo-Freq Soul’ sets the tone with shuffling half time grooves and morphing acidic bass tones before dropping into an eclectic collage of soul, reggae, and stepping breaks. The ‘Soundboy Version’ hones in on the outro rhythm of the original, offering a more subtle, rolling and progressive take on the low end groove.

Western Lore’s resident DJ Josimar makes a co-production appearance on the Ruffneck version of Haunted Dub; A machine gun assault of b-boy breakbeats, dancehall chants, saturated dub hits and rasping darkside tones. The ‘Rubadub’ version sees Dead Man’s Chest on a drunken dubwise flex, re-working the samples over a smoked out 70s bass riff, staggered percussion and skeletal 4/4 reggae kicks.

Welcome to 7th Storey Recollective, our new sister label dedicated exclusively to previously unreleased and re-issued classics from the 1990's! Kicking us off with our first offering are two incredible tracks from the man like Model (Intelligent Minds, Abstrakt Mindz, Liquid & Model & HLS).

Both produced in 1995, and previously unreleased, these tracks are true unearthed gems of the atmospheric jungle genre. On the 'A' side is 'Jupiter', an epic, ethereal track - featuring beautifully blissed-out atmospherics and razor-sharp drum work, sit back and prepare to be taken on a journey though the clouds... Turning to the 'B' side we find 'Surroundingz', clocking in at over 9 minutes this has a slightly darker vibe - with haunting pads woven into it's fabric of complex breaks. Pressed on 12" black vinyl, and complete with full colour sleeve designed by Model himself.

Presenting 'Fire Zone'. Album written, produced & mixed by Zane Reynolds and pressed on 180g vinyl, by Ekster. Coming out May 2019, including poster 57x57cm artwork by the artist. Mastered & cut by Helmut Erler at Dubplates & Mastering.

The music of Zane Reynolds AKA SFV Acid celebrates lysergic life in small town America. His are urban hallucinations. Conceived in 'business parks, strip malls', in 'blue collar luxury'. On a diet of 'diner burgers'. From the self-released, hand-painted cassettes of his high school years, he has moved to work commissioned by locals 100% Silk, Japan`s Big Love, and Dutch imprint, BAKK. His latest long-player, Fire Zone, will be issued by Belgian label, Ekster.

The album continues to reference Zane's Los Angeles home, and in this case the devastation that rages there every Summer. The concept however, reaching away from the horror and flames, to offer an escape.

There are moments, interludes, that hint at, and hide, something darker. Where drone twists from tape hiss. Bends. Out of shape. Where chords distort. Their degraded edges disintegrating. Charred perhaps But Ai welcomes you to 'San Fernando Valley', and a low-riding 808 booms. Less L.A. More Overtown, or Liberty City. Its racing booty bass calmed by wind chimes. The rapid Electro-Funk clip countered by modal synths. Its sunny disposition reflecting the SFV climate.

Playful rhymes, fragmented dialogue, and answer phone messages, rub up against Rave sirens. Roland`s silver box squeezes out a Sci-Fi Jazz. Through ping-ponging percussion. Through a drum and bass battery. Punched by keys that wanna be horns. Rewinds that create a bin-blowing vacuum. Shore-line samples washing the more head-nodding tempos. Euphoria rising while a perfect beat pops and locks. (text: Robert Harris)

Ghost Tropic is first and foremost the name of the third feature from acclaimed Belgian writer-director Bas Devos. The film tells the story of Khadija, a middle-aged cleaner who has no other option but to walk home through Brussels on a cold night after falling asleep on the last train. The journey is a reflection on motherhood and expectations, pride and unknown struggles, stories of the ghostly magic of a lonely night in a big city, of the kindness of strangers and the hurt felt seeing the vulnerability of someone you love.

Brecht Ameel, from the band Razen, uses his classical guitar training and his experience with various string instruments to craft a beautiful soundtrack of minimal ambient acoustic music. The Belgian musician’s intention was to create music that would be a warm blanket for the nocturnal odyssey of Khadija. A melody and rhythm to accompany her walk through the cold night, a sort of guiding light.

Ghost Tropic was premiered at the 2019 Cannes Film Festival and is set to be released on 1st January 2020. The accompanying soundtrack recording is out 2 days later.

Infernal Sounds welcomes their newest member to the imprint, Dark Tantrums. After a brief hiatus from releasing music, the producer who's had previous EP's out on both Deep Medi and GetDarker is back with a bang. From the millitant march of 'Command', to the distorted and twisted mind of 'Darkside', with 'Time Warp' rounding things off in a typical old-school fashion, this EP will knock your socks off and deliver a punch for the dance floor. IFS011 not only displays his ability to adapt his style under the 140 spectrum, but continues to prove why he's one of the most underrated artists to grace the scene.

Edouard Cheritel is a Paris based French composer who has been working on classical compositions for almost 25 years. At the age of four he started to learn the clarinet at the National Conservatory of Lyon and stayed there for 21 years. During this long development of his musical capabilities he has learned to write and play chamber and symphonic music - he studied classical composition for 15 years - and worked in the fields of modern composition for another 6 years.

In the meantime Edouard always experimented with electronic music while being a member of several electronic and pop bands. The biggest commercial success was his project "Employee Of The Year", which has released two albums, played several times on the French national television, has done remixes for SOHN & Wild Belle and provided several pieces for advertisements.

After building this foundation as a very versatile artist over years, Edouard Cheritel finished his first solo compositions called "Suite No1" in 2019. They form a compact debut Suite consisting of four movements combining the classical composition skills of Edouard with his sensitivity for electronic tunes and a lightly pop appeal, resulting in a partly melancholic and partly very energetic journey.

Beside the activities regarding the ongoing Suite series, Edouard Cheritel currently works on his debut solo full length and a project called "People" that he will realize in 2020. For "People" Edouard will compose music day-to-day together with and for the people in the pedestrian areas of Paris. Concrete plans for this project will be revealed at the end of 2019. In the future there will also be opportunitities to see his pieces being performed by himself solo in an intimate context or with a complete live orchestration he is currently working on.

Jac Berrocal, David Fenech and Vincent Epplay return with Ice Exposure, their second album for Blackest Ever Black. A sequel and companion piece of sorts to 2015's Antigravity, its title couldn't be more apt: sonically it is both colder, and more exposed - in the sense of rawer, more volatile, more vulnerable - than its predecessor, capturing the combustible energy and barely suppressed violence of the trio's celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry and spectral electronics all interpenetrating in unpredictable and exhilarating ways. While there are moments of great sensitivity and even a cautious romanticism, the prevailing mood is one of anxiety, paranoia, and mounting psychodrama: close your eyes and Ice Exposure feels like a dissociative Hörspiel broadcasting from the seedy backstreets of your own troubled mind. Before he picks up an instrument or opens his mouth, Berrocal's unique and compelling presence can be felt: a combination of studied, glacial cool and anarchic, in-the-moment intensity that has served him well over a long and storied career. It was honed during his time as a theatre and film actor, and in the 70s Paris improv scene, it powered his influential Catalogue group in the 1970s, numerous seminal, sui generis solo sides, and far-sighted collaborations with the likes of Nurse With Wound, Lol Coxhill, Pascal Comelade and James Chance which have seen him come to be valorised by two generations of avant-garde agitators and eccentrics. Now in his eighth decade, it comes with an added gravitas, perhaps, but no less energy or vitality. On Ice Exposure, his lyrical, instantly recognisable trumpet playing is a key feature - see especially the ghostly, dubwise take on Ornette's 'Lonely Woman', the dissolute exotica of 'Salta Girls', and the sublime echo-chamber soliloquy 'Opportunity'. But more often it's his voice that commands centre-stage, whether casually discharging surreal poetic monologues or moaning in animal despair - a vocal tour de force that transcends language and culminates in the Dionysian frenzy of 'Why', Berrocal's half-spoken, half-howled exclamations jostling with David Fenech's slashes of dissonant guitar, over Badalamenti-ish, panther-stalk drums. Fenech's origins are in the mail-art scene of the early '90s, when he led the Peu Importe collective in Grenoble, and since then, in addition to his own recordings he has worked as a software developer at IRCAM and played with Jad Fair, Rhys Chatham and many others. Together with Vincent Epplay he is responsible for Ice Exposure's inspired arrangements and vivid, vertiginous sound design. Epplay is a visual artist and composer with particular interest in aleatory composition, concrete, and the reappropriation of vintage sound and film material. He and Fenech fashion a remarkable mise-en-scene for Berrocal to inhabit, one that embraces cutting-edge electronics while also paying homage to the best traditions of outlaw jazz and libidinous rock'n'roll ('Soundcheck' invokes the brutish spirit of Berrocal's hero Vince 'Rock N Roll Station' Taylor). On 'Blanche de Blanc', Berrocal's voice is framed by a groaning, ghoulish orchestra of industrial drones, while 'Equivoque' evokes the most humid and hostile Fourth World landscapes and 'Panic In Surabaya' lives up to its name, a hectic, pulse-quickening concrète collage that leaves you gasping for air. This is a searching and singular trio operating at the absolute peak of their powers, with an interplay that transcends studio and stage and occurs at an almost telepathic level. Ice Exposure is a triumph of that group mind, an underworld dérive as life-affirming as it is unnerving and psychologically precarious.













Panic In Surabaya

These two really need no introduction, as they have had many releases on some very credible record labels.

Madcap, co label manager of Creative Wax, is known for his nicely rolling style of production and 'Empire Dub' & 'Warning' fit that style just perfectly.
With releases on labels like Mac II, Good Looking and Soul Deep on his list, Elliott has gained a lot of respect throughout the scene.

DJ Trax is mostly known for his connection with Moving Shadow, releasing under the names Mixrace (alongside Paradox) and DJ Trax, but also has a list of great releases for other labels.

His two tracks, 'Alien Forces' & 'Can't Stop Won't Stop' show just how versatile Dave's style of production can be. It's an honour to have both of these legends finally representing Skeleton.

First time release of these live-recordings by Phill Niblock from 2007 and 2019.

A SIDE

UNMOUNTED / MUTED NOUN, 2019: for organ AND 4 pre-recorded tracks. Commissioned by Musica Festival Strasbourg for Hampus Lindwall

B SIDE

NAGRO (AKA - ORGAN), 2007: for organ and tape. Tape material was recorded May 1, 2007 at the Joseph Gatto Organ (1787) in Sankt Kirchberg am Wagram, Austria by Emanuel Schmelzer-Ziringer

PAN tout a real beauty with Stine Janvin’s scintillating vocal suite ‘Fake Synthetic Music’ - a transfixing and distinguished demonstration of the voice as a hugely flexible instrument, presented in a range of minimalist yet extreme, probing scenarios providing a radical new perspective on familiar sounds.
Conceived as a full-body physical and ambient live performance for theatres, clubs and galleries, ‘Fake Synthetic Space’ is an intently focussed and singular follow-up to Stine’s previous solo LP ‘In Labour’ Pica Disk, 2014 and her input to last year’s Native Instrument release ‘Camo’ for Shelter Press. Where both of those releases found her vocals combined with field recordings in myriad ways, the Norwegian artist’s latest side is stripped right back to vocals and FX, offering a visceral investigation of her full frequency range with results that explore the deeply uncanny auditory phenomena of otoacoustic emissions in melodic, minimal sequences referencing pop, techno, and trance.
Placed in a broad history of extended vocal investigation ranging from Dadaist poetry to the resonant acoustics of Alvin Lucier, the minimalist abstraction of Steve Reich, and the unearthly sonic spectrum covered by Maja Ratkje, ‘Fake Synthetic Music’ is anchored in the modern day by its use of clinically technoid pulses and repetition, and not least by its ambiguous title, especially in the age of fake news. Through the prism of the voice, Stine both literally and metaphorically reflects contemporary obsessions with authenticity and artifice, using trickery and illusion to strangely reinforce her own sense of self and likewise provide listeners with a life affirming experience.
Between the alien cadence of ‘Mood’, the playfully invasive sounds elicited from Glitch’, and most strikingly in the mesmerising stereo swing of ‘Like Right Now’, Stine presents genuinely shocking rearrangements of her voice quite unlike anything out there right now, and by the time the escalating pitches of ‘Tripple A’ and the whooping avant-jazz-techno of ‘Zen Garden’ have exerted
their effect, it’s becomes patently, piercingly clear that Stine’s sound art operates on a remarkably incisive plane of synaesthetic perception.

Since 2004, Shogun Audio has left an indelible footprint on the Drum & Bass scene and are now proud to release this beautiful 3 x 12" limited edition box set including an exclusive collectable signed print from label bosses Friction and K-Tee.

This celebratory 15 Years compilation comes in a custom made slip case and consists of 15 brand new tracks from artists past and present - highlighting our ever-growing team and extended family who have contributed to Shogun Audio inventory over the years.

Shogun Audio has been responsible for breaking many of today's drum & bass stars, and releasing some of the genre’s biggest anthems. 2019 marks fifteen years since the label started and the drum & bass juggernaut is showing no signs of slowing down!

Classy, & highly effective breakbeats tinged IDM Techno / Electro hybrids.

Opening with 'Squid Girls', the A side emphasises the washed-out gloom we're used to from Agrippa. The title track, however, drives his rhythmic intentions home in no uncertain terms, and exemplifies his recent progression towards producing certified depth charges, strictly for club deployment.

On the flip, Agrippa further demonstrates an aptitude for creating sounds with a wonky edge to them. The low-passed, scything lead in 'Spice Raiders' harks back to his 2018 release on Version, and rolls along with similarly battering perc. While the rumbling lows and sparkling tops of 'Scabs' fall away in a decidedly minor key, ending the communication on a characteristically sombre note.

Clearlight brings his wonderfully tripped out production wizardry to Foundation Audio for a 3 track journey into the void!

Clearlight has always stood out from the crowd and pushed boundaries with his unique take on the genre. It sounds like dubstep swallowed a bottle of LSD… or smoked some DMT… There’s no point going into detailed track summary as it won’t do the music justice, - just sit back, spark one up and get sucked into another dimension.

The expression of two years' field recording on the Greek islands of Kalymnos and Lesbos — deep inside a network of caves, and in the teeth of torrential winter storms — with added strings, grand piano, live drumming and orchestral percussion, in it's confluence of 'modern classical, metallic drone, dark ambient, and fuzz'. Guided by Steve Reich, Mika Vainio and Henri Bergson, haunted and spurred by the refugee crisis.

It's the third album by drøne for Pomperipossa Records - Anna von Hausswolff's label. drøne is called 'Mark Van Hoen' and 'Mike Harding' - and for 'The Stilling', guest musicians include Charlie Campagna (Player for Cello & double bass), Katt Newlon (Also Cello) & Zachary Paul (Player of Violin). With the trademark drøne sounds of static, radio voices, field recordings, modular synths and found sounds, recording chance sounds right up to the final mix add to the dynamism and energy of the album.

In the last few years, Lewis James has gone from being an artist on the rise to establishing himself as one of the most exciting act to emerge from electronic music. His debut EP on Exit Records backs this statement up without question. The features on the EP speak for themselves: Lorn, dBridge and Alia Fresco. Aesthetically Lewis James has put together an EP that traverses different shades of electronica whilst not losing a sense of identity, an identity that is truly Lewis James by way of Exit Records.

The fair was a symbol of the unity of the estate – a multi-ethnic working class community bound together both by the looming presence of the car factory (where a massive portion of the residents worked) but also the long simmering social divide in Oxford. Since the founding of Oxford University, the country’s elite have needed people to do their dirty work, predictably exploiting and marginalising them in the process. As the city and its colleges expanded, so these communities were ushered out of town. The tensions between the classes reached a flash point repeatedly throughout the centuries, and it was no different during the 1991 riots on the Blackbird Leys estate.

As with similar riots elsewhere in Britain – Brixton, St Pauls, Toxteth, and elsewhere – heavy handed, not to mention misguided, police tactics loom large in the story, where the elite and the authorities fail to understand the community, how and why it functions the way it does.

Drawing on this snapshot of Oxford life, far from the international facade of the city’s privilege and power, with a deep-rooted, personal perspective, Low End Activist channels the raw energy and expression of Muzikon’s sound and frames it in the dread bass pressure that such soundsystems directly led to. It’s not dark music, but rather an intense one, defiant and proud like the Blackbird Leys community and so many of the social situations that gave rise to rave culture in the late 80s and early 90s.

The people from the estate would take their skill, knowledge and access to ‘the factory’ and use it to joyride high-end sports cars – a celebration of personal liberty in the face of social barriers enforced by the very people who would buy such things. Now Low End Activist applies his own craft to an amazing artefact from decades past, not so much joyriding with it as respectfully doffing his cap to the community in a show of solidarity, letting the jubilant sound play out once more.

DJ Support
Nina Kraviz "Thank you for the music! sounds dope!"
Toddla T "Low end activist stuff is weighty. sold.. sick story too"
Denham Audio "Really like this EP man! can really hear the influences"
Plastician "Yes mate some interesting bits in there! Old school vibes, enjoyed the use of the samples too."

Blawan, dBridge, Sim Hutchins, 96 Back, Szare, DJ Plead, Breaka, Dr.Banana, Loraine James, Perko, Gigsta, Nazira, DJ Barely Legal, Vladimir Ivkovic, Appleblim, West Norwood Cassette Library, Barker, Nick Craddock, Rob Smith/ RSD, Etch, Minimalviolence, Kate Miller, Photonz, FaltyDL, Filter Dread, Wheelman, Dead Man's Chest, Morgan Wright, Pugilist, upsammy, Sinstarr, Addison Groove + more to follow