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9x7" Box Set...now for super offer !! be fast !!

World Wide limited number of 300 sets. 9 x 7" vinyl picture discs in a box

The history of Planets...

It has been 100 years since the British composer Gustav Holst introduced his most famous score «The Planets». An elegant musical tour to each one of our Planets in the Solar System, Holst brought forth imaginary visions of space that would survive many generations and decades after. As an important piece to the classical universe, 'The Planets' is regularly played throughout the World every year as it had been the most vivid translation of our cosmic neighborhood until now.

The Electronic Music artist and producer Jeff Mills, pays tribute to this century of incredible musical production. He embarks to compose a sonic journey to re-discover our neighboring planets in a 18 piece suite that explores the nine planets, including the portions of space in between the Planets, the nine regions Mills calls Loop Transits.

Deeply inhabited by science-fiction, Jeff Mills adopts its ideas, concepts, stories and esthetics from the outset. For him, Space is an obsession and his music almost becomes a musical science-fiction. Conquering space, his music embodies the future while both respecting the past and remaining well into the present. Mills takes the rotating principle of the solar system as aesthetics, concept and model for creativity. From the beginning, his first releases explore futuristic and science fiction topics and continue to do so to this day. For Jeff Mills, the future is a powerful creative drive which explains the artist's ceaseless activity.

Since its creation and like the intention of Holst, each track is musically imagined to invoke the psychological affect, emotions and ideas of each planet. But unlike in the year 1918, when the score was first publicly heard on the last week of World War I, 100 years later, we now have a more accurate knowledge about what each Planet is made of and what they look like. The piece should bring the audience closer to confronting each planet in ways that audiences in 1918 could only dream of.

With the French composer Sylvain Griotto, the arranger of Planets and Mills' previous work on the album and classical score about the NASA astronaut and doctor Mamoru Morhi's space journey in 1992 and 2000 from the album 'Where Light Ends', Mills has created an electronic music album that have been translated for symphonic and philharmonic orchestras and will accompany them in their live debut and all performances. Starting to conceptualize and produce music for it dating back to 2005, Mills constantly worked on the project over the years to bring it to fruition.

In July 2016 Jeff Mills has completed the last production stages of the Planets album at the world famous Abbey Road Studios in London. Recorded and will be released in 5.1 surround on the Blue Ray digital format, the soundtrack needed a particular high level of expertise that could only be attended to at hands of the renowned senior studio engineer Jonathan Allen. The expertise and quality associated with the legendary Abbey Road Studios is recognized globally and undeniably the most famous studio in the World. It is with acclaim from the Beatles, Pink Floyd, or more recently Radiohead before him, that Jeff Mills will bring Planets at this legendary music institution.

The mastering sessions occurred on August 2016 with the acclaimed Mastering engineer Darcy Proper in Holland.

Remix versions for Juergen Vonbank’s ‘Trial & Eros’ album from 2018 by some of Austria’s finest artists, ranging from well-established veterans to aspiring new talents. Limited hand-stamped
edition.

Snaker' under Chari Chari and A missing myth of the future' as Kaoru Inoue were his latest albums back in 2013. Time has come to finally celebrate his much awaited return with the exquisite Em Paz' LP.

A celestial ambient collection that will drive us through a beautiful imaginary place where the quest for peace is central. In fact, all kinds of peace.

Em Paz' will spontaneously make you seek for some Brian Eno or Jon Hassell albums because it emerges from that same timeless place.

A very strong conceptual and listening album from the beginning to the very end.

"In 2016 I released Cascades. Francois K got in touch with some very kind words about the track and offered to remix it, initially in surround for his 2016 show at the Ministry of Sound and later on in stereo. Here it is. It's deep & luscious. Enveloping and all encompassing. A melted chocolate fountain of warmth & joy minus Augustus Gloop.

Nikizi makes his debut on 38, Perpet's new sub-label. Minimal house & breaks.

I met a man at a party, he said "I'm a producer..."
I said "Really Neither am I"

A two man trampoline fantasy finding genesis in Gemini.
Heavy rollers for open minded floors and working DJ's
DON'T ASK WHY - JUST BANG THE NAILS

2x12" Purple Vinyl

Ascendant star of the new global underground, Slikback wraps up his first two digital-only EPs with three killer bonus cuts on a vinyl premiere for Hakuna Kulala, his prized sublabel of Nyege Nyege Tapes.
Hailing from Nairobi, Kenya via Kampala, Uganda, Slikback has rapidly attracted a wave of attention to his undulating mutations of current club styles, as found on the ‘Lasakaneka’ and ‘Tomo’ EPs between 2018-2019. Due to popular demand both those EPs now make their vinyl debut, packaged along with three previously unreleased zingers to weigh in the most significant showcase of Slikback’s acclaimed style and pattern in club circulation right now.
Distilling a range of inspirations from local East African hip hop to Congolese rhythms and Gqom’s cold percussion, plus influence from US trap and footwork, and the subbass common to JA and UK soundsystem cultures; Slikback’s music has arrived at a grippingly powerful sound which, while singular, is also entirely symptomatic of the thrilling styles emerging from Central Africa right now, and after many years of underrepresentation in the shadow of West and South African styles which have been popularised around the world.
On his debut ‘Lasakaneka’ EP Slikback swaggers from icy, robotic dancehall in ‘Acid’ to a gripping fusion of footwork and Gqom with a jungle bent in ‘Bantu Zen’, and dancehall techno drill on ‘Ascension’, along with the palpitating footwork pressure of ‘Venom’, and a nervy new ace in the itchy step of ’Shell.’ The follow-up of 2019’s ’Tomo’ meanwhile represents a mean progression of his sound; exerting a firmer control of his scudding bass rudeness in ‘Sonshitsu’, and the dissonant synth tone of ‘Gemini’, while the syncopated gabber styles of ‘Zuhura’ and ‘Rage’ give way to almighty exclusive joints in the hard seam of trap called ‘Kite’, and the Equiknoxx-gone-psycho styles of ‘Senshi.’
If you’re new to Slikback, trust this 2LP is the perfect place to get acquainted with his lucid, hi-tech madness, before checking for the full frontal futurism of his two new EPs in collaboration with Svbkvlt’s Hyph11e, Yen Tech, and Osheyack. But if you’ve already heard Slikback’s EPs, his Boiler Room at Nyege Nyege Festival, or witnessed his European tour dates, there’s surely no need to overstate the crucial nature of this “early years” 2LP comp.

Holy smokes batman! Brand new label straight outta MCR here as esteemed clubnight House of Wax launches a new, vinyl only imprint entitled Jupiter's Melody. What a coup for this debut release - The Drop are a London based, 9-piece reggae band operating since 2009 and with a soundsystem informed mentality. Fitting then that soundsystem operative, UKG legend and accalaimed bass music progressor DjRum is enlisted on remix duties to take these UK reggae skankers into the club for some grooving 2-step business. Felix Manuel has a storied history across UK dance music, most notably through releases on the iconic 2nd Drop records and a much lauded Resident Advisor mix. "Looking To The Sky" is THAT festival burner you wish you'd have packed for the Summer just gone. Gliding in on waves of undulating bass, punctuated by a typical but none less arresting 2-step beat, the rastaman vox from the Drop fit so well you won't actually believe it's a remix! Deep, emotive and beautifully poised, its retroist in many ways but this only adds to the warm and welcoming nature of the track. The flip is more introspective, and in someways melancholic, but with a massively uplifted message. Again, taken from a completely different OG piece (check youtube for The Drop's original vid), the vocal sits perfectly in another crisp and frenetic take on the UKG beat. This side builds slowly, with a defined song structure and lush musicality, never quite climaxing but simmering gently with a mindful glow. Appearing out of nowhere and instantly having us climbing over each other to see what was playing, we expect this to be a big smash here in Manchester over the coming months. If you've felt something missing in your life since MJ Cole, Zed Bias and Todd Edwards last released summat, then you could do much worse than adding this to your collection! Limited copies so get those orders in quick folks...

Dimitris Papadatos is a composer, musician and sound artist based in Athens, Greece. The main concern in his work is an apposition of disparate elements that assume a re-appropriation of historically applied methodologies while questioning forms of empowering them. The biggest body of his work reflects issues as copyright, spirituality and originality, undergoing a constant state of transfiguration of its outsourcing. His project, Jay Glass Dubs, is an exercise of style focusing on a counter-factual historical approach of dub music, stripped down to its basic drum/bass/vox/effects form.

Electro master par excellence Carl Finlow makes a swift return to Orson after gracing the label with his expert sounds just earlier this year. Orson have been busy, releasing Mesak and Point B in the meantime, but Finlow has that midas touch that never dulls with time. Lead track "Elastic Collisions" is a great slice of freaky electro that struts at an easy tempo, while "Octodecillion" wriggles and writhes a little faster for those that want a proper workout. "Probabilities" sees Finlow really exercising his gift for sound design and atmospheric composition in widescreen fashion. "Mechanomics" completes the set with a punchy growler that should sit comfortably in the bag of any dedicated electro jockey worth their salt.

The time has come for Catnapp’s debut full length record on Monkeytown Records. Break follows last year’s EP Fear and No Cover single and sees Catnapp capturing the jawdropping energy of her live shows as well as further refining her characteristic blend of rap and heavyweight electronic beats. She challenged herself with exploring more complex emotions and subjects for this album, which is more than a collection of love songs, as she explains: „With so much happening in our world today, I feel incomplete telling only love stories. I want to give people inspirational tools that work like fuel. Songs that can make one hop out of a bad and complicated situation in order to move on and up with confidence.“

Catnapp is the guise of Argentinian artist Amparo Battaglia. Long before signing to Monkeytown in 2018, the Berlin based producer, singer/rapper and striking performer already (self-)released a couple of records full of boundless creativity and originality, taking whatever she needed from every electronic genre as well as pop and rap music. Amparo cites classic influences like The Prodigy, Aphex Twin, OutKast or Beyoncé, while her productions also draw from today’s post-internet and post-rap sounds. Break combines these diverse influences in a very distinct sound.

The album’s opening track „Down In The Basement“ is an ode to the underground, dealing with how to grow as an artist whilst staying true to your roots. You can take the artist out of the underground, but you cannot take the underground out of the artist. As she is playing big stages more frequently than gritty basement clubs, Catnapp tackles the beautiful contradictions of going her own way. Next up is „The Mover“ featuring Modeselektor, a slow burning, bass-heavy song about standing up for yourself and showing strength. It opens with the line „Don’t you tell me what to do“, an eternal credo for both Catnapp and Modeselektor, two generations of maverick electronic artists. „Fight For A Fight“ is inspired by the repression the LGBTQ community is facing all around the world. It came about when Amparo was invited to perform at the Pride March in Buenos Aires in 2018, its lyrics are aimed at supporting the ongoing fight against patriarchy: „My knife is sharp, my mind is bright, you’ll never stop my will to fight.“
Still, love and heartbreak are essential elements of Catnapp’s songwriting and thus appear in songs like „Thunder“, „Lengua“ and „Give It Back“. The latter is about leaving a toxic relationship behind and regaining control about one’s life. Musically, these tracks show Catnapp alternating fierce raps and booming beats with liquid R&B vocals and melancholic, dreamlike electronica.
Catnapp has been compared to electroclash artists like Peaches, her blend of modern rap and electronics may also evoke likeminded artist Tommy Genesis. There’s leaders and there’s followers – you already know which this girl belongs to. Break is no less than her most accomplished musical statement to date.

VAGAROSA

This 4 track EP comes out of Ibiza Records archive vault's called Archives Vol 5 produced by Low Block Noise in 1991 & EOAD in 1993. Each of these tracks represents hardcore and merging of jungle breaks starting to come through in the early 90s.

A. Rave in the Bedroom - This track produced by L.N.B made in 1991 has some great piano stabs and had a sample taken from 'The Young Ones' bbc2 sitcom as back then it was all about the big samples being used.
AA. Its Not Big & Its Not Clever - This track from L.B.N made in 1992 and has a classic sample taken from Robin Williams 'Good Morning Vietnam' film. The track has strong jungle breaks that were now a dominating presence at that time in the scene.
AAA. Love The Feeling - This track produced by E.O.A.D made in 1993 is more hardcore with the piano stabs offering a ravey anthem feel representing the warehouse scene. Which was dying out and Jungle was becoming the more dominant force.
AAAA. This track produced by E.O.A.D also made in 1993 and is a remix of the original with the hardcore elements offering a more raving anthem feel representing the warehouse scene back then.

British-Japanese Producer/DJ Maya Jane Coles has amassed an astonishing level of international success and uncompromising studio credentials maintaining a uniquely focused approach; writing, producing, engineering, arranging and mixing every element of her output mastering genres from techno and house through to hip-hop, dubstep, folk, pop and beyond. Following on from Maya’s award winning 2015 eponymous debut LP as Nocturnal Sunshine and unlocking a true representation of her musical identity, today Maya announces the forthcoming album ‘Full Circle’ out November 1 st on her own imprint I/AM/ME. The new album from Nocturnal Sunshine is another exciting glimpse into an artist internationally renowned for her unique and skillful creative vision. The drop of an unannounced single ‘Foundation’ at the end of 2018 sent out the first signal; something was building. The acclaimed ‘U&ME’ EP followed, the momentum of new music while Maya toured the world merely hinted at what was in store from the experienced studio producer. Introduced here with debut single “Pull Up” Feat. Gangsta Boo & Young M.A., Maya Jane Coles’ assured, and bold production teems with confidence; continuing her line of grungy breakbeats and uncovering new depths in hip-hop and trap-esque realms. Across ‘Full Circle’ LP, Maya seamlessly navigates through ranging tempos and moods, all instilled with a strong sense of freneticism all unified within an unmistakable Nocturnal Sunshine sonic sensibility. Evident to the width of her talents with her own collaborations with Tricky, Nadine Shah, Kim Ann Foxman and Miss Kittin et al; Maya has previously lent her production skills to other acts; producing for others from Chelou to Little Boots as well as remixing the electronic undergrounds finest; Bonobo, Bookashade and Tiga; to leftfield acts like The XX, Massive Attack and Little Dragon through to pop’s most credible; Dua Lipa, Sia, Sam Smith, Florence & The Machine, and even the legendary Ella Fitzgerald alongside a massive underground dominating Nocturnal Sunshine bootleg remix of Lizzo’s “Tempo” ft. Missy Elliot. More so, Maya’s breakthrough track “What They Say” track was slowed and looped to form the backing track for Nicki Minaj’s “Truffle Butter”. The track also featuring Lil Wayne and Drake would receive a Grammy, BET & Soult Train Nominations and ranked 66 for the best-selling tracks of 2015 by Billboard, with artists such as T.I., Tyga and Ludacris releasing cover versions. The track has now sold over a million copies around the world. Maya’s beat was then latter sampled again on “Swish Swish” Katy Perry’s collaboration with Nicki Minaj.

Attraverso is the debut album of new ambient trio PCM. The band consists of Francesco Perra (P) who also records solo as Perry Frank, Pop producer and sym- phonic ambient composer Matteo Cantaluppi (C), and sound designer/engineer and PCM creative director Matteo Milea (M). The album was conceived after a brief studio session exposed that each member brought something unique to their collaborative take on ambi- ent's many sub-genres. Attraverso, in concept, is meant to mimic four long-form journeys through human inner consciousness utilizing an amalgam of drone, modern composition, guitar ambient, and Koyaanisqat- si-eque arpeggiated kosmische musik. Each track title is the word "Attraverso" with three of the four being represented in different languages.
Attraverso is out October 18th on limited edition 180-gram ultra clear vinyl and gatefold compactdisc.

Previously released on CD accompanied by “Gone, Gone Beyond”, “The Mirror” is the
dreamy soundtrack of an a/v project from collage artist extraordinaire Vicki Bennett aka
People Like Us.

With ‘’The Mirror’’ Bennett continues her eternal disassembling of popular music by
exploring how the narrative of familiar sounds/songs can change dramatically under a
new context, with that context always changing, in a never-ending flow.

Each song is singular. And each song is a collage of and undefined number of other
songs from other artists. It sounds familiar because that has been the modus operandi of
People Like Us since the early 1990s. But “The Mirror” plays with the notion of familiar,
driving around a collection of famous pop songs/artists, messing around with the memory
of the listener and, of course, his unique comprehension of those specific songs applied
in a new context.

Because of the use of familiar pop sounds, “The Mirror” is often grandiose. Like an epic
film only with highs, never letting the listener down or letting him doubt the power of pop.
Even, of course, when the coordinates are twisted, mixed, over or underrepresented.
Each moment feels like something that could only happen in a parallel universe.

Although that may sound naïve, it’s just a lost thought of reaction to the beautiful collages
of People Like Us in “The Mirror”. This mirror doesn’t reflect an image of ourselves or an
image of pop. But an image on the way memories drift and are being constant rebuilt. An
unfinished collage.

Mastered by Mark Gergis
Vinyl Cut by Rashad Becker

Bakk Heia Records has evolved as an extension of Manchester based club night Bakk.Heia (Back Here).
The label mirrors the party's ethos: blurring the lines between ambient drones, performance, abstraction, hedonism, and dance music.

Johnny Phethean aka Schuttle, born in Newcastle and now based in Manchester, heads up Bakk Heia's debut offering with a 4-track EP, following a 6-track cassette released through London/Paris label Panatype, which ranked highly in Boomkat's ambient charts and received a sterling review from Resident Advisor.

The A side starts with the fractured and angular expanse of 'Grade 1', which gives way to the meditative percussion of 'Speke'.
Over on the B, 'Utensil' delivers a club focused acidic tonker, with 'Grade 2' providing the gentle reprise.

Schuttle's music is as much built for the dance floor as it is shaped for the introspective listener - raw and tender in equal measure.

Virtuoso compositions, subtle synthetic atmospheres, voices oscillating between pure intentions and dreamlike fantasy, a confusion of feelings and desires, time and space...Garden of Love, the 3rd album by electro duo Scratch Massive makes an impression from the first moments that you hear its enigmatic beauty. Like a ghost train moving along a tightrope - between shadow and light, failure and redemption, violence and melancholy - this fourth studio album reaffirms the Parisian DJ/Producer duo style/vibe with their hybrid sounds and sensory experiences. For 15 years, Maud Geffray and Sebastien Chenut have maintained artistic and aesthetic control as they participated in the 'revolution of the dancefloors'. In the early 2000s, 'Made in France' electro became known for its hedonism and as the savior of an entire techno generation ready to fight (or at least on the dancefloor!) for a future that was increasingly frustrating and hypothetical.


On first glance, Garden of Love, appears to be an invitation to love and peace, however, nothing is ever that simple, as the album cover evokes a multitude of interpretations. The lyrics speak to the depths of the soul, covering a range of emotion from love, emotions, and fears ... Garden of Love is for our hearts and bodies to become receptive again: the disenchanted poetry of the Last Dance, the sumptuous opening track set against a backdrop of electro-pop murmured in the light and shadows as painful caress; the psychedelic scent of Sunken (a duet recorded with the complicit and poisonous voice of Léonie Pernet); and the dark-tech shores of "Fantome X" with the evanescent and hypnotic pop clarity of Feel The Void (both magnified by the vocals of Romain Thominot of the Reims pop band Grindi Manberg). Scratch Massive draws the outline of an electronic music in search of redemption - reinventing their icy grooves and confronting it with a naive elegance and a disillusioned romanticism that embodies our time.

In 1985 an unknown "American" band hailing from Big Sur in California dropped a package at the doors of the Play It Again headquarters in Brussels.
Four 12"s and an LP later they had to reveal they were only half American and hailed from Brussels.
Their fifth single: "Poison!" hit gold. A firm staple in the New Beat dancings. Weathermen weren't a New Beat band, they weren't even an EBM band. Though their label branded 'em as such on the groundbreaking "This Is Electronic Body Music" sampler
Weathermen were tongue in cheeck, they were humour on the next level.

Wanubalé - nine guys from Berlin, inspired by the city's fresh Jazz scene and distinct club culture. Wanubalé met at school. Five of the nine in the band went to the same musical high school in Berlin.
Heavy influences from Jazz, Neo Soul and Funk shape their compositions. However, electronic sounds are just as important to Wanubalé. All of the nine are in their early twenties. All of them are into Dub, Bass Music and Broken Beats. And several members are DJs, as well. The Wanubalés are first rate musicians. They tend to take their time writing arrangements, yet they are careful not to overly emphasize their Jazz skills. Songwriting is a collaborative affaire, everything is developed organically.
Just like the band name, which dates back to the days of fooling around in the schoolyard, playing with syllables ("nuba" came first). Sound was crucial. Some say "Wanubalé" means "brother" in Swahili. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. The musicians don't hide their influences: Snarky Puppy, Fat Freddy's Drop, plus younger acts like Hiatus Kaiyote. But Wanubalé do their own thing.
Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. All songs are written, produced and arranged by Wanubalé. Recorded at Jazzanova Studio, Berlin.

Detalji gilt als eine der vielverprechendsten jungen Produzent*innen aus Finnland, die 2019 den "Breakthrough Of The Year Award" des finnischen Radios und den Femma Award (finnischer Indie-Grammy) als bester elektronischer Act gewann. Ihre "Sex EP" auf ihrem eigenen Label Deep Limit ist bester Indie-Electro für den Underground-Club und wird von den Medien abgefeiert.

Felix Lee has created a world for his debut album “Inna Daze“, a kind of post-human environment where the sun never really rises and everything is lit with a burnt out glow. These are survival ballads for the near future, whose vocals, mutated to fit into this setting, drift in a haze of dissociation. Musically, at first glance, it's sparse and minimal but with continued immersion, subtle iridescent-light shadows shimmer around grainy colour, sub bass rises through kicks and snares retooled from their surroundings, not so much refixed as decaying. Felix has been here before in his incarnation as Lexxi, making his debut appearance on Total Freedom’s 2012 “Blasting Voice“ compilation, and as a co-producer on Elysia Crampton's “Demon City“ album. He then went on to release his first instrumental EP “5TARB01” in 2016 on his own imprint Endless. He also runs an NTS show of the same name, along with previously holding raves, cross pollinating and interacting with the vanguard of the electronic underground. The punky crunch of those earlier releases is reflected in tracks like “Smoke” made with long time collaborator and southside resident Kamixlo. These club moments inevitably give way to the vocals, conveying a feeling of loss and renewal. Intended to exist both inside and outside the club, it's an electronic music that at times feels like a skeletal take on shoegaze, solidifying that feeling with the intense rising synths of the album closer “Slow Decay“.
Inna Daze's features include Drain Gang members Ecco2k and Whitearmor, Yayoyanoh, Quantum Natives' Oxhy, and Gaika, as well as Felix making his debut as a vocalist, his voice filtered through effects to give it a slippery, steam-like texture, echoing around the songs, giving them a second skin of sensed abstraction. One of the most thoughtful and interesting debuts of 2019, “Inna Daze“ beckons the listener into its simultaneously toxic and beautiful sound-world. Keeping enough distance to provoke more questions than answers, the album unfolds in a different way on every listen.

* Last year it was estimated, that every minute 400 hours' worth of content was uploaded to YouTube, 2,430,555 posts were liked on Instagram, and 6,944,444 videos were watched on Snapchat. And these figures won't stay static. The amount of data we upload, and in turn the amount we consume every year, is growing exponentially. As this expanding data pool grows, making sense of it becomes concurrently more difficult; the distinctions between dream and reality, fact and fiction, truth and lie fade to obscurity.

* 'Information City', the sophomore album from Copenhagen's Tobias Hjørnet Pedersen aka Beastie Respond, attempts to reflect this world in a very direct sense. 'Information City' is the simulacrum in which we live and exist, where our cultural identities exist primarily as representations of a real without origin, he explains.

* Writing the album Pedersen set no limits on his sample sources, instead taking fragments from a vast array of media, reflecting on the themes outlined above. This resulted in 'Information City' being completely stylistically unchained, giving reference to everything from UK bass genres to electro, footwork and synthwave. 'Downloaded 4 R. D4wkins' for example pits Moving Shadow reminiscent rave stabs against juke-like percussive workouts, while opener 'Real Without Origin' recontextualises cliche´ trap-style drops with hollowed-out, swaggering low-end, calling to mind recent hybrids of UK Grime and American hip-hop.

* At other points, Pedersen eschews the dancefloor entirely. Tracks like 'Lullabies for the Lost and Forgotten' or 'He Used His Bench Lathe to Form His Wooden Sculpture' provide respite from the thunderous barrages of percussion with slurred melodies and dream-like anime soundscapes.

* Comprising the fourth release from Foul-Up, 'Information City' is a brave proposition for a second album. Pedersen tackles it with vibrance and audacity, inviting us into a fast-paced world of bright lights and unbridled imagination.

Launch event on September 5th in Image Movement, Berlin with Beastie Respond and Eva Papamargariti

Hyperdub will release an EP by Burial on December 16th 2013. Comprised of three new pieces with a total running time of 28 minutes, it will be available on 180g 12" vinyl

Ground is an Osaka native, but his soul is truly that of a nomad, traversing the planet, befriending kindred spirits found in humans, animals and plants. He is exceptionally receptive to the beauty in everything that surrounds him—the incidental music of a city street, the orchestral chaos of a scrambling radio, the syncopated grace of migrating birds, the simplicity of an isolated hand clap—and as his roadmap continuously unfolds, he accumulates a vast catalogue of visceral tools to musically recount his experiences. 'Sunizm' is a cross section of the artist’s process—an array of complex microcosms overlapping to comprise a thematic whole—gathering field recordings, found instruments, jagged electronics, synthesized chanting, and weaving all into a dense narrative that appears obsessively constructed yet divinely improvised. 'Follow Me', the second of two singles surrounding the album, is complimented with a pseudo drum’n’bass treatment by enigmatic Greek artist Jay Glass Dubs, as well as a massively triumphant b-side entitled 'Ozone House', which is exclusive to this single release. Attention all humans, animals and plants, Ground and the ESP Institute present, 'Sunizm'.

Beijing-based techno producer HWA (aka ELVIS.T) is releasing his first 12" EP "Granular Line" on Ran Groove, the sub-label of Bejing's Ran Music. This EP has 2 Deep Pulsating Techno tracks included as well as one Droning Ambient track produced using his customized modular synth system. As one of the leading figures in China's techno music scene, HWA's left-field experimental sound design, delicate poly rhythmic beat groove, dark and twisted massive soundscapes and the full hardware workflow, have earned him a reputation across China's dance music scene. Granular Line is the crystallization of HWA's persistent efforts on using the modular synth to produce techno music, it is the new envelope of his techno sound aesthetic.

HWA was born and grew up in Taipei and kicked off his DJ career in 1998 and soon started to produce his own music. He relocated to Beijing in 2006 and immediately became a part of China's electronic music scene, which had just emerged a few years before and was on its fast-rising phase. HWA is considered a brute force in the promotion of techno music and culture in the country, he was the early co-founder of Beijing's Lantern club, the most influential techno club in China's capital, he was also the co-owner of Acupuncture Records, which is the only techno label in China back in the 00's. In the past decade, he has played in the finest clubs and festivals in Europe, such as Tresor in Berlin and ADE festival in Amsterdam, as well as the top clubs in Toyko, Seoul, and Taipei, where Asian's best dance music scene exists. In 2016, he appeared in China's first ever Boiler Room event with his modular synth system, created the climax of that night and his live set was considered one of the best moments of Boiler Room China.

HWA has deeply embraced modular synthesis in recent years and it has become the centerpiece of his music production workflow and live performances. He attempts to explore randomized beat sequences and experimental sound design furthermore. He's one of the initial members of The Modular Commune, a Beijing artist community focused on the use of modular synths, which has gained a lot of attention across the globe. Through his music work and live sets, HWA's unique athletics and understanding of techno music made by machines, has become a unique label of his.

With absolute devotion Shook has created an exceptional listening experience in which timeless influences of Hiroshi Yoshimura, Ryuichi Sakamoto, Steve Reich and Erik Satie are honored and thoughtfully integrated in his modern, energetic sound. Shook merges Japanese ambient and Indonesian gamelan with an uplifting mixture of electronic pop, jazz and funk. Inspired by city pop, techno pop and ambient Music for City and Nature spreads a new light on the contrasting balance between what we make and what we are. Shook: “In my 5th album I tried to document my emotional and mental state at this point in my career. It is inspired by the conflict between the energetic and busy city life and the calm, warmth and peace that nature gives. It isn’t a city ‘versus’ nature album though, it is about daily life existing in a gray area in between. I try to find a balance by connecting both sides. We can build a future in the city, but we must not forget that nature is our future.”

Time is Local is a project by Danish collective We like We and sound artist Jacob Kirkegaard built around a 12-hour live sound installation and performance at Thorvaldsen Museum in Copenhagen.

The piece was initiated and performed by the artists during the G((o))ng Tomorrow Festival in 2017. As they slowly wandered the halls and rooms of the museum for a whole day, they performed extended sound compositions for a visiting audience at each of the 12 chambers for a longer session - a haunting experience as the outside world disappeared and the focus was on quiet sonic moments unfolding in midst of the grand, reverberous space. For this album they have collected 12 fragments revolving around the chambers in the museum. Each chamber is being represented by its own handful of tones, instruments and voice. The statues within, depicted by neo-classicist sculptor Bertel Thorvaldsen get their own soundtrack of quiet emanating gusts. Barely heard frequencies reflect through the walls. The marble carved busts of Greek gods that line the museum hallways gaze eternally with a blank stare as decades pass and new audience arrives.

Although We like We should need no introduction to followers of the Sonic Pieces label, the Danish all female sound quartet consists of Katrine Grarup Elbo (violin), Josefine Opsahl (cello), Sara Nigard Rosendal (percussion) and Katinka Fogh Vindelev (voice). Together they have forged a dynamic and intuitional sound beyond genres through the last decade. Only two years ago they released the nordic neo-classical opus Next to the entire All. This time they emerge in collaboration with sound artist Jacob Kirkegaard. Jacob’s works are sonic reflections on complex aspects of the human civilisation, treating themes such as radioactivity, melting ice, border walls and tones emitted by the ears. Through the last decades he has released records and sound documents through labels such as Touch, Important Records and more. As a document of their 12h performance, Time is Local is a beautiful sonic evocation that shines as a bright line of sun through the cracks of a tomb.

'Earrings Off!' arrives next month via Tri Angle, and it's another searing blast of originality from a group who seem to operate without boundaries.

REPRESSED !!
Hellfire funk from the spirit world. The city weeps for it will never again know a man as righteous as Eduardo Unz.