Beats Vinyl New Releases - News

Following up his pair of cryptically luminous EPs for Northern Electronics in the past years, Evigt Morker presents his debut album, Krona. With a shuffling atmosphere that's hard to pin down, the album chronically fixates on the degradation and construction of rhythmic drills with finely rendered parts and patterns. Spiralling the listener through a set of stormy soundscapes, Krona keeps placing the horizon just ahead, and just out of reach. The unease that Evigt Morker invites us into is electrically charged and threatening to crack. For all its syncopation we are relentlessly swerving through the works, afraid of teasing an arcing static shock from the blistering commotion. The album's propulsive tracks are settled against a pair of stunning ambient compositions that capture some of the tension from a distance. Technical dexterity and perfectly pitched intensity stakes out Evigt Morker's debut album as an impressive statement.

Pure worries from Leipzig — three club burners steeped in Detroit traditions, distilling the explorations in collective, nervy hypnosis of KM live sets. As the music slowly unfurls, there he is at every turn, subtly tweaking its parameters, redistributing its weight, pricking its grooves into a state of utterly infectious perpetual movement.
The two visions of Chilazon track opposite pathways: the first is twelve minutes of gorgeous, dubwise, aquatic techno, spattered with kicks and razor-sharp hi-hats, and smeared with ghostly echoes, then a terse mesh of broken drums, escalating to a quiet yet feverishly intense peak. Lanthanum is calligraphic swordplay, its toms and bass stabs warily circling one another in a graceful steppers' dance, spaced-out and fathoms-deep.

The 401 highway which connects Detroit on it’s southern end and Montreal some 900 km to the north east is quite possibly one of the most ugly, boring drives known to man. A seemingly endless stream of nondescript pine wood forests and cookie cutter suburban hell holes fill the gaps between 3 magnetic poles. Detroit, the Motor City of former untold grandeur, and current bastion of cheap rents and boundless American artistic enterprise. Toronto, the city Drake built, alongside the World Champion Raptor basketball team from which this EP takes it’s inspiration. And Montreal, the sin city of the north, the French Canadian Mecca of contact dancing strip bars, where bikers and the Mafia’s 6th family jockey for power and have everyone from the mayor’s office on down in their pockets. No great surprise then that this geographical well spring of nocturnal indulgence and scrappy street hustle has produced some of the greatest music purpose built for late night dance floors, be they housed in gay bars, illegal raves, private lofts, after parties, or forward thinking drug dens. And if any two people were qualified enough to recount the sordid tales one might find in the nooks and crannies of these secret sanctuaries of the wee hours, rest assured Ryan Crosson and Deadbeat have stories for days.

For the 20th release on Deadbeat’s BLKRTZ label, these 2 long time friends deliver 2 atom bombs of breaks driven groove filled with dubbed out vocals, massive funk and impossibly heavy bass weight, sure to appeal to fans of their previous work and Djs from across the dance music spectrum. House, Techno, Breaks, Two Step, Dub Step, Hardcore...File under HEAVY weaponry and love for days.

Debut release on Heko Records from up & coming duo Samo. Stacked release of neck snapping technicolor summer floor-smashers - get on it !

(2x 180 gr LP in a gatefold sleeve with download card) The debut album of Talamanca System, aka Gerd Janson + Mark Barrott + Philipp Lauer. Their past is your future!

On the white island, between Ibiza Town and the infamous fish shack high up on a rock next to a bird sanctuary, you will find the beach of Talamanca. Plagued by too much seaweed, anchored middle-class yachts and joggers, it is also surprisingly the spiritual home of a correspondent post-Balearic group. As luck would have it, a remix request by Mark Barrott bedded the International Feel boss in a trio with Philipp Lauer and Gerd Janson, alias Tuff City Kids. A highly sought-after 12-inch later ("Balanzat"), as well as fantasies of getting together to work on more material, led to a fruitful and effortless studio session on the non-Balearic outskirts of Frankfurt am Main.

The outcome of that meeting forms the homonymous debut album of Talamanca System. A documented vision, or a sunburned imagination of a day and night spent on said island, during a moment in time that probably never was or will be. Still summed up best by dungarees, long hair, yellow sunglasses, espadrilles or that famous picture of people grouped around roofless Amnesia's pyramid well, it is the food of the Balearic gods. But, dear nostalgia, stop right here! Even though Talamanca's debut flies the Balearic flag, it is not about turning back the clock, but rather about a past that could be the future. Dusted, danceable, driving, dreamy and dapper at the same time, this is an album for the club, the car, the beach, the (coke)float and the fountain.

Coined by the colourful and respective talents of the three individuals behind Talamanca, you will hear nine tracks ranging from up to downtempo, piano house smashers that would have deserved the prefix Italo-, percussion rituals captured by a group of Zoo animals on the loose, soundtracks for dusk and dawn, hushed vocals, rites of ambient passages, powerful synth ballads and vamp choirs. If this album were a car, it would be a Citroen 2CV remade by Tesla.

We've said it before and we'll say it again: their past is your future!

It's been some time since we've heard from Colin. Actually, not since that 'Fruits Of Zion' tape the put staff and shop regulars in a real spin back in 2015. Now the long wait is over, and we're now drip fed four new tracks from a source not specified. info as it comes.. small run, be quick!

Katsoulis has been making avant-garde electronic pop steadily since the early '80s, but it wasn't until 2014 that he transcended cult status. That year, Into The Light issued a collection of Katsoulis' early and unreleased material, The Sleeping Beauties.

In October, Alex Bradley's Utopia Records will handle a new record from the low-key artist. The press release says of the opener, "All The Blue Skies," "Katsoulis and his accompanying musicians deliver a diverse and contemporary work with a level of sophistication that will challenge the current electronic musical landscape." The label adds that "'Grand Delusions' sounds like it could work in a Berlin techno club, from a man that has probably never been to one."

Katsoulis is becoming more active in the underground electronic music scene as of late. He performed at the inaugural Strange Sounds From Beyond festival in Amsterdam in June. A 2015 remix EP featured Young Marco, Max D and Telephones interpreting tracks off The Sleeping Beauties.

To co-incide with 4 new albums on the label, Morphine gives a surprise RE-DOSE with label friends and heroes on re-flip duty.
More info soon

Pregnant Void returns with another of their deeply involving and thought-provoking albums, this time from Berlin based sound designer and live-performer Francesco Devincenti.

Devincenti has been making music all of his life and quickly established himself back home in Northern Italy. To further his talents he headed to Berlin to study at the S.A.E. Institute and soon went on to a job at Analogcut mastering studio. As such he is a sound design wizard with an exceptional ear for detail and someone who can get real meaning and soul of out the machines he often solders together himself. He is part of a couple of live hardware duos - MORK and TDV - and always fuses ambient, techno, distorted grooves, jungle beats and dub moods into his immersive recordings.

This new album draws on ten years of life experiences and uses music as a way of telling his own autobiographical story. "With the album I try to explain what I have inside in a way I cannot using only simple verbal communication: those moments of Brutal Reality where you lose something very important and cannot fully express yourself." Though always obsessed with finding his own musical voice, Devincenti is also inspired by studio masters like King Tubby, Adrian Sherwood and Mark Ernestus. His experimental music follows no existing path and is made on modular systems that result in unpredictable and unconventional ambience and rhythms. A number of collaborations add more flavours to this most rich and rewarding album, including friend Hi.Mo, label boss Simone Gatto and vocalist Alice Lobo.

Brutal Reality is filled with truly freeform electronic music - sounds without borders, but with very real narrative and an absorbing sense of emotion that makes it a moving listen in more ways than one.

A secret 10" heavy-hitter - both tracks are an explosive new blend of chopped up grime and violent breakbeat styles.

Vinyl only, no repress, don't sleep.

INSTINCT 07 is here in force and welcomes Jack Michael to the label.

Zygos has been non-stop killing it for a good few years now. Every dub he churns out is a madness and he is constantly pushing and evolving his sound for the better. We couldn't be happier to get the man himself back for his third release and second wax outing on the label. His signature techno / industrial influenced sound runs throughout the EP from the twists and turns of Rotation to the deep dark sound designs of Sick as a Dog. Big ups Georgio on this wikid wikid plate!!!

The Mancunian electronic music pioneers 808 State are about to return with Transmission Suite, their first new album since 2002.

Introducing Lost City Archives - showcasing the sounds of the UK's underground. Kicking off proceedings we have the enigmatic new-comer(?) Ash Brown, delivering 12 inches of 90's tinged nostalgia. Crispy.

DJ Support
Coco Bryce - "Well havin this"
Persian - ""Highly recommended Bass Bin Business, Sounds like something i would of made..."
Dead Mans Chest - "Dutty & dusty, dope rhythms!"

The return of the returner. 6 track Mini LP. Produced By William Burnett, New York. Sleeve design by Art Crime. Mixed & Mastered by Gordon Pohl, Dusseldorf. TIP!

“There was an aging writer called Mortise Koshimitsu who lived in a small apartment. The apartment was beset with problems. It was damp, the wiring was frail and in the summer the leaking pipes added a must and swelling to the wood in the windows that effectively countered the joys of the heat. Koshimitsu’s life had been lived chiseling away at circumstance, and circumstances had not proved easy. There was however, one small reliable rush to be had, and it lay through a gloomy doorway, down some stairs and past a register….”

New Age" is one of those tracks that get requested year after year - or in this case decade after decade! With origins in 2008 and played by every big name of the scene it has earned an undisputed anthem status and it’s the most wanted dub in the extensive Loxy & Resound catalogue."Stone Cold" on the double A-side is equally exciting. Vintage production from 2009 it combines Resound's trademark metallic funk with some dark vibes & haunting vocals.
Digital only "Forgot Why Mix" flips the script & sounds more contemporary now than ever, highlighting Resound as one of the most innovative producers out there.

Marie Davidson veröffentlicht 12' mit einem unveröffentlichten Song und Remixen von John Talabot & Silent Servant auf Ninja Tune!

Kurz nach der Veröffentlichung ihres neuen Album's 'Working Class Woman' legt die Produzentin & Spoken Word Künstlerin Marie Davidson jetzt eine 12' EP mit einer neuen Version der Album-Single 'So Right' und einem exklusiven John Talabot Remix auf der A-Seite nach. Auf der B-Seite findet sich der bisher unveröffentlichte Song 'La Ecstase' (eine Kollaboration mit Lamusa II) und einem großartigen Silent Servant Remix!!

"Cycle and Reveal" is the fourth full length LP of contemporary classical works by acclaimed composer Mario Diaz de Leon. Featuring bold performances by a cast of longtime collaborators, this compilation is an essential chapter in his celebrated series of recordings for acoustic instruments and electronics.

The output of Mario Diaz de Leon defies easy categorization, spanning the worlds of contemporary classical composition, experimental electronic music, extreme metal, and creative improvised music. Working extensively with an inner circle of close collaborators (ICE, Talea, and TAK Ensemble, among others) his classical works have been celebrated over the last decade for their “hallucinatory intensity” (New York Times), “snarling exuberance” (Pitchfork), “helter-skelter, electronically enhanced cadenzas” (New Yorker Magazine), and coupling of “crystalline clarity with the disorienting turbulence of a sonic vortex” (Wire Magazine).

The A-side features two works written in early 2017, which colorfully embrace hypnotic repetition alongside dynamic contrasts and distinctly embody the electrifying post-minimalism that Diaz de Leon is known for. Opener Sacrament is written for a trio of musicians from Talea Ensemble and features the composer’s shimmering, bass heavy electronic production. This energetic piece, driven by the virtuosity of marimba player and Talea executive director Alex Lipowski, makes use of rapid-fire arpeggiations and heavy rhythmic unisons. These are starkly contrasted with moments of reverberant echo, bursts of noise in the flute and electronics, and ecstatic rhythms. Labrys, written for ICE bassoonist Rebekah Heller, builds on the celebrated legacy of solo + electronic works heard on his 2015 album The Soul is the Arena. Built around virtuosic interplay between bassoon and synthesizer, Labrys features shifting and hypnotic repetition alongside expansive melodies and sub-bass frequencies.

The B-side consists of two works composed in July of 2016 which draw from primal, incantatory, and improvisatory sonic landscapes. Irradiance, a collaboration with cellist Mariel Roberts, begins with a series of spacious riffs exploring the extremes of the cello’s register and transforms over time into a climactic frenzy of noise loops. Tuning the cello’s low C down to a growling G, Roberts interpreted the sounds of each pre-recorded loop by ear. The piece gradually builds from cavernous depths into an ecstatic climax of anarchic noise. Concluding track Mysterium is written for the ICE trio of flutist and ensemble founder Claire Chase, clarinetist and artistic director emeritus Joshua Rubin, and bassoonist and current artistic director Rebekah Heller. Archaic melodies, improvised heterophony, spectral transformations, echoes of Klang-era Stockhausen, and the colorful noise of Moog and Ciat-Lonbarde synthesizers combine to create an expansive and wildly ritualistic atmosphere.

Cycle and Reveal was recorded in vivid detail by Marc Urselli (John Zorn, Laurie Anderson) at East Side Sound, Stephen McLaughlin at EMPAC, and mastered by Ryan Streber at Oktaven Audio. Diaz de Leon invited Melbourne-based visual artist Yuria Okamura to design the cover image and inner sleeve symbols. Sharing Diaz de Leon’s interest in the reinterpretation of spiritual art, Okamura’s cover “maps and reconfigures geometric patterns and symbols that reference esoteric symbolism, occult diagrams, religious architecture and decoration.”

Label boss Von D on DOR005

Here's a little story about this release on my label Dubs Galore:
"When Muttley sent me this tune I though to myself: "Wow what a nice classic from the golden Dubstep Era", so I asked him when this was released - assuming it was, and he said it never was released. I immediately signed it, knowing it's such a great and timeless tune. I asked Quasar for a remix and here we are now, Dubs Galore 005 coming in STRONG!"

Planet Euphorique continues to transcend boundaries and expectations with its lucky eighth release “Dream Portal”, a 4-track EP by Ronan.

The three tracks, plus a bonus remix from elusive, tech-wiz Reptant, were recorded over a two week period in Bogota, Colombia. Conjuring up vivid spectacles of a mysterious labyrinth; bodies unleashed and moving in unison.

The title track, Dream Portal, unlocks the gateway via a dank, sway-worthy roller, equally menacing and eclipsing, paving the way for the A2 “Crystal Viewer" where propelling snares layer across delicate harmonic tension and spatial delay. Springing sub bass filling the low ends to complete the fusion of trance-licked breakbeat and ethereal techno.

On the flip the situation continues to rise, Star Fissure delving into high-octane enlightened electro. Slick rolls and percussive fills make this a daring DJ’s dream. Kicks that feel like you’re being punched in the face, yet begging for more. Deep and driving, with delicate pads to take you into that elevated state. Meanwhile, the Reptant remix rolls up and lets you know it’s arrived. Attitude on tap, delivering lizard-tech to be teamed with a smoke machine on overdrive. Dripping bleeps and razored hi-hats to accentuate the originals’ naughty flair.

5-LP compilation Box Set from one of the key figures of New Age music, Suzanne Doucet. She produced a incredible run of cassette only albums during1982-84.. Very difficult to find these.. Now all packed together in this beautiful set!

Suzanne was born in Tuebingen, Germany where as a three year old, Doucet discovered her innate artistic gifts. Instinctively, she was always drawing, playing music, singing, and writing. By the age of 18, Suzanne was an established pop star in Germany with several #1 hits. She also made her mark as a composer, actress, TV moderator, director, engineer, and producer. At age 25. she took a sabbatical from the music business to go on a spiritual odyssey. In 1970 she released a triple album of field recordings and mind-expanding psychedelia under the name Zweistein. For the next ten years, she developed her own style of New Age music while exploring many areas of metaphysics and spiritual practices, including astrology, music therapy, tarot, yoga and the Kabbalah.

In 1979, Doucet launched a record label in West Germany named Isis, after the Egyptian goddess of feminine divinity. She formed the duo New Age with her musical partner Christian Bühner, and released the 1982 cassette album ‘Transformation’, which was inspired by a visit to Findhorn, Scottland. Suzanne and Christian recorded acoustic sounds such as waterdrops and vocals using sophisticated sound manipulation devices and muli-track recording techniques. The only electronic instruments used were the Jupiter 8 and the Roland TR-808 drum machine. The next year the duo began work on the follow-up ‘Transmission’, which released on cassette in 1983. After this release, Bühner and Doucet moved to Los Angeles, hoping to find more kindred spirits in the burgeoning New Age scene there. Doucet met Tajalli (William Wichman) whom with she would collaborate with on the 1984 cassette ‘Brilliance’. That same year Doucet married Video Artist and Yoga instructor James Bell. Together they recorded two albums, ‘Reflecting Light Vol. 1’ and ‘Reflecting Light Vol. 2’, using a Roland JX-3P, TR-909 and a Steinway Grand Piano. Both cassettes had mirrored covers, a reference to the Zweistein jacket 14 years prior.

For the first time Suzanne’s cassette music is available on vinyl, in a limited run of 300 box sets. Each is stamped with a rainbow foil of the goddess Isis and includes an 8-page full color magazine designed by Eloise Leigh with liner notes, photos and reflections by Suzanne. We also have a small amount of stand alone albums available housed in jackets using the original cassette artwork. All albums have been remastered by George Horn at Fantasy Studios. Doucet's career placed her at the forefront of blossoming New Age Music movement.

Sol Oosel presents an album with a complex mixture of tones and structures, striking a close relation between a sort of devotional music and a trancelike state. Beyond his own specific exploration of the possibilities of electronic modular synthesis, Sol Oosel searches for hacks in different states of consciousness by way of sound.

En allégeance à l'inconnaissable - Une étude en chorégraphie pour le flux d'énergie is meant as a musical aid for visualizing the ability to dance with and manipulate attainable flows of energy. Largely produced using modular synthesizers and the Roland SH-09, Sol Oosel stretches beyond the fields of ambient music, adding a special sense of drama to this psychoactive journey. Each song is built around solid structures and infused with a mystical atmosphere. Harmonically, this album is close to Hans-Joachim Roedelius' early works; it is emotionally positive, informed by pop nuances that are rarely found in this type of ambient music. Sol Oosel also owes to the works of Klaus Schulze; however, while Schulze was concerned with space and made music of the unknown but conceivable cosmos in his mind, Sol Oosel is more interested in Earth and the force that weighs us down in this complex physical reality. His music speculates on the relationships between inner and outer worlds. En allégeance à l'inconnaissable... is a soundscape and a choreographic exercise for relaxation, intentionally disrupted by "Here (Au Bord De L'Univers)", a deconstructive piece covered in multiple layers of repetition, progressive beats and kosmische pulsation which detours from the flow. In a way, it represents the bridge between all these cosmic and earthly energies.

This is Sol Oosel’s debut on Umor Rex. He previously self-released the album Janus, and was member of several bands and projects before focusing in Sol Oosel. He lives in the rural village of Tepoztlán, México, where he works as an artist, performer, sculptor, sonic landscaper, and dancer.

The digital version of this album includes a remixed version of "Temple Of Names" by Umor Rex longtime friend and collaborator James Place.

Bristol–based composer Ryan Teague presents Recursive Iterations, a suite of seven extended compositions that incorporate cinematic arrangements and cutting edge sound design within an algorithmic framework to striking effect. The resulting pieces combine elements of neo-classical, post–rave, and soundtrack music, to create an utterly compelling contemporary soundscape balanced by a calculated, almost architectural use of space and restraint.

The musical structure is derived from a custom–written algorithmic system that sequences harmonic and rhythmic events in ever–shifting patterns. Hyperreal electro-acoustic phrases and digitally synthesised fragments come and go in continual rotation, re-framed and re-contextualised by their proximity to other events in the sequence as the compositions evolve. The effect evokes a minimalist bricolage, hypnotic and kaleidoscopic in nature, and calls to mind artists such as Oneohtrix Point Never, The Haxan Cloak and Ital Tek.

At the same time, a core theme running throughout the record is a masterly use of absence and inertia influenced by the Japanese concepts of ma (間 - negative space) and the enso (円相 - circle), which serve to complement and counterbalance the diverse sound palette. By integrating these qualities, tension is built and resolved in equal measure, creating a dramatic sonic impression where fragmented rhythms, dynamic textures, subsonic basses, and delicate ambience all coexist. Recursive Iterations is a bold, powerful, and unique work that pushes sonic boundaries whilst revealing more with each listen.

audioMER is honoured to announce the release of a new LP Make Visible The Ghosts with music by Aki Onda (US/JP) and artwork by Paul Clipson (US). This album is the follow-up of Aki Onda’s Cinemage project Lost City - with Loren Connors and Alan Licht - released on audioMER in 2015.

On Make Visible The Ghosts, New York-based musician Aki Onda composed the soundtrack for the images of the San Francisco experimental filmmaker Paul Clipson, who suddenly passed away on February 3, 2018.

In 2009, Clipson and Onda met at the Amsterdam Schiphol Airport for the first time and shared a ride to the International Film Festival Rotterdam, where they presented audio-visual works in the same bill. Since then, the two artists - known for their highly personal approach with Super 8, 16mm, cassette Walkman and radio – maintained a close friendship over the next nine years. Their works deal with memory, time, space, and those reflections, and they had a lot to share.

Onda and Clipson completed their collaboration work Make Visible The Ghosts, a combination of vinyl LP of Onda’s music and large-size collage artwork by Clipson, a few months before Clipson’s departure from life. The work is composed of the materials they used for their performance in New York in 2012 and developed over the three years from 2015 to 2017.

Onda notes: “The loss of Paul has left a huge hole in our mind including his friends and collaborators. Paul is no longer here, and this is a chance to remember him and his images that extended and expanded our perception of how the world can be seen and heard.”

You're alone and you close your eyes. Don't imagine figures of light, make the darkness conscious. It becomes deeper, not eyelids anymore, and then something is around you, but you can't open your eyes, you're deep inside them. Merge into oneness, not bright above not dark below. Something with has no echo. Waves and motion, not space and time. If a tree falls in a forest where no one is listening, does it make a sound There are no signs in the snow. Why this dream of something cold The world is blue at its edges, the colour of that which can never be possessed. Blue flames, deep ice, twilight. How do you observe yourself without knowing that you're looking The other side of your face. Why don't you let the gap be a gap I was afraid there was too much space. When you stop focusing the image appears. Everything seen at once. Turn yourself into a point to get behind the surface. A messenger between two worlds. The hidden meaning behind alchemy: to be born again. You're not born into this world but out of it. Travel by heat, words are too slow. Sound knows how to get around edges, wiser than light.

Heaven is a work of contemporary church music. Centrally occupied with the subject of death, its conceptualisation was catalysed by Spiluttini’s discovering his mother’s preparations both for her own death and for his. He arrived at her home in 2015 to be led into the local church and shown the two adjacent places she had reserved for their urns. The tracks on Heaven together consist of an analogously personal and anticipatory negotiation with death.

Partly derived from organ recordings made in the same church, the album frequently enlists Arvo Pärt’s compositional method of tintinnabuli. Aside from the thematic logic of its sacred associations, the method suits Spiluttini’s tendency, in spite of heavy and dynamic passages, to minimise tonal complexity. His characteristic uses of gnashing bass, restlessly irregular pacing and serrated distortion return. This time, they combine with pads, harps, fluttering organs and swooping choirs.

Track titles throughout Heaven conjure intense emotional conflicts, especially those arising from experiences of embodiment. Touch isolation is a term for the toxic masculine stigma against platonic touch between men. If such a reference on an album preoccupied with death and afterlife raises the question of whether Spiluttini considers any touch – let alone platonic – to be possible in Heaven, the title ‘Flesh Angel’ perhaps answers it. As with ‘Body at War’ and ‘Weakened Centurion’, such a title positions the agitation of its music among ongoing struggles with body acceptance. Meanwhile, ‘Rainbow Bridge’ recalls the 1980s prose poem promising an eternal reunion in death with one’s beloved lost pets. In context, these various indices seem to capture the yearning speculation that, as the nexuses of experience, bodies are not discarded in death; on the contrary, they achieve a state of perfection.

Heaven revolves within dramatic and ever-changing vignettes. As church music, it lacks real communal participation or fidelity to hymnal text. Instead, it must come to terms with negation and eternity as dependable threats to generational and spatial distance, to personal struggles with earthly embodiment and to the anxious, hyperactive navigation of identity in late modernity.

(Edward Trethowan)

Calling Marcelle a DJ doesn’t wholly represent what she’s doing. (Three) turntables and a mixer is more the medium that she uses to create and share sounds, ideas and moments.

The same goes for her own productions. They don't have a fixed style, as can be heard on all five EP's released by the Munich label Jahmoni since 2016. They are free in attitude and music and cross boundaries between genres. Most tracks are a collision of ideas, a magically gritty, self-aware car crash as if Muslimgauze grew up in sunny Lisbon with the Principe crew as opposed to the grim North of England.

On her new LP 'One Place For The First Time' we find nine tracks brimming with ideas that ignore stale production norms. Sure, the pulsing drum 'n' bass-esque 'Hippies Use Side Door' is weirdly danceable, just like the cackling stomp of 'Respect Caged Animals', but can we dance to 'Technicians And Their Smoke Machines'? (Answer: We’d certainly enjoy trying). It's almost a jazz song, but like with everything Marcelle does, it's jazz from a different world and has proven to be a dancefloor smash when she’s played out the dubplate over recent months.

Marcelle's life-long love for far-out dub is clear in 'Dub (Dub)' and 'Respect My Snack Foods' is in the same 'educational' tradition as was the song about how to deal with constipation (olive oil!) from the 2018 'Psalm Tree' EP. Now we learn how to apologise. 'The Mother Of All Messes' (a UK newspaper headline about Brexit) introduces perhaps a more tender side, a comforting nursery rhyme plays while a muffled kick occasionally growls with distortion - as if it knows the importance of its place in the dance.

By the time the refrain of the intro track returns it seems to carry more significance, Marcelle has made her point quite clear. Defiant til the end… ‘Don’t touch the table!’ This particular sample is taken from Marcelle's legendary Boiler Room performance at 2018's Nyege Nyege Festival in Uganda where the MC of the event repeatedly declares that 'She Plays Vinyl' and therefore asks 'Don't Touch The Table!'. It goes without saying that the latter song is full of banging on the table noises.

The sleeve - as always with Marcelle - is very colourful and features photos of knitted egg cosies and images related to individual songs. It's a bit of a puzzle to find out which photo connects to which song, an enjoyable challenge, just like the LP itself.

Shining on lineups whether they’re cutting edge festivals, big clubs, touring circus shows or DIY garage venues comes naturally given she approaches all with the same mindset ('always the same, always different'), these causes are adopting her rather than the other way round.

Marcelle is a genuine innovator who remains inherently relevant by not following trends, not focusing on technicalities, having a sense of humour, dissolving obsolete structures, being excited, defying others rules while creating new ones, eschewing #tagline posers and ‘tasteless A&R wankers’, supporting artists that need it, supporting places that need it, supporting people who need it and not giving a fuck for as long as possible.

And HUGELY welcome living proof that you can excel in doing things differently and having a bloody good time n all.

James Marrs, London, March 2019

Djrum returns to R&S with two heavy hitting tracks on a double a-side release. This is his first original music to be released since the ‘Portrait With Firewood’ album in 2018. “A meticulous, moving electronic album.” Quietus “As audacious as anything in electronic music right now” Pitchfork Both tracks see him exploring his more dancefloor influences keeping the tempos high and the emotions heightened. While Tournesol takes in a characteristically broad set of influences - from braindance to Shaangan electro - Hard To Say focuses on the ambient-gabber sound that Djrum has pioneered. This is uncompromising music from a producer working at the top of his game.

New Material On NMG By Wellknown "Kromestar"

Inland is Vanessa Wagner’s continuation of the exploration of the minimalist composers register to complete the solo continuum of the Statea released in 2016 with the Mexican producer Murcof. Inland highlights a set of pieces, mostly rare or unavailable to date (Moondog, Nico Muhly, William Susman, Bryce Dessner, Gavin Bryars...) and some other well known (Philip Glass, Wim Mertens, Michael Nyman) that Vanessa Wagner performs with her classic pianist background and velvet sound.

Lucie Antunes is a French classically trained drummer and percussionist, inspired by the pioneers of minimalism. Her debut album SERGEÏ is a tour de force of eclectic music that leaves the listener amazed, almost hooked up in Lucie’s magnetic spiral of sounds. The eclecticism that pervades SERGEÏ is shown by Lucie ability to create labyrinths of sounds through the use of unconventional instruments such as marimba, vibraphones, celesta, tubular balls, glockenspiel and ondes Martenot.


Sergei is a statement of freedom. The same childish freedom that we run behind and that we desperately seek. Lucie, with SERGEÏ, achieves her freedom and builds on it, the artist that she is with no compromises but only with the determined ambition to break the boundaries, to shake genres and to make the eyes smile.

Unterton kicks off 2018 sideways with three tracks of high-octane electronics by Mark. 0-160 BPM in 15 minutes. Previous EPs for A Colourful Storm had a conceptual focus: the destructive effects of tech start-ups on Berlin's cultural landscape. Sound-wise, they paired frenetic, experimental d'n'b with musique concrète. On his Unterton debut, Mark continues further down a path of dark and psychedelic beat science. At times tranquil and hypnotic, other times charging forward between cracked whips and whiplash left-turns. 'Comedy is the dog that walks out of the room when you call its name."

Milan Knizak 1979's masterpiece never re-released before. Presented as a gatefold with the original design.

Milan Knizak (born 19 April 1940) is a Czech performance artist, sculptor, musician, installation artist, dissident, graphic artist, art theorist and pedagogue of art. Before everyone else - Christian Marclay, Philip Jeck, eRikm, Martin Tétreault, Otomo Yoshihide - there was Milan Knizak.

In 1964, Milan Knizak, a member of Fluxus from behind the Iron Curtain, sat down on a sidewalk near the Charles Bridge in Prague, laid down a paper carpet right into the street, and starts tearing pages out of books and burning them. Around the same time, he began to create music from defective, worn, damaged or broken LP's. These Broken Music compositions, his classic collages of noises created during performances and happenings, are widely regarded as important sound art documents on record.

"In 1963-64 I used to play records both too slowly and too fast and thus changed the quality of the music, thereby creating new compositions. In 1965 I started to destroy records: scratch them, punch holes in them, break them. By playing them over and over again (which destroyed the needle and often the record player too) an entirely new music was created - unexpected, nerve-racking, aggressive and even humorous. Compositions lasting one second or almost infinitely long (as when the needle got stuck in a deep groove and played the same phrase over and over). I developed this system further. I began sticking tape on top of records, painting over them, burning them, cutting them up and gluing different parts of records back together, etc. to achieve the widest possible variety of sounds." Milan Knízak, Broken Music

Foundation Audio are back at it again dropping this limited 10” gem out of nowhere. Sibla & Teffa make for a perfect combination on the buttons providing those warm vintage tones and classy beats that we’ve come to expect from the duo. ‘Bobby’ is a discordant swaggery monster steeped in jazz with the most concrete of sub heavy grooves. Truly unique stuff from the production dream team.

Nervous Horizon is very proud to present TSVI's debut album: 'Inner Worlds'.
The album is about reconnecting to one's true self and the discovery of the inner worlds: it is born from an ongoing artistic journey, which began in TSVI's childhood. The artist grew up with parents who practise Hinduism, which is quite unusual for an Italian family. In most recent times he was hugely inspired by his partner's religious and musical background, after she exposed him to Middle Eastern music and Sufi ideologies. TSVI started creating tracks that were influenced by bellydance percussionists such as Emad Sayyah and Hossam Ramzy, combined with Dancehall, Tarraxo and Trance.
The album is largely influenced by the role of music in transcendental Sufi practices and resembles an inner journey through different states of meditation and self-discovery.
Vedic and Tantric knowledge are also important here. Each track is a state of mind from the opening one, 'Root', to the last one, 'Crown', as they represent the first and last Chakras and all the other states found in-between.
Get ready to embark on a journey through mind, body and soul.

OG Deth” is ragga for 2015. Wheez-ie twists and turns his way through genre tropes. Mixing elements of jungle, footwork, and grime, “OG Deth” bashes its way through the wilderness. Can you keep up?

Can you feel it? Wheez-ie’s 2015 update has been destroying dance floors all around the world for quite some time! “Touchy” burns its way through 90’s garage at a speedy 160 bpm. Not for the faint of heart!

Pinchy Don, the disc-jockeying purveyor of all things off-kilter, esoteric, eccentric, and left-field has been wobbling around the world with his singular sensibilities and releasing DJ's-DJ mixes for years, and now he's finally channeling the accumulated energy and color into a series of vinyl-only releases under the aptly named P&F RECORDINGS.

There couldn't be a more perfect, fitting starting point for the endeavor than AMARINGO (a mysterious alias of synth extraordinaire JOHN CAROLL KIRBY) which is an homage to the deceased Peruvan Ayahuaska painter Pablo Amaringo, who's art is featured on the cover.

Just like Kirby himself, a purveyor of left field exotica (who's list of collaborators includes Sebastian Tellier, Solange, and Blood Orange - to name just a few), the release is simply too slippery and menacing to fit into any one genre bucket - as it rubberbands between blocky, percussive tribal stompers and lazy new age synth jams.

The opening tune, 'Manto de Fuego (Clock of Fire),' is a heavy, plodding, party-starter that, accompanied by smatterings of reverberant, brassy horns, marches along on the one. Following it is a jazzier number, 'Supai Rana (Spirit Frog),' all aqueous, rich bass figurations contrasted with bright, spongy synth cascades.

The flip is a more drawn-out affair, with 'Yacurunas (Water People)' stretching past a ten-minute runtime and being a study in hypnosis through earthy hand-drum loops, marimba and pan flute flourishes. It starts bright but turns on its head as it morphs into another meditative dance floor stomper.

We finish the ride and tumble back into the station with 'Angleles Avatares (Angel Avatars),' a tranquil, slo-mo twist on lo-fi tropicalia.

Get ready for some original DJ culture!
As cassette tapes are making a comeback it is time for us to revive Intrauterin Tapes after a 15 years hiatus with a new release by Intrauterin Recordings mastermind baze.djunkiii who is
bringing on his latest mixtape outing „The Gangster Files“ for all lovers of original and classic UK Garage / Sublow as well as real Jungle / Drum'n'Bass headz featuring a massive vinyl selection
of rare whitelabel cuts and essential classics.

The history:
Originally launched in 2001 and operating until 2004 the Intrauterin Recordings sister label Intrauterin Tapes released eight volumes in these first years, making a previously unprecedented move in German mixtape culture in focusing on studio recorded, MC-free vinyl only DJ-mixes for true bass music lovers, covering a musical spectrum from Drum'n'Bass, DarkJungle and UK Garage, put together by both hot, emerging talent from the local Hamburg
underground as well as a special final edition featuring US-based (Dark)Jungle legend and scholar Larissa Mann a.k.a. DJ Ripley for a preliminary closing in 2004.

Benedikt Frey returns to Live At Robert Johnson with three hypnotic cuts.