Beats Vinyl New Releases - News

SATL has already carved himself into the repertoire of drum & bass, something which can be seen through a succession of releases which have helped push him as a part of its more soulful trenches. SATL is a frequent traveler and performer at SUNANDBASS in Sardinia, also taking pride of place within our SUNANDBASS Recordings tour parties, enabling him to debut his music across a wide-ranging fan base. For him to release an EP on the SUNANDBASS imprint comes as little surprise, with the producer already deeply involved with the SUNANDBASS family.

The 'Braveheart' EP is an intricate look into the sounds which build SATL’s musicality – from its title track featuring Dan Stezo, through to digital bonus 'Maj', it pedestals the direction which has enabled SATL to receive such worldwide recognition. The winding pads of ‘Bravehearts’ and the gloomy lyricism of Dan Stezo gives a darker edge to the opening track, whilst 'Acid Trip' is an immersive experience, one with an urgency that catapults you into its first breakdown. 'Low End Theory' shakes through to its core with a stocky heaviness, then 'Maj' (digital only) takes you down a lighter route, one underpinned by its swatches of tinkling percussion.

From beginning to end, SATL takes you on a journey and it’s one with the mechanics that he’s becoming renowned for. Joining SUNANDBASS Recordings once again, it’ll be a welcome addition for any DJ and fan looking to add to another gem to their catalogue.

For the third release on the label Synkro teams up with Apollo label mates Arovane & Marenn Sukie.

Following on from the Refractive Index EP ‘Transmission’ is a beautiful piece of IDM / Electronica reminiscent of Arovanes early work on CCO & DiN brought up to date with Synkro’s intricate beat programming and sub bass.

‘Get Together’ is the first collaboration between Synkro & newcomer Marenn Sukie but could be the beginning of something special. Heavy jazz influences can be heard throughout from the deep Rhodes chords to the razor sharp breakbeats. Seriously deep listening but still ready for the club!

AKO10 sees its 2nd instalment in the series and this time Tactical Aspect brings 2 soulful jungle riddim to follow Specialist X.
This 10 series is simply about bringing a soulful vibe that will take you on a journey and T.A have done just that.

BIG TIP - TBZ is the MF DON around here. Too slept on...if you ask us.
" Another hardcore mini-lp from our favourite madman. Sink some Kölsch and vibe to this.."

The Pendletons take a bold step with their first full length album, 2 Steps Away, releasing this spring on the Bastard Jazz imprint.

Recorded in San Francisco with a rock-solid band consisting of some of the best musicians in the Bay Area, including guitarist Carl Locket (Shalamar, Rick James) and Star Creature recording artist Elive, the duo taps into a classic soul/boogie sound that rides a wave of '70s and early '80s funk with ease but somehow remains true to the excitement of those classic recordings without being overly nostalgic. The music shines, as does the songwriting, which is honest, undiluted and spiritually inspired. Disco horns, heavy percussion and slap bass punctuate dance floor burners, which give way to sweet soul steppers, making for a blissful balance on the 9 song album.

The Pendletons is a long-standing boogie-funk and modern soul project of E da Boss (one half of Myron & E) and Trailer Limon. The group emerged with their very first release in 2010, a 7" inch of "Coming Down/Waiting On You" on the Slept On record label, which set the tone for the group to emerge... It instantly became a cult classic receiving constant play at nights like Sweater Funk and Funkmosphere, and fetching for serious sums among collectors.

In 2013, they followed up with another 7" featuring K-Maxx, Jacqueline Mari and Songbird Remos and later a very limited flexi-disc release title "Winning Ova You". In 2016, they released the EP "Gotta Get Out". The title track caught the ear of renowned global tastemaker Gilles Peterson, who liked it enough to release it on his Brownswood Bubblers' compilation. In 2018 the group released the Funk Forever EP on the Bastard Jazz label to critical acclaim.

Now armed with a live band with a full horn section, a vast array of accomplished jazz and funk contributors, and a knack for quality song-writing, the Pendletons' sound has shaped into something fresh and unique. The duo release their debut full length album, 2 Steps Away, on Bastard Jazz this spring.

The first of 2 salvos from the wizards of re-editing - Psychemagik.
Part 1 is a selection of far-flung and undiscovered lysergic renderings of some 'well-known' pop & dance classics.
These aren't your common dime a dozen covers either, these are straight killer, bizarro rearrangements that will have you scratching your head in wonder, and hitting the discotheque dance-floor in equal measure. As always, the Psychemagik boys strive to bring you that heat, reworking from only the prime source material sourced from their regular global jaunts and epic record trades in far-flung places. Welcome to the soundtrack to a funky alternative dimension where things seem somewhat familiar, but perhaps a little off.... in the best way! Pure sonic trips all over this one. Dig it! Answers on a postcard please!

We are pleased to introduce you to 'MURKT' - The brand new label from Villem.

With a decade of music already under his belt on legendary labels such as Metalheadz, Hospital/Med School, Utopia Music, Spearhead , Dispatch, V Recs/Liquid V and Symmetry, Villem is certainly no new kid on the block. Last years 'Playing The Changes' album (with McLeod) on Spearhead only further cemented his place in the hearts of fans of the soulful side of his production. Then of course he is also one half of the infamous 'The Vanguard Project' alongside BCee with a whole string of first class EP's and modern classics. The launch of Villem's own imprint 'MURKT' demonstrates another side to his already impressive productions.

The first MURKT release are both Villem built beats harking back to his formative years and ultimately his favourite period within Drum & Bass. Think mid to late 90’s dancefloor Drum & Bass, with funky, rolling drums and huge melodic basslines.

This isn’t a nostalgia trip though, these are tracks created for 2019’s DJs, produced with the combination of digital and analogue equipment, All Day E'ry Day and Shake Weight are full on bangers guaranteed to get a crowd reaction.

Half of the dark synthwave duo THE HUNT ,Herbert West is a French electronic producer heavily influenced by 70’s and 80’s horror soundtracks. This artist tends to use vintage, analog and modular synths and It ́s important to point out that he has released with the Hunt two albums through the well-known labels Giallo Disco (2014) and Bordello a Parigi (2018).

Vortice Mortale is his new project in which he mixes space disco and dark synth music.It is clear as water that Herbert West loves Italian horror movies and French disco music of the past decade considering that this work “Memento Mori” is perhaps a perfect combination of powerful beats, enigmatic passages and wicked catchy melodies.

After a standout Ep by Florian Kupfer, London’s Axe Traxx is back with some Electro infused tracks by Italy’s newcomer Clafrica with a remix from Apron’s fresh signees My Girlfriend.
Think MPC, Juno 106 and 808.

…each piece is timeless and genuinely magical" - The Quietus
"Why have we had to wait this long for this excellent sound to be recorded and released?" - Norman Records

Profit Prison is the solo work of Seattle-based Parker Lautenschlager, previously in the hardcore band Marrow, power electronics act Anteinferno, and black metal cult Bhereg. Conceived in 2016, Profit Prison explores lyrical themes of isolation, estrangement, deprivation and paranoia against an aural backdrop of synthpop, post-punk and abstract industrial music. Inspired by Franz Kafka as much as Kraftwerk, Profit Prison achieves a cold minimalism that speaks to the nightmarish dystopia in which it was created. The debut Myra was released on cassette by Dominick Fernow's Hospital Productions in 2017.

On March 29 Avant! will release the 12' vinyl debut Six Strange Passions. Six tracks where Hi-NRG disco beats and 70's throbbing synths melt with trembling, reverberated vocals and dark dungeon synth passages.

Limited edition of 300.

Artwork by Italian Noise legend Matteo Castro (Lettera 22, Kam Hassah, Second Sleep label)

This one has taken too long to lineup, but then again hasn't it arrived right on time? Unknown Mobile flies out of the gate with Clocktower, maintains momentum through Felled Birch, and cools down as Starstruck enters: a real whirlwind of a record for the main room and chill-out room alike. One could say that the artist is influenced by their location in place and time, but its feels as though UM's sound has been shaped by powers more distant. While the choral harmonies, low-end arps, and melodic meditation transport us through a late 90's discogs dig, the modernity in production guides us to the future. Long time friend, first time releaser, Unknown Mobile we are happy to have you.

First full EP by Helena Hauff on Return To Disorder. Electro stuff, s alright, nothing more to say really.

Fleeing her Soviet ruled home of Tbisili at a young age with her parents, Saze grew up as a nomad living in Russia, France, Canada and the USA before finally settling down and pursuing a career in NYC. A classically trained musician and dancer, before long the Georgian turned her back on corporate life to pour her heart and soul into the arts. Becoming a diligent and versatile electronic music producer, DJ and live act, Sophia Saze is as comfortable sculpting intricate and atmospheric productions in the studio as she is decimating dancefloors with robust Techno and frenetic Breaks. Reflecting on her turbulent life and how it’s formed her own identity, Saze composed her aptly titled debut album, ‘Self’. Released on cassette in two instalments, ‘Part I’ dropped in June and was critically acclaimed with support from the likes of BBC 6MUSIC’s Tom Ravenscroft, Mixmag, DJ Mag, XLR8R, Resident Advisor, Future Music, Attack Magazine, TRAX, Tsugi, Ransom Note and Groove Magazine, with the latter drawing a parallel between hers and Burial’s music. Completing the journey, ‘Part II’ meanders through genres like Ambient, Hip Hop and Breaks, and features very personal insights including handpicked samples from Soviet television shows and VHS cassette recordings from her childhood. Hidden allusions of her classical music education bring up distant memories and melt together the organic but thoroughly electronic ambience. Crackles, hushes and hisses are elaborated so well that the record virtually gushes over the ears like mountain torrents. It appears peaceful and quiet, then rousing and it is sparked with bewildering sounds. It lets scattered beats arise from the thicket and drown again in streams of noise. But

VORTEX by Special Request remixed by Mall Grab and Sully.

DESCRIPTION
Absolute madness unearthed by Paul Ebhart and Florian Stöffelbauer aka Heap for Wiener Brut's third release
Chicago-meets-Vienna-vibes - music way ahead of it's time produced in the 80s by short-lived formation Aktionskunst Gerasdorf aka Athletico Kunst Gerasdorf, a project that is well known for it's contribution to the legendary Viennese sampler ‚Die Tödliche Dosis'.

808-driven beats programmed by René Radikal (R.I.P.) backing Melanie Delval's tender voice, with multiple guest musicians (e.g. Fritz Grohs) rounding things up and adding their spice to the laidback jams alongside stand-out musical heavy hitters. A composition of sound you never heard before.

As well as being a resident at Moscow's Denis Simachev bar, Leonid Lipelis has been slowly making a name for himself as a producer for some time. There's a whole raft of Lipelis remixes for the nu-disco set dating back to 2006, but it feels like the Russian producer has stepped up his game of late. Inbetween some killer edits for 'LIES' and an upcoming Public Possession 12" as TMO, Lipelis dons his Beard In Dust guise for the latest release from the mysterious Bahnsteig 23 label. ... If you were a fan of that aforementioned 'LIES' release or any previous 'BAH 12' it's highly likely you will dig the four cuts here with Lipelis drawing for some obscure sources with eminently danceable results.

The mighty HTRK follow-up their recent ‘Venus in Leo’ album with ‘Over The Rainbow’, their debut soundtrack for Jeremy Piexoto’s 2019 Scientology documentary. A rare and unexpected all-instrumental showreel by the shoegaze pop duo, their suite of original music is testament to a haunting soul that’s long lurked under the hood of their singular, hugely evocative sound.
Effectively a sort of dream come true for HTRK’s legion disciples, the soundtrack strips away their signature vocals and drum machines in a commission to fit the mood of Piexoto’s feature - a film that seeks to better understand Scientology through a range
of perspectives, from psychologists to former members. HTRK use their considerable knack for conjuring haunting, heavy-lidded feels and ohrwurm hooks to map the mood, deploying a trademark, incisive sense of detachment that colours the film’s intersection
of real beliefs and ideas of Scientology as a sect.
In the absence of Jonnine Standish’s vocals and Nigel Yang’s 808 boom, HTRK’s musick is pared to its essence of synths, guitars and electronics and painted in hazy, illusive strokes from a palette of smudged pastels mutual to both South California and the band’s native Australia. The result is a 13 part mosaic tiling hazy blue cues with aqueous ambient pads and baroque themes, playing out like the atmospheric strokes to LA noir in a way that silhouettes the film’s probing narrative and rhetoric and also reflects its fascination with American culture and the supernatural in a similar way to Eno’s ambient classics or Lynch flicks and their scores.
Ultimately ‘Over The Rainbow’ is an instant play-it-again entry to HTRK’s catalogue, one that supplies a sort of crystal ball window onto their practice and most subtly illuminates the duo’s masterful control of tonal sensitivity and floating, chamber-like composition. A massive recommendation to all lovers of classic ambient music, from Pinkcourtesyphone to Gigi Masin, AFX and Eno.

lack Truffle present In Real Life, the latest in a flurry of releases from Berlin-based guitarist and composer Julia Reidy. Having drawn acclaim for solo performances on 12-string acoustic guitar that bridge microtonality, ‘American primitive’ stylings and classic minimalism, Reidy’s recent releases have utilised an increasingly broad sonic palette, fleshing out guitar-based composition with electronics, field recordings, and – most strikingly – heavily auto-tuned vocals. On In Real Life, Reidy pushes one step further, crafting an epic LP-length suite that moves from abstracted song to lush electronics and explorations in contemporary musique concrète. Beginning with a passage of eerie electronics and creaking percussive interjections, Reidy’s heavily auto-tuned voice quickly takes centre stage. Surrounded by explosions of electric guitar and synthesised arpeggios, the auto-tuned voice delivers a melancholic ode, bringing together poetic images to reflect on the instability of experience and mutability of identity in a contemporary world saturated by digital technology. This concern with the unsettled relationship between the physical and digital is reflected musically by the constantly shifts in emphasis between Reidy’s physically demanding guitar-picking and the various forms of synthesis deployed. Similarly, the dynamic imagery of cutting, shattering, and ‘racing streams’ present in Reidy’s lyrics also serves to characterise the structure of In Real Life, which ceaselessly shifts between distinct episodes. The song-based opening, long sequences of frenetic 12-string guitar shadowed and eventually overtaken by synth tones, passages of delicate chiming harmonics, electro-acoustic cut-ups – each flows seamlessly into the next, often recurring throughout the record’s duration, which lingers over interstitial moments between these episodes.

Mixed and mastered by Joe Talia at Good Mixture, Tokyo. Vinyl cut at 45rpm for maximum fidelity by Rashad Becker at D&M, Berlin. Artwork by Suze Whaites. LP desgn by Lasse Marhaug.

Emerging slowly from understated beginnings, 'Running Into The Sun' sees Komodo deliver the kind of expansive tones that easily establish a vibe on the dancefloor, nodding to progressive house's fundamentals while borrowing plenty from earthier, more organic-sounding ends of the four-four scene.

Eric Duncan does the business on the remix, taking it into tougher territory and throwing in a cacophony of drummy intersections that help build the atmosphere, placing the whole arrangement on a knife-edge. 'Slow Burning' does what it says on the tin, growing and grooving its way through spiralling synths and acidic inflections, adding some gentle chords to bring in some welcome melody.

Latrec evidently has a different understanding of the phrase given his remix, cutting back to throbbing kick drums while allowing just enough of the harmony to enter earshot, with trance-like results.

A new imprint dedicated to all things reggae/dancehall, Homemade Soundsystem is a much personal homecoming for BFDM mastermind Judaah. Setting a whole new aesthetic agenda for the Marseilles-based groove slinger, revolving around fresh interpretations of classic skanky riddims and further sweat-inducing Caribbean tropes, the label pays a vibrant tribute to Judaah's first love, following straight in the footsteps of the artists who played a crucial role in the birth and development of his taste over the years; from Sizzla to Bounty Killa, via Buju Banton, Augustus Pablo and Lee Scratch Perry. Though mainly born out of a life-affirming teenage love for the aforementioned styles and their bastardized sub-divisions, HSS is also and further crucially intended as a platform for shrewdly executed cross-overs and quaky bass moves zeroeing in on bringing dancefloors to an unchaste, swelteringly sensual boil. Expect mad tides of booties bumpin' and shakin' as HSS ruff drum progs, heliotropic melodies and knee-buckling breaks cut a path of destruction across the clubs, Judaah's your skipper for a helluva wild ride into damp musical tropics.

"Second 12" in a series of forgotten FM radio hits for a parallel universe or some other dumb text to promote this amazing Belgian "synth-pop" 12". This one contains the sleazy grim "Venetian Blinds" from '84 and the underwater weirdness from "Mais Qu'est-ce Que Tu Fumes" from '90"

10 like Maradona... or Luke Vibert. Traditions turns 10, impossible to miss this!

Dutch powerhouses Parrish Smith and Interstellar Funk team up for their debut collaboration on L.I.E.S. with a new four track ep. Striking up the perfect balance of both their signature styles, this record hits the sweet spot between metallic synthwave, slow beat industrial, and clanging EBM hybrids. The duo effortlessly weave together a sonic narrative with nods to the past but unmistakable emphasis on their ever expanding foward thinking future sound. Recommended!

A thread of electro runs further throughout the Zeitnot series on ZEIT006, Quadratschulz’s vibrant and playful melodies dance back and forth across 4 tracks all well-suited for the dancefloor.

Exzakt continues to forge one of the purest totems of classic electro with his Monotone label, and indeed his own output. The latest release is a various artists EP which perfectly sums up everything Monotone is about. The Advent leads the way with the dark, melodic "Eye's Of Envy," produced alongside Zein, before Exzakt himself drops a taut and wiry dancefloor bomb in the shape of "Kreep." 214 fires up the B side with the edgy, minimalist thrust of "Crouch & Turn," before EggFooYoung makes a surprise return to the fray with the more Miami-flavoured stylings of "Bass2Large," a slower, dirtier jam with low end frequencies to get the whole club freaking.

If Not Now When is the first release by Tizzy on Slivers. Created over 12 months in the Deep Blue Studios of Vancouver, Canada, the backbone of the 808 takes the listener on a journey through past and present. The purposefully short tracks on ‚If Not Now When' invoke the history of artists such as J Dilla, Madlib, and Prefuse 73 in its journey.

Tizzy has quietly been behind the scenes of releases and performances for a number of artists on Hybridity Records, the New Forms Festival, and a number of other projects over the past 20 years. Tizzy has performed and presented in festivals such as MUTEK, Transmediale, ISEA, the FCMM, the New Museum and Next Wave under a number of different monikers.

Voltage Festival is releasing a compilation of 4 EP's to celebrate five years of existence. The EP's are dedicated to four sub-genres of techno and represent the versatility in techno of Voltage Festival's line-up.

The series starts off with a classic techno EP called ‘Zener Diode’, followed by a deep techno one called ‘Wiring Harness’, an industrial release with the name ‘Circuit Breaker’ and closing with acid techno called ‘Resistor’. The artists featured on the releases already made their appearance at Voltage Festival, or are playing on this year’s edition.

An exclusive and outstanding Regis collaboration appears on the third volume of vinyl premieres for Vatican Shadow’s early and highly sought-after tapes, as originally dispensed in 2011 during
the peak years of the ‘War On Terror’ Holding all six sides from 3 x hard-to-find tape “deck” issues of ‘Washington Buries Al Qaeda
Leader At Sea’, plus the previously digital-only track ‘He Ambled Down The Dirt Road For Visits To A Market’ and the aforementioned Regis exclusive; the 3rd instalment of the series definitively
compiles Vatican Shadow’s impressionistic take on a turning point in 21st century U.S. geopolitics.

Coupled with track titles lifted from the media and official government communiques on the subject, plus a full length portrait of the Twin Towers prior to 9/11, the stark music suggests a perceptive void of detachment between reporting of the events’ objective reality and Vatican Shadow’s subjective response, beckoning listeners to read between the lines in a way that was previously deployed by two of Dominick Fernow’s (aka Vatican Shadow/Prurient/Rainforest
Spiritual Enslavement) key historic influences; Muslimgauze and Whitehouse.

From the offset clatter of drums evoking marching boots on ‘People In The Compound Kept Themselves To Themselves’, to the furtive pads that bleed thru ‘Supplying The Compound With Food and Medicine’, and the elegiac gloom cast by ‘Peace Be Unto You’, there’s a nerve-edged tension to the music which surely evinces its subject in an allusively classic style.

And the two new parts succinctly fall in line, with the dusky stroll of ‘He Ambled Down The Dirt Road For Visits To A Market’ marking out one of the project’s finest trip hop downbeats, while his collaboration
with Regis on ‘See You Again Always’ provides the project a new highpoint of guttural, militant, technoid pressure.

With original tapes selling for triple figures on the 2nd hand market, this expanded definitive 2LP edition is unmissable for anyone with their head in the belly of modern electronic gloom.

After inaugurating the label with a tape in 2015, our local friend Richard Brown (AKA Brown Irvin) returns to Motion Ward with an oblique two-track 12" entitled "Run Me That Soul". "Locution" flexes a wobbly equilibrium of dubbed dancefloor energy and amorphous acid while "Overcast" coats the B Side in a smeared gradient of ambient wash and shape-shifting stasis. A persuasive pair of parallel worlds for winding up and winding down.

Brooklyn based 369 Records returns with its second release, a split 12'' featuring artist Co La and Jeremy Hyman.
A side is laced with the freaky self extended edit of Co La's "Barricade". This track sculpts sound into a club ready fast pace tune sure to leave people intrigued and begging for more.
On the B side Jeremy Hyman introduces a hypnotic melody unlike many you have heard before. Building on this melody it slaps you with the clap, and beats you with the bass. Dance floor tested , this release is not your average twelve inch.
Both Co La and Jeremy Hyman have a rich discography and sick pedigree before their solo careers.Co La aka Matthew Papich played in Ecstatic Sunshine ( Carpark Records) before starting his solo project Co La (Software Records, Primary Information) , and also a key contributor to Lifted (Pan Records)
Jeremy Hyman is a rare breed. A classically trained drummer who has played for more legendary bands than one can name (Ponytail, Dan Deacon Boredoms, Animal Collective, Lifted) . He has recently started a wild independent self titled electronic solo career. He has already released tracks on Future Times Records

The Wintherwila.
It lasted six years, six months, and one day.
And we thought that we would never ever have one again.
But hey.
Fontan, consisting of Jesper Jarold and Johan Molin, returns the 28 of january 2016. And Hoga Nord is bout it when it comes to stylish resurrection. And this Gothenburg based duo deserves excessive awe and reverence. Especially with this comeback: A three track picture disc EP. They have slipped directly inside our house. And if the first title track Babylon is wrong - we don't want to be right. The closing tune Bardo is pure bliss with a bass line that would make Buddha twerk. But underneath the perfection and smoov melodies lies a sense of subtle disturbance... For the prepared and appropriately trained individuals the Bardo offers a opportunity for liberation. The transcendental insight may arise with the direct experience of reality. For others it can become a place of danger. The karmically created hallucinations can impel one into a less than desirable rebirth. Barbarism begins at home! Enjoy the Earth!

2x12"

Eliane Radigue's Chry-Ptus is her very first piece for the modular synthesizer. It was composed in 1971 using a Buchla 100 which had recently been installed at NYU by Morton Subotnick. This double LP was mastered by Golden and pressed at RTI for maximum fidelity.

From the original press release:

'Chry-Ptus' (1971). Originally two tapes which were to be played simultaneously, with or without synchronisation, which does not affect the structure of the work, but creates changes in the game of sub-harmonics and overtones.

Three variations on this piece were performed at the New York Cultural Center in 1971, with variations of amplitude and location modulation as well as synchronisation. Realized on the Buchla Synthesizer at the New York University.

The booklet contains a text by painter Paul Jenkins, who also realised the watercolor on the front cover, written on occasion of Radigue's first concert in New York, April 6th, 1971.

“It’s with the Buchla that I constructed Chry-ptus, a piece made up of two tapes with an analogue duration, 22 or 23 minutes, which could be played either simultaneously or with a slight time difference, so as to establish slight variations every time the piece was played. I spent the first months eliminating everything I did not want; I even used a notebook in which I tried to determine a writing system resembling chemical formulae.” Eliane Radigue

Totally bonkers German synth punk!
"JPGRR (JOHN, PAUL, GEORGE, RINGO & RICHARD) is nobody but East-Germany’s neo-punk squeaker RICALETTO of PISSE with his second solo-record EASY LISTENING carved into this vinyl’s side A. On the flip-side you'll find central-Israel’s VICTOR, a guy named GUY and his second little big musical statement after releasing an infamous cassette w/ Lumpy Records."