Beats Vinyl New Releases - News

Turkish trio Islandman have been busy of late with festival and club gigs around the globe. Now they are setting off on a cross cultural sound journey with their second album “Kaybola” (which means to get lost to find a new way in Turkish) The record is chock full of ethno-cultural material from Japan to Bulgaria, including field recordings of Tuva, Central Asia throat singers. Shamanic rhythms were introduced to nomadic guitars, combining with compact electronic structures, finally transforming jazz elements into dance movements of a tribe that no one knew and emerged as ‘KAYBOLA’. The album has been 2 years in the making and the result will no doubt gain a whole new fanbase. An intoxicating mix of experimental electronics punctuated by distinctly Turkish instrumentation. The album features the single ‘Lamani’ a hypnotically psychedelic hip-swiveler of a track. It also features their latest single ‘Dimitro’ which is their superb re-work of a traditional Bulgarian wedding song using 808 drum machine & bass to work it into a slow-mo dance track whilst retaining the raw vocals and ritualistic feeling. Tolga found the original record whilst digging in a world music record store in Istanbul and immediately fell in love with the vocals. Other highlights on the record include sunset, chill fave ‘Khepre’, the dancefloor chugger ‘Shu’ & the superbly catchy trumpet banger ‘Sahara’ Pink Floyd vibes on the hippie synth based ‘Hold Your Breath’. This special edition double vinyl release includes 5 tracks that are not on the digital album each with their own unique style and includes collaborations with Ibiza legend DJ Pippi on Sem Voce and the jazz journey of Lumiere, produced in Denmark with label mates The Swan & The Lake & Langkilde. Altogether a wonderful new album by Islandman who has taken another musical leap forward from his critically acclaimed debut album ‘Rest in Space’, an album which has just been re-issued on Limited Edition yellow vinyl!

Turkish trio Islandman have been busy of late with festival and club gigs around the globe. Now they are setting off on a cross cultural sound journey with their second album “Kaybola” (which means to get lost to find a new way in Turkish) The record is chock full of ethno-cultural material from Japan to Bulgaria, including field recordings of Tuva, Central Asia throat singers. Shamanic rhythms were introduced to nomadic guitars, combining with compact electronic structures, finally transforming jazz elements into dance movements of a tribe that no one knew and emerged as ‘KAYBOLA’. The album has been 2 years in the making and the result will no doubt gain a whole new fanbase. An intoxicating mix of experimental electronics punctuated by distinctly Turkish instrumentation. The album features the single ‘Lamani’ a hypnotically psychedelic hip-swiveler of a track. It also features their latest single ‘Dimitro’ which is their superb re-work of a traditional Bulgarian wedding song using 808 drum machine & bass to work it into a slow-mo dance track whilst retaining the raw vocals and ritualistic feeling. Tolga found the original record whilst digging in a world music record store in Istanbul and immediately fell in love with the vocals. Other highlights on the record include sunset, chill fave ‘Khepre’, the dancefloor chugger ‘Shu’ & the superbly catchy trumpet banger ‘Sahara’ Pink Floyd vibes on the hippie synth based ‘Hold Your Breath’. This special edition double vinyl release includes 5 tracks that are not on the digital album each with their own unique style and includes collaborations with Ibiza legend DJ Pippi on Sem Voce and the jazz journey of Lumiere, produced in Denmark with label mates The Swan & The Lake & Langkilde. Altogether a wonderful new album by Islandman who has taken another musical leap forward from his critically acclaimed debut album ‘Rest in Space’, an album which has just been re-issued on Limited Edition yellow vinyl!

A name gaining notoriety in Belfast and fast expanding beyond is JORDAN, a producer and selector easing between house, techno, italo, disco and electro with fierce dancefloor power. Fresh from his Boiler Room debut, Warehouse Project performance and shows across Europe - the wheels are well and truly set in motion for JORDAN. His latest offering, VOYAGER, works elements of italo disco, rave and house, into two fresh tracks, VOYAGER, and MUSCLE MEMORY.
The revered Brassica steps in with his Midas touch, remixing title track, VOYAGER. Fusing the original with distinct oriental elements, Brassica demonstrates his ability to push boundaries.

PROPER PIC SLEEVE REISSUE OF THIS EARLY LCD 12" FROM 2004. ‘Yeah’ was the follow up to LCD's breakout track "Losing My Edge," and was kind of a sleeper that has definitely stood the test of time and is worth a revisit. LCD records seem to speak to those kids sick of the scene, who want their 12" to retain interest longer than the next trend, but without sacrificing up to the minute relevance. An impossible feat, but listening to tracks like "Yeah (Crass Version)" will make you a believer. The song writing and composition are the foundations that the track is built on, with enough rock pretentiousness and sleazy analog to keep you interested. It takes a little more to keep our jaded ears interested these days, and this is might be it. "Yeah (Pretentious Version)" is a completely alternate version, offering a cleaner instrumental take on the track. Also includes the "Clap-a-Pella." Recommended.

The English-Irish electronic/dance duo Moloko released their first album Do You Like My Tight Sweater? in 1995.

It’s one of their most experimental records, before moving on to a more mainstream approach. Roisin Murphy is carrying the album with her versatile vocals, both in range and style, while Mark Brydon created the breakbeats, sound effects and groovy disco lines.
This is electronica at its best, danceable and funky.

The album includes their hits ““Fun for Me” and “Dominoid”, besides fan favourites like “Day for Night” and “Where Is the What If the What Is in Why?”. They never slow down in their exiting music and absurd lyrics, but that’s exactly what makes this record unforgettable.

Pure joy to be danced on all night.

Do You Like My Tight Sweater? is available as a limited edition of 3000 numbered copies on turquoise vinyl.

Unless you live deep, deep inside some sort of cave and have never ventured outside it's unlikely that you'll be unexcited by the next offering from Touched Music.

Quench lighten our lives once again with 'Greyhound EP', Drawing on His vast experience (Cane, Funckarma, et. al) to bring you a lovely little collection of tracks.

Six pieces of expert creation, thoughtful in concept and masterful in execution, this is the complete opposite of run-of-the-mill. Rhythms are strong, highs are crisp and things which are distant sound like they are supposed to be.

'Marta Cosmone' emerges from a muddy horizon and quickly flips into a clear and concise track. Attention has clearly been given in equal amounts to all constituent parts and nothing has been left behind.

The theme continues right until the end, all the songs here leave you hanging from one phrase to the next as they continuously evolve and transform to keep your attention.

There's an intermittent sense of urgency, most apparent in 'Skavenger Orphan'. One has just about enough time to process what has happened until the next iteration of the phrase is in your face.

Everything is topped off nicely by 'Bowen Skylax' that manages to relax me after being on the edge of my seat for half an hour or so - no thanks to the penultimate 'Biva Vlance' which steps it up a notch with somewhat more hectic drum programming.

Following quickly on his release on Fracture's Astrophonica label, Sully returns with the opening release from new label Rua Sound, with two slices of modern jungle vibes. Driven along with high-end breaksmanship and superb knack for melody we have come to expect from Sully, the release adds to an exciting movement which is reimaging and blurring the lines between uptempo genres.

The release is backed on the remix tip with an eyes down dancefloor pounder, courtesy of Sam Binga.

Strong support from Om Unit, DJ Madd, Danny Scrilla & Moresounds (both of whom featured tracks on Toddla T's BBC Radio 1 show), Fixate, Mantra and Law amongst others..

This is the new Kater Blau Label dedicated to our resident artists of our beloved club Kater Blau from Berlin.
Featured by extraordinary Artists like Mira, Christopher Schwarzwalder, Geju, Britta Arnold, Unders, Wide Awake Sven Dohse,Canson, Coss & Iorie and many more in the next future. Kiosk is the magic and hidden afterhour floor of Kater Blau and well known for long never ending ecxtatic nights where people leaves on tuesday mornings with a entraptured smile in their faces... So we find there’s no better name for our new Label !

Triumvirate = the combined power of a group of three in creative collaboration.

CARTER TUTTI VOID (Chris Carter, Cosey Fanni Tutti and Nik Void) have an-nounced their third and final studio album containing all new studio recordings, Triumvirate brings Chris Carter, Cosey Fanni Tutti and Nik Void’s collaborative partnership as Carter Tutti Void to a conclusion.

The trio first came together as a collective for a live performance, in-vited by Mute for the Short Circuit Festival in 2011 and released their acclaimed debut, the live album Transverse the following year. Carter Tutti Void went on to release f(x) (Industrial Records, 2015), their first stu-dio recording and performed a handful of selected shows, culminating in their final live performance in Hull, part of a series of events for Hull City of Culture 2017 centred around the COUM Transmissions retrospective at Humber Street Gallery.
For some time Carter, Tutti and Void have been awaiting an opportunity when all three artists were able to gather at Carter and Tutti’s Studio47 in Norfolk, where the album was recorded, produced and mastered. Triumvirate was ap-proached with the improvisational spirit of previous Carter Tutti Void albums. The rhythms, created by Chris Carter, formed the foundation and starting point from which the process began of melding the live instrumentation of Cosey Fanni Tutti and Nik Void’s searing guitars, vocals, effects and the arsenal of sounds each had amassed from a variety of sources, some sounds manipulated to extremes, all fed into the mix. Tying the album together is the power of three, and a free open approach to sound shared by the trio.

Carter Tutti Void are Chris Carter, Cosey Fanni Tutti (Chris & Cosey / Throbbing Gristle) and Nik Void (Factory Floor / NVPR). Chris Carter recently released his first solo album in 17 years, Chris Carter’s Chemistry Lessons Vol. 1 (Mute, 2018) and Cosey Fanni Tutti’s TUTTI, her first album since 1982, came out ear-lier this year on Conspiracy International (home of Chris and Cosey since 1982). Nik Void is currently working on her debut solo album.

Sentiment of Callousness was written over a one-and-a-half year period of total collapse, characterized by disconnection between the world within and the perception of the world outside.

Each of the tracks embodies feelings experienced during this time - from dark to bright, sluggish to energetic, alive to dead, real to unreal, and the self to the other.

Navy Cut welcome Surreal to the label for his inaugural release!
Hailing from Yorkshire, the no-nonsense producer and DJ caught our attention with his production skill and attention to detail.

“Somnipath” driven by a dark 808 bass that progresses into an Eastern melodic atmosphere.

On the flip side “Don’t Fall Asleep” is intense bass pressure with thick drums and even thicker vibes.

Boom Sound EP - Various Artists

The best Vatican Shadow release, bar none, finally lands on vinyl for the first time as part of a long
overdue remaster + reissue series for the project’s earliest, fêted releases
Originally slunk out on tape in 2011, ‘Pakistan Military Academy’ sees Dominick Fernow (Prurient/
Rainforest Spiritual Enslavement) calibrate his night-vision goggles to scan the most potent,
affective visions of dark ambient and militaristic techno in his war chest. At the time of release,
only months after the capture of Osama Bin Laden by US Army SEAL “Night Stalkers”, the project
really came into its own as a form of impressionistic reportage, daring to grasp the nettle of
contemporary US geopolitics in a way that, as music and art history will only make starker,
everyone else broadly avoided at the time.
In place of literal lyrics, a mix of quotes from newspapers and official government communiques,
together with evocative photo documentation, supply the song titles and narrative/aesthetic
framework for what are essentially abstracted emotions related to American military and foreign
policy. Depending on how much you read or buy into it, for us at least the music rarely fails to
evoke the shadowy unease and precarity of that era, as the sound betrayed an underlying mood
contrary to the positivity of Obama-era politics, and that also spoke to the realignment of borders
between musicks and socio-economics.
The A-side is worth the cost of entry alone for ‘Whitewashed Compound Stealth Helicopter Crash’,
a spine-freezing tract of arcing synth pads leading to one of this decade’s most memorable
codas, but when we factor in the scudding techno-stepper ‘Staccato Bursts of Gunfire’, plus the
haunting late period Muslimgauze styles of ‘CIA Contractor Freed Over Pakistan Killings’, and the
deep systolic thrum of ‘Prime Minister Defiant As Pakistan Outs CIA Agent’, this plate becomes an
absolute essential for any and all connoisseurs of modern industrial and dark ambient music.

Following a monster 12" from Bones & Natty earlier in 2019, Foxy Jangle returns with one of modern Jungle's freshest up and coming artists – Lynch Kingsley.

With previous releases on Rua Sound, Med School and Flexout Audio under his belt, Lynch hinted at his own darker new sound with 'Void', on Inperspective Records last year.

LK's Foxy Jangle debut explores this dark, complex space further, delivering a double uppercut of cerebral, visceral jungle futurism. With a clear nod to past masters, Lynch's craftmanship takes classic signatures forward into the unknown, with hyperdetailed sound design and razor-sharp precision drum programming across both sides.

Coming in at a combined length of 15 minutes, both tracks have a dense, epic feel, making for an intensive headphone workout. This is challenging music at its rewarding best.

Ten incredible albums culled from the deepest, weirdest co-op of record enthusiasts ever gathered under one banner. We've spared no expense packaging these, pairing the idea of the Art of Compilation with living and breathing art, creating little fortune cookies baked in a factory of forgotten dreams. Video games, pyramids, trading cards, matchbooks, a working planisphere, mazes, lottery tickets, film canisters, yearbooks, and various other exercises in design absurdity.

In January, we'll kick this mini-verse off with Escape From Synth City, a hero's quest worth of staccato synths, crack house Casios, off-brand drum machines, minimal Morricone, four-track fantasia, and a variety of other speculations on what the 1980s thought the future would sound like. Packaged in a 12'x12' Nintendo Entertainment System-styled jacket, replete with game sticker, die-cut outer sleeve, debossed cartridge inner sleeve, and art from our first video game, playable from the comfort of your PC

Kromestar vs. Ironsoul Pt. II. Heated dubstep and grime bangers from one of the pioneers of both dubstep and grime

Fede Lng is back on Axe On Wax.
This time he delivers a more chilled out Ep compared to his usual dancefloor output.
Ep features remixes from 2 of the most exciting female names in the game right now, Yu Su and Ciel + a collaboration with Miami based artist Mojeaux.

Global tracks is a mystery; browsing the name online gives nothing associated with the artist. All we really know is that Gothenburg is home base. Most points toward that this is Global Tracks first release and Hoga Nord Rekords are more than proud to be first out giving his/her music out.

With albums like 'Selected Ambient Works' by the Aphex Twin and cities like London and Sheffield as a ground for the sound, Global Tracks displays how breakbeats should sound in 2019. The music is mostly influenced by Jungle, but also by Footwork and Dancehall. The roots lie shallow but the phantom behind this music don't give up with trying to recreate the nineties straight up, instead he/she develops the legacy from all the best and most drug marinated DJ:s from England circa 1995.

Breakbeat has a new vanguard in this mysterious shadow crawler that we know almost nothing about, but rumor has it Global Tracks is locked up with the machines under ground somewhere in Vastra Gotaland in Sweden working on new broke up beats, ready to surface when the time is right for more, deep and ganja oozing dance music!

Iona Fortune crystallises and convects enchanting thoughts on the legendary I Ching in a keenly
awaited 2nd volume of ’Tao of I’, following from her resoundingly acclaimed 2017 debut for Optimo
Music, where lustrous synthetic subbass meets traditional Chinese strings with sublimely spirited
and timeless effect
Issued by Ecstatic as the 2nd of 8 albums by Iona exploring hexagrams of the I Ching, or ‘The
Book of Changes’ - a 2500 year old Chinese divination text referenced extensively in religion, art,
philosophy, psychoanalysis, science and mathematics - ‘Tao of I Vol. 2’ sees the Glasgow-raised,
Zurich-based artist refer to millennia of human experience thru an electro-acoustic prism of
Synthi AKS, Guzheng and Gamelan, newly expanded with Erhu, Kim, Yanqin, Zhong and Bawu. The
wider scope of her palette allows a greater detail of airy calligraphic expression to her multi-
dimensional microcosmos, channelling a wondrous energy in a fluidly melodic narration of mystic
ideas made musically tangible.
In eight parts Iona acts as conduit for extraordinary, invisible and arcane forces. Inspired by the
I Ching’s fundamental principles, her music resonates with a visceral and cosmic conception of
human essence, infusing minimalist frameworks with finely tempered but lush emotive cues that
bring to life the I Ching’s conviction that “music has the power to ease tension within the heart
and to loosen the grip of obscure emotions.” Iona’s music most beautifully manifests this idea
in concisely exacting forms and to contemplative ends, creating a slow, serene and harmonious
music that coolly commands relaxed states of reception, best for mulling over life, and stuff.
At once as light as a fleeting thought but permanent as an organism passing on its code, the music
conjures mindsets comparable to Coil at their uncanniest, the post-erotica 4th world sensations
generated by Jon Hassell, or the dark energy expressed in David Lynch films and their soundtracks.
Most crucially Iona achieves this through a synthesis of self-exploration and instrumental
actualisation, employing an unusual composition strategy of inner cultivation and empathic
performance to divine and realise a spellbinding, penetrative otherness.

Aspiring to connect with a world beyond our consciousness and our planet, nimiia vibié sounds
the interactions between a neural network, audio recordings of early Martian language, and
microscopic footage of extremophilic space bacteria. Here, the computer is a medium, channeling
messages from entities that usually cannot speak.
However, it is also an alien of our creation. Drawing on nimiia cétiï, Jenna Sutela’s project on
machine learning and interspecies communication, the record manifests a more-than-human
language. This language is based on the computer’s interpretation of a Martian tongue from the
late 1800s, originally channeled by the French medium Hélène Smith and now voiced by Sutela, as
well as the movement of Bacillus subtilis, an extreme loving bacterium that, according to recent
spaceflight experimentation, can survive on Mars. The bacterium is also present in nattō, or
fermented soybeans, a probiotic food considered as a secret to long life. Beyond Bacterial-Martian
culture, or Martian gut bacteria, the project attempts to express the nonhuman condition of
computers that work as our interlocutors and infrastructure.
Jenna Sutela works with words, sounds, and other living materials. Her audiovisual pieces,
sculptures, and performances seek to identify and react to precarious social and material
moments, often in relation to technology. Sutela’s work has been presented at museums and art
contexts internationally, including Guggenheim Bilbao, Museum of Contemporary Art Tokyo,
and Serpentine Galleries. She is a Visiting Artist at The MIT Center for Art, Science & Technology
(CAST) in 2019-20. The project originates in n-dimensions, Google Arts & Culture’s artist-in-
residence program at Somerset House Studios. Machine learning in collaboration with Memo
Akten and Damien Henry. Miako Klein in the contrabass recorder and Shin-Joo Morgantini in the
flute, with sound production by Ville Haimala.

When Giampaolo Scapigliati was a kid he liked to explore the hidden abandoned places in the outskirts of his hometown, Viterbo. Especially those natural pools in the middle of nowhere that attract tourists for their sulfurous healing water, not welcoming smell and obscure plants. What he cherished the most, though, was its fascinating aura, one that can only emanate from an immortal ancient site. This kind of mysterious mood is what inspires "Sulfureo", his second album as Lamusa II. Along its eleven cuts, Giampaolo experiments with wet percussive sounds, drum machines, syndrums, echos and analog and digital synthesizers programmed with sequencers and midi devices that, in his own words, "created different paths when crossing on each other". In contrast to all of this synchronization, he also experiments with guitars and bass, using a live "free approach" reminiscent of krautrock and new wave obscurities. Also near Viterbo is located the monumental complex of 'Sacro Bosco', where Giampaolo spent many afternoons walking and losing himself inside the weirdness and charm of that place. Surrounded by the grotesque sculptures, enigmatic buildings hidden among the abandoned vegetation and gloomy animals sounds he used to leap into imaginary alternative states that represented some kind of 'journey of initiation'. Now located in Paris, "away from home, from the nature and from those childhood places", he revisited all of those feelings and moods to create a sonic trip at least as equally fascinating.

Over the years, Phil Mison has become the go-to selector for those looking for Ibiza-themed compilations. None of his previous collections, though, have been quite as personal as Out Of The Blue, a compilation inspired by his first spell behind the decks at the Café Del Mar in 1993 - and the remarkable chain of events leading up to it.

Mison made his first trip to Ibiza in the summer of 1991 and quickly fell in love with the magical music being played by Café Del Mar resident DJ, Jose Padilla. On his return to the UK, Mison began to cultivate his own take on the laidback, open-minded style, recording mix-tapes of Ibiza style chill out' tunes to give to friends.

In November 1992, Mison was hanging out in Tag Records, Soho, when Padilla walked in. He plucked up the courage to speak to the Spaniard because earlier that summer Mison had given one of his friends some tapes to take out to Jose in Ibiza so he wanted to see if he had got them. During the conversation Mison invited him down to his next DJ set at Nicky Holloway's club, the Milk Bar and less than three months later, and clearly impressed by what he'd heard on the tapes, Padilla invited Mison to fill in for him at the Café Del Mar, beginning in April '93.

It's that first trip to DJ in Ibiza - a crazy six-weeks spent dividing his time between spinning records at Café Del Mar, hanging out in Jose Padilla's house in the hills, and meeting some particularly eccentric White Isle residents - that proved the inspiration for Out Of The Blue.

The compilation contains a mixture of records that Mison played in his earliest Ibiza sets, those that remind him of that period, and recent discoveries that boast a similarly warm, loved-up vibe. Mison is at pains to point out that it's not a track-for-track representation of his first sets, but rather a collection inspired by this most momentous of experiences.

As you'd expect from a selector of Phil Mison's standing, Out Of The Blue is an outstanding collection. Some will no doubt hear the influence of his mentor - the man he credits with effectively turning his DJing career around - in the undulating rhythms and new age melodies of Kamasutra's Sugar Step', the meandering synthesizer solos and Spanish language vocals of Congarilla's sublime Sacred Tree', and the lilting flamenco guitars of Gambarra', an unreleased mix from Mison's popular Cantoma project.

Elsewhere, listeners can marvel at the starry ambient bliss of Belgian legend Frank De Wulf's The End', recline to the saucer-eyed fusion jazz of the Christoph Spendel Group, shuffle along to tactile, hard-to-find period deep house from Language, Moodswings and Don Carlos, and marvel at The Cactus Rose Project's ridiculously rare Jelly', a sparkling, disco-era jazz-rock outing partly inspired by the Doobie Brothers' Long Train Running'.

Out Of The Blue may well be a very personal selection of tracks celebrating a moment in time, but it's happily one that we can all enjoy.

After Prins Thomas’ Ambitions album (released in April) follows a series of 12”s with remixes from the album! On this first release Prins Thomas gets remix treatment from Lauer on the album’s vocal track Feel The Love. 

The track is based around a sample of the track "Feel A Love" by one of the biggest pop-stars in Norway in the 70s and 80s, the late Alex (Naumik). The 12” contains a Prins Thomas Diskomix, album version and two remixes from Lauer.

ENV022 see's Rygby honour the label with his debut Vinyl.
Having created what we can only describe as a masterclass in being totally loyal to your own sound.

The collection features internationally acclaimed artists such as Haruomi Hosono, Ryuichi Sakamoto and Joe Hisaishi, as well as other pioneers like Hiroshi Yoshimura, Yoshio Ojima and Satoshi Ashikawa, who deserve a place alongside the indisputable giants of these genres.

In the 1970s, the concepts of Brian Eno's 'ambient' and Erik Satie's 'furniture music' began to take hold in the minds of artists and musicians around Tokyo. Emerging fields like soundscape design and architectural acoustics opened up new ways in which sound and music could be consumed. For artists like Yoshimura, Ojima and Ashikawa, these ideas became the foundation for their musical works, which were heard not only on records and in live performances, but also within public and private spaces where they intermingled with the sounds and environments of everyday life. The bubble economy of 1980s Japan also had a hand in the advancement of kankyō ongaku. In an attempt to cultivate an image of sophisticated lifestyle, corporations with expendable income bankrolled various art and music initiatives, which opened up new and unorthodox ways in which artists could integrate their avant-garde musical forms into everyday life: in-store music for Muji, promo LP for a Sanyo AC unit, a Seiko watch advert, among others that can be heard in this collection.

Kankyō Ongaku is expertly compiled by Spencer Doran (Visible Cloaks) who, with a series of revelatory mixtapes as well as his label Empire of Signs (Music For Nine Postcards), has been instrumental in shepherding interest in this music outside of Japan. Together with Light In The Attic's celebrated anthologies I Am The Center and The Microcosm, Kankyō Ongaku helps to broaden our understanding of this quietly profound music, regardless of the environment in which it's heard.

As once established by a south coast cohort - Cell Out lurk in a Solent estuarine backwash.

A diversification in style see’s the inception of the label to house the Cell Out project.

As yet, little has been revealed of the illusive make up behind the name, but the underpinning grooves, rhythm and percussive perfection remain the backbone of this wonderfully undefinable dance music.


DJ Support

Charlie G (Mixmag)
“These are solid”
-
Andrew Treagust (Data Transmission)
“sounds really old school 90's ina good way”
-
Jay Scarlett
"Feisty Banger!"
-
Loods
"I believe!!"

K15 serves up another slice of broken beat wizardry for Eglo Records, illuminating his trademark style of soul stirring synths and bouncing bass. Clocking in at just over 8 minutes, 'Devotion' is a dance music opus for the mind and body. Lifted from the forthcoming Eglo Records Vol. 2 compilation - due for release in late October - 'Devotion' will be available as a limited run 12" only single, housed in a special edition "10 Year Of Eglo Records' sleeve. Exclusive to the vinyl release the B-Side features K15's reconstruction of Patricks Gibin and Javonttee's 'Cloud 9', a track released earlier in the year, which see's K transform the four to the floor soulful house classic into an abstracted, broken bubbler, building until all the elements fall into place, climaxing into a low end groove. Essential broken beat for 2019!

Three tracks of darkness and mashup jungle by Sumone aka Sum. Sumone has been releasing since 2004 on various well known jungle labels like JungleXpeditions, Mosh-Hi Records, Aural Carnage Recordings, Sprengstoff Recordings, Planet Mu, Alphacut Records, Destroy Oh Boy and many others.

Four tracks of breaks warping and bass quakes. The Duke of Juke is known from his 10inch release on Anus Records and a 7inch on Ameise.

For over half a century, Takehisa Kosugi was one of the most unique and enduring figures in the Japanese underground. As an art student in Tokyo in the early 1960s, he joined the Fluxus-styled performance unit Hi Re Centre and then founded the improvisational ensemble Group Ongaku, but his most legendary project was The Taj-Mahal Travelers – a multicellular organism that included Kosugi, Ryo Koike, Yukio Tsuchiya, Seiji Nagai, Michihiro Kimura, Tokio Hasegawa and sound engineer Kinji Hayashi.

With a penchant for long psychedelic jams (some lasting 12 hours or more) The Taj-Mahal Travelers lived up to their name. Touring in a Volkswagen van across Europe and Asia in the early '70s, they eventually reached the actual Taj Mahal in India. Upon their return to Japan, they held a concert to raise more touring funds and released their very first recordings. Their debut album, July 15, 1972, would extend the band's matter-of-fact titling: all the tracks were named precisely for the times they began and ended.

With a grab bag of instrumentation (electric violin, double bass, santoor, vibraphone, harmonica, radio oscillators, sheet iron, etc.), The Taj-Mahal Travelers weave together mesmerizing waves of sonic texture. Featuring longtone concepts that Kosugi discovered while working with sound generators in New York in the mid-'60s, July 15, 1972 remains just as much a collective tone poem as psych workout. These leader-less sounds coalesce into a unified whole that feels both subconscious and sublime, as if the waveforms bypass the listener's ears and land directly inside one's synapses.

a1. Ulterior Motive - Trip Hammer
b1. Quadrant, Iris & Ulterior Motive - Intuition

Four track vinyl 12inch, pressed on transparent red vinyl, mastered by Simon at The Exchange and features Jungle tunes from Bukkha, Timetravel, LQ & Midnight Dubs.

This is the first release on LQ's (Echo Chamber Sound) second label, Run It Red, dedicated to the Jungle sound.

Run It Red has been running as a club night dedicated to classic and current Jungle since 2010 and finally takes the step out of the dance and onto vinyl. These tunes are the dubs that got a forward in the dance and will drop neatly in any session.

Next up we have a new dnb EP from label head Alix Perez - the Phantonym EP. One can really hear the many years experience and influences that have helped shape this masterpiece. It is beautifully complete, and is undoubtedly some of his best work to date. This is jungle/drum&bass in its truest unfiltered form.

This EP covers the whole spectrum from signature Perez soulful dnb (SWRV qand Vibrations), to gritty bubblers (Trinity), and finally the harder minimal percussive dnb he is renowned for (Phantonym). Mature, concise, and graceful dnb at its best. Out September 13th 2019 on 1985 Music on vinyl and digital.

Cardinal & Nun from Marseille, France delivers his debut ep for L.I.E.S. with a four track no holds barred synth punk assault. Injecting energy into the dead, channeling chaos and turmoil into his music, he rips through four tracks with a rough yet somehow elegant approach...raw to the bone yet flawlessly arranged. Synths that sound like guitars, guitars that sound like synths, metallic drum machines with a human touch and deranged vocals fuel this record til the end. Think Screamers meet Chrome meet Liasions with a healthy dose of southern california gutter punks on meth and you're in the right place. Marseille is where it is all happening right now and this is a documented confirmation of it!