Beats Vinyl New Releases - News

Lithuanian producer Mantas Povilaika, aka DJ JM, has announced new five-track EP, ‘No Days Off’ – his inaugural record for blossoming club label, Nervous Horizon.

After first starting to emerge on the London club scene radar back in 2015, Nervous Horizon label heads TSVI & Wallwork played some early JM material at their debut London Boiler Room session in 2016, sparking a relationship that has since birthed collaborations on TSVI EPs ‘Sacred Drums’ (2016) and ‘Rambo’ (2018).

After releasing a further two full EPs on NKC’s hard drum label Even The Strong, ‘No Days Off’ forms a natural extension of his work with TSVI, only this time more extensive and detailed. From the anthemic, late ‘90s euphoria of the title-track to the searing club energy of ‘Mad Move’ ft. TSVI to the dark, pulsing techno flicker of ‘Bar Bell’, it is an EP forged at peak time and only tempered by mystical EP closer, ‘Original Taste’ – a track inspired by local Lithuanian club sounds and faraway worlds.

Yo Falty why don't you do the old school shuffle anymore What happened, maaaaan OK, held this one back from 2011. All the garage and 2-step workouts I made were inspired by hours and hours of listening to Horsepower Productions, Zed Bias, El-B, Darqwan... I studied them. This tune in particular inspired by Benny Ill himself. Ill Bent was never released, I always held back some exclusives for my sets. No one had it. Benny Ill remixed the track in fine style, both Straight up and with a Fat Larry spin. We were talking, Benny and I, and he mentioned he used to live in Brooklyn. So he submitted Is It Safe, a tune he made while living not far from where I live now in NYC, to conclude the EP. Heavy! (note, the first letter in Benny's last name is a capitol 'i') Track A1 produced by FaltyDL

DownloadCode Included !

’Shock Industrialization’ pits modern masters of industrial noise, Japan’s Linekraft and key Hospital
Productions disorderly Alberich, in a killer, pummelling split session.
With blatant disregard for your aural health, the pairing pull no punches in four torrents of
acrid filth seemingly wretched up from the belly of the beast. For those concerned, ’Shock
Industrialisation’ highlights the contrast between American and Japanese noise conventions thru a
prism reflecting on Cambodian civil war and it’s arguable predecessor of the Korean war.
Linekraft’s side speaks to a sense of psychotomimetic chaos with the howling bitterness and
astringent textures of ‘Bunch Of The Serve The Enemy’, while ‘History Of My Betrayal Act’ opens
with intelligible vocals that become mired in waves of attrition, joined by cranked-up sirens and
consumed by tarry bass distortion.
Alberich’s side is arguably more linear, sputtering and railroaded like Kareem’s most brutalist
clatter, but also distended with blown-out noxious clouds ofdistortion in ‘Tube-Ni mine Shaft’,
before offerign a sort of vocal response to Linekraft’s call in ‘Mountains Of Soul’, burying his
signature, hellish voice in clambering, white hot noise.

Exercises in Estrangement is Marcus Fjellström's first album, initially released a decade and a half ago. Listening back to it now only re-confirms the unique mind of the Swedish composer, who sadly died in September 2017, only 37 years old.

Marcus was an avant-garde composer and audiovisual artist exploring the edges of classical music. The word "classical" here means nothing in the usual sense, as he would bend the rules to his liking - and hence create a completely own sound that is hard to define. A student of the conservatory in Piteå, Sweden, Marcus´ path was unlike most composers with similar backgrounds. His love for the bizarre and macabre would send him on a descent into the darkest corners of musical experimentation. A trajectory that resulted in some of the most peculiar and fascinating sound documents created in the last two decades.

For his debut album, Marcus made a record that not only lives up to its name, but really is a profoundly mind expanding listen that might sound even more intruiging today than back in 2005. With titles such as Planchette, Kandinsky Kammer or Anstice reflections on everything from spirituality, resurrection and abstract art is being undertaken, all while adding a big dose of the absurd. As Tiny Mix Tapes wrote back in 2005: ”Marcus Fjellström's Exercises in Estrangement is an unsettling, visionary work of modern composition that falls soundly within the idiom of contemporary electronic music yet evokes the darker aspects of the work of many of the more brooding mid- to late-twentieth century European classical composers.”

Marcus worked with the Swedish Royal Ballet, the Scottish Chamber Orchestra and Sinfonietta Cracovia as well as numerous other orchestras, ensembles and soloists, artists and filmmakers. He spent the last half year of his life scoring the AMC series The Terror. In his works, Marcus often aimed to combine opposites so that they don’t contradict each other, but rather fuse into a natural, third element - “High” and “low” culture, the naïve and the sophisticated, good and bad taste. These are all elements that comfortably blend together in his works. Musical influences range from electronic acts such as Aphex Twin and Autechre to 20th century composers such as György Ligeti and John Cage. Further influences include impressionist composers Maurice Ravel and Claude Debussy as well as film music composers Bernard Herrmann, Angelo Badalamenti and Zdeněk Liška.

Vinyl edition ltd. to 300 copies, incl. 8-page 12" booklet with drawings by Marcus Fjellström.

Experimental solo cellist Oliver Coates [RVNG intl, PRAH] and techno-dub minimalist Spatial [Infrasonics] coalesce with the new installment for the Decouple ][ Series by subverting—through subliminal interventions and refined focus changes—pre-packaged music forms and textures in favor of new self-organizing tendencies. Surprisingly enough, two producers of such different DNAs converge to a similar systemic approach, delivering a set of music that flows with solid and endearing consistency.

“The 4 units of musical material ‘Path in, J Lover One, Yomi, Umbo’ came into one together through a kind of dream logic” explains Coates . “They are contradictory, non-developmental and block-like, sitting across from each other like David Lynch's Rabbits”. Hence each section seems to seek for completion and fallacy at the same time in a form of non sequitur disjointed conversations. From the heavily processed cello intro of ‘Path in’, to the instant avant-classical Reichian ‘Yomi’, to the infectious breakbeat brutalism of ‘Umbo’, Coates enhance the plasticity of music to help to reconfigure familiar styles or patterns from known feelings and corresponding language. This plasticity is the way to unlock mental fixations, move things around and make fresh compartments for pleasure.

Electric sound-waves that pulse through our sleep …and our dreams”

Quieter Than Spiders release their long-awaited debut album Signs of Life. The Chinese-Anglo band was formed in Shanghai in 2012 and has been quietly rising to prominence among the electronic music community with what the group self-styles as ‘Shanghai Synthpop’. Online music magazine The Electricity Club included Quieter Than Spiders in a list of their favourite new artists and described them as “What OMD would sound like if they formed in the 21st Century”.

Signs of Life was self-produced by the group and combines their contrasting styles of uptempo synthpop and slow reflective melancholy. The album features 10 tracks including familiar songs such as Hibakusha, Shanghai Metro, The Land of Lost Content and No Illusion. There are also 10 remixes by artists such as Kevin Komoda from Rational Youth, Vile Electrodes and The Silicon Scientist. Signs of Life also includes 8 mini interludes which the group describes as ‘brief dream sequences’. Group member Leon Zhang said: “the album includes a slower and more experimental side to our music that people haven’t yet heard from us, especially songs such as The Signs of Life and The Statues which are more personal and introverted.”

The album was recorded in both Shanghai and the UK and was mastered in Germany by Stefan Bornhorst (aka The Silicon Scientist). The group did not use a formal recording space which gave them the opportunity to experiment. “We used minimal equipment which gave us the opportunity to record songs in a variety of places. We even recorded parts in an old deserted Shanghai building earmarked for demolition, and in an overgrown tunnel that we found deep in the English countryside”.

Joachim Nordwall digests and mutates dub in unique industrial style on The iDEAList’s almighty
follow-up to a tape and 7” in this killer mode, bringing guest vocalists, JA’s Nazamba and polymath
John Duncan, for a deeply crooked ride worthy of rinse & repeat
Picking up where his raw ‘Early Tactical Experiments In Techno & Dub’ left off in spring 2019, the
rugged styles of ‘Say Yes to No’ poses only slightly less risk of contracting salmonella with a more
stewed and treated suite taking in proper songs starring Nazamba and John Duncan amid all
manner of virulent, wayward electro-dub variation.
As with his superb tape for Industrial Coast, that wicked 7” with Genesis P-Orridge, and even
his recent albums as Joachim Nordwall - ‘Conventional Wisdom’ with John Duncan, and the
collaborative CD ‘Communication Is Key’ - The iDEALIST naturally highlights fundamental links
between dub and noise - the core principles of manipulating sound in space - with a critical blend
of tactile playfulness and rigorous pressure.
The two vocal cuts are outstanding in their own rights; ‘Bigga Boss’ features Kingston-based poet
and playwright Nazamba utterly possessing the opening shot with his baritone growl, rooting the
LP at one pole, while John Duncan’s equally compelling appearance on a similar riddim in ’Tough
Doubt’ comes to epitomise the project’s direct approach toward alloying and allying styles with
alchemical suss comparable to The Bug, Ossia or Andreas Tilliander.
Vocals also spill out into the LP’s other tracks, but here they’re more textural and elusive,
scudding thru ‘Everyone Fucking Relax’ in a way recalling DJ Scud’s thudding remix of Bong-Ra,
or masticated into intelligibility on the amorphous dub-noise lurch of ‘Inner Space Dub (Insane
Version)’ and the LP’s cataclysmic closer ‘Say Yes To Dub’, which are all held tight in contrast with
the more defined techno and electro-dub structures of the LP’s club-ready highlights, ‘The Ecstasy’
and ’Shit Skull/Golden Mind.’
It’s a hugely enjoyable album - one that leaves bits in your teef and gets up in your head like a
healthy dab of shatter.

Piloted by Total Science, Computer Integrated Audio aka C.I.A Records remain a reputable source for all things Total Science along with a core of welcomed allies and newcomers. Serving as a beacon for purist drum and bass/jungle lovers, C.I.A proceed to bring the heat during these long Summer days.

In celebration of Liondub International’s 10 year anniversary, NYC’s Liondub selected the top tracks from the Jungle To The World series and compiled them into limited edition 12” EP vinyl releases exclusively for Unearthed Sounds.

Volume 3 includes an incredible array of artists and producers including: DJ Hybrid, Marcus Visionary, Reggae Legend Horace Andy, Truespirit and Camp Souljah. Guaranteed to move fast, this 12” is very limited and contains 4 tracks that have been tried and tested on radio and in the clubs. Support From Crissy Cris, Bryan Gee, A Sides, Aphrodite, Dillinja, Marky, Profile, Doc Scott, Dr. Meaker, Erb N Dub, The Freestylers, Jaguar Skills, Chopstick Dubplate, Jayline, Phantasy, Ray Keith, Uncle Dugs, Serial Killaz, TC & more.

Daniel Menche follows up his triple CD opus Sleeper with the razor drone constructs of Melting Gravity. Hailing from Portland, Oregon, Menche is an iconic musician with three decades working with intense noise, immersive ambience, and turbulent field recordings. With Melting Gravity, Menche continues to carve his spot as a figurehead in the experimental community.

The title of Melting Gravity refers to an allegory on the human pursuit of transcendence with all of its connotations to weightlessness, ascension, flight, out-of-body experiences, and just getting high. Gravity, on the other hand, becomes that which negates and nullifies those transcendent pursuits. In the context of this particular allegory, gravity is the devil. Music, long a vehicle aimed towards transcendent ideals, becomes the weapon to defeat gravity, to defeat the devil. Daniel Menche wields the weapon of music in composing the mercurial grandeur that is Melting Gravity.

Implementing an elegant arc of acceleration and dissolve, Menche presents a slow-motion tumble of drones from his signature manipulation of FM synthesis, oscillators, and sustained tones from various stringed instruments. The tangles and tendrils of these extended frequencies are bright and liquid, rich in harmonic complexities though mottled with a scrap metal discord. Menche balances these slippery, luminous overtones with a dub-inspired lattice of recursive bass tones. Read as an industrial mantra or as amplified minimalism, Melting Gravity stands as an exemplary work in Menche’s storied catalogue of recordings.

Daniel Menche’s lengthy discography contains over 60 albums, many of which have been published by some of the most esteemed experimental record labels. Over the years he has worked with Editions Mego, Sige, Touch Music, Alien8 Records, Ash International, Utrecht Records, and many others. He has collaborated with Mamiffer, Andrew Liles, KK Null, John Wiese, Aaron Bradford Turner, Joe Preston, Anla Courtis, Zbigniew Karkowski, Kiyoshi Mizutani, and Kevin Drumm. He has performed extensively in North America, Japan, Europe, and Australia.

Jim Haynes, August 2019

he first audio document ever published by Fluxus artist Geoffrey Hendricks (1931-2018). There is a romanticism found in Geoffrey, that, in my mind, sets his work aside from his Fluxfriends. Known for his timeless sky paintings, applied to canvas, cars, clothes, and so on, the conceptual married the majestic. He was a master painter, whose work could have filled cathedral ceilings. Instead, he chartered his bow alongside George Maciunas, John Cage, Dick Higgins, etc. in the 1950s. Hendricks became a prominent member of Fluxus, shown in exhibitions around the world for over 60 years. In the 1970s, composer Charlie Morrow approached Hendricks about recording an album for the New Wilderness Audiographics cassette series. This became a 40-year dance of orbiting schedules and slipping dates. The sky aligned in 2014, and a recording session at Ear Up Studios in New York manifested. Geoffrey's connection to nature not only focused upwards at the sky, but always downwards to stones. 'Rock Music' consists of a box of rocks being cast across a room. Pounded on wood, soft and hard, the sonar-like snapping echo mapping the dimensions of the room. Small bells hover over the rubbing of stones humming to each other. You can tell that this was a therapeutic ritual he practiced for years, not merely an improvised recording concept. With the LP is a booklet that includes diaries of his stone collecting on Cape Breton island in 1973, beautifully infused with dream recollection.

The cassette of 'Music for Sky Slate Wall' was discovered by chance earlier this year in the vast archive Hendricks left behind. It holds Geoff's close friend Philip Corner performing at an Emily Harvey Foundation exhibition in 1999. Corner responds to the Hendricks installation, interpreting the wall adorned with watercolors of day and night skies, grey slate, and a ladder hanging more paintings and golden ornaments. Philip Corner performs with prongs, Korean shaman cymbals, his voice, and a shoe. Their charming friendship can be heard in the interplay. This project was made possible by Geoff's widow, Sur Rodney (Sur), his children, Tyche and Bracken Hendricks, Philip Corner, and Charlie Morrow.

Includes 16-page pamphlet with essays by Tyche Hendricks and Charlie Morrow, diaries and artworks by Geoffrey Hendricks.

Annus Horribilis is a solo album written and produced by Italian sound artist Giuseppe Cordaro (aka Con_Cetta), that sonically describes one year of tangled pages and cable connections. It’s the suffering of sleepless nights captured and filtered within a modular system to create a dark sonic vision.
Featuring esoteric readings, alongside distorted tensions and primordial rhythms. The breeze of Medusa's wind pulls alog synth drones and mystical invocations.
Giuseppe Cordaro previously hid himself behind the pseudonym Con_Cetta (Moteer). He is a sound sculptor, ecologist and he has devoted himself to electronic music since 2005.
Giuseppe explores many different languages in the field of electronic music. His music moves from electroacoustic minimalism and sounds very close and warm, mixed with lush mediterranean sounds.

He has collaborated with several artists: Robert Lippok, Ben Frost (music for six guitars performance), Head Dress, Simon Scott (Slowdive), Giorgio Sancristoforo, Corrado Nuccini and Jukka Reverberi, Emidio Clementi, Grey in Sparkle, MonoLogue, Luca Sciarratta (musicians), Giuseppe La Spada, Quayola, Elena Mazzi, Sara Tirelli, Apparati Effimeri, Gabriella Sancisi, (video-artists), Francesco Fei (director).
Cordaro has previously released audio projects on Moteer, Crónica, Zamzam, Sound In Silence and Fluid Radio.

Mára is the solo project of Faith Coloccia, the hermetic composer, songwriter, and vocalist who has a central figure in numerous projects including Mamiffer and her ongoing collaborations with Alex Barnett. Her arrangements for piano, organ, electronics, guitar, and voice often take the form of deconstructed plainsongs, as elegant variations of a melody that smolder and dissolve into heavy-lidded assemblages of shadow, fog, and echo. As Mára, she continues with her signature aesthetics, while laying bare the emotional core of her being.

Here Behold Your Own follows the very limited Surfacing cassette from 2015. The album began to take shape shortly upon the conception of her son and evolved to encompass her becoming a mother in conjunction with the re-engineering of her creative processes. Coloccia reflects upon the album’s origins, stating "A lot of the material that I used to make this record felt like the last glimpses of ‘me’ before I became another me. Almost as soon as I conceived I felt the old me slipping away, and so these recordings and photographs were like the last time spent with myself before I changed."

Mára’s melodies draw from the lullabies that Coloccia would sing to her son. Dating back many years, she has employed the practice of hastily recording fleeting ideas, fragmented songs, and melodic phrases onto tape and then later drawing from this vast archive of documents to flesh out the broader compositions and arrangements. On Here Behold Your Own, the leitmotifs repeat as ghostly reminders of things past, appearing once as a soothing vocalization and later through church organ or piano and vice versa. It is not only the melody but also the encompassing swathe of timbral residues that lend to the album’s emotive thrust of the bittersweet, the nostalgic, the solemn, and even the holy.

Coloccia sites Gavin Bryars’ Jesus Blood Never Failed Me as a principle inspiration in the making of this album through its intertwine of sadness and joy. In truth, there is a very similarly sculpted cascade of passions evident on Here Behold Your Own with further comparisons to be found in Áine O’Dwyer, Philip Jeck and The Caretaker.

Jim Haynes, August 2019

Father Fugue is Nour Mobarak's first full-length album. The Los Angeles-based artist spent years sculpting this LP, and the result is piercingly emotional. A foray into her being; a sound artist, a songstress, a sculptor. Nour's creativity orbits an ever-moving center. Thus, glimpses, reflections, and splinters of her oeuvre embody Father Fugue.

The side-long titular piece on the LP is unlike anything I have ever heard. Nour describes the piece: "the left channel of 'Father Fugue' is composed of conversations with my father, Jean Mobarak, a polyglot who has a 30-second memory and lives in the mountains of Lebanon. The right channel is composed of improvised song." Nour and her father speak through four different languages (French, Italian, English, and Arabic), a full transcription and translation is included with the LP in a 24-page booklet. They speak of cars, of soccer, of Italy. They speak in games, in rhymes, and in song. The sonic division of voice and time across the stereo pattern is captivating.

The second side of the album is comprised of eleven songs. The word "song" must be taken widely and liberally in this instance. Elements were recorded in her car, in the shower, in the ruins of Oaxaca, Mexico: a rainbow of personal documentation. The vase holding the bouquet is of jubilation and abstract humor. A chanson written by Nour's great-great-grandmother, at the turn of the 20th century in Constantinople, is sung throughout the LP. The first side concludes with her and her father singing it in duet, as Nour's solo performance begins the second side.

Bound by time, Father Fugue reveals Nour Mobarak's expression from and response to her father's place and memory. A flip of the record uncovers her expression and response to her own.

For this edition of the LFRMX-series Len Faki is turning to 1990‘s trance and acid. The bpm might be
lower than back in the days, but there‘s just as much energy coming off these irresistible tunes in their
updated versions.
Featuring the original‘s sizzling synth work by Kompakt co-founder Wolfgang Voigt‘s early
collaborative projects, Planet Love Ink strikes an upbeat chord in order to show off its grand piano
break for maximum effect.
Equally tapping into the early nineties, Structure – We are Structure is a weighty acid banger with no
frills attached. Straight, honest and nailing era‘s vibe to the core. B-Side‘s all about old school trance,
booming breaks, and epic synth-sweeps, in this instantly captivating, elevating and driving rework of
Illuminatae – Tremora del Terra, a hymn to many back in the days.

Remo Seeland’s Hollow Body is a suspenseful exploration of the interaction between sound environments and individual perception. It was sparked by an intense physical experience the Swiss artist had during a residency in New York City. "The subway became a sort of ‘atonal symphony’ for me, provoking a full-body experience with the rattling of the overcrowded, airless trains," the Hallow Ground founder explains. "However, while the old subway is not exactly beloved by everyone, it also represented for me the melancholic meta-level of the moloch above it." The album, his first under his given name, makes this disparity audible over six tracks in which the visceral and the personal become at once abstract and universal.

Based on field recordings from both urban and rural environments, Hollow Body aims to mirror another of Seeland’s psychosonic encounters. "In the highlands of Iceland, I noticed my pulse lowering and my breathing decelerating," he says. "Just shortly after that, a single insect’s buzzing seemed so loud to me that I became even more aware of the silence surrounding me." Silence, perception, order and the curious dialectics of the outside world and the inner workings of the human psyche are the central questions of "Hollow Body.

Recorded in New York, Reykjavík and Zurich, Hollow Body draws extensively on field recordings and sees Seeland collaborating with Hallow Ground-affiliated artists Norman Westberg (Swans, guitar on Body Innovation and Hollow City) and Reinier van Houdt (Current 93, e-bowed guitar on Hollow City and Rhodes organ on Pulse Points Green), as well as the Swiss-based US-American musician Steve Fors (Deaf At Sea, trombone on Second Coming). The diversity of the source material is mirrored in the stylistic richness Seeland lays out with this LP. From the lush, bass-heavy drones of the opener Body Innovation to the downbeat-driven Second Coming and, finally, the haunting organ sounds of Night Within, Hollow Body forms a holistic entity that integrates idiosyncratic compositions into a coherent narrative.

Hollow Body was also conceptually inspired by Seeland’s research as a cultural scientist with a focus on Southeast Asian cultures, specifically the anomic tantric cults of India. It thus serves as a mediator between not only the individual experience of site-specific sounds and general ideas of sound production in and about space, but also between different compositional techniques ranging from drones to synthesized vocals and more primitive forms of ritualistic music. Its sonic abundancy is to be understood as a direct result of its underlying idea: at its most challenging, this record also makes the most coherent statements about the order of space, sound and their cryptic relationship with the human body.

Soundwalk Collective was given unprecedented access to the halls of the emblematic nightclub Berghain, Berlin. A re-incarnation of the legendary Ostgut club, the focal point of Berlin’s techno subculture. The Berghain building is a former East German power plant that is remarkable for its enormous dimensions, 18m high dance floor and minimalist constitution of steel, glass and concrete. An architectural space that facilitates experiences of sacredness, collective oneness and egalitarianism, Berghain is known for its impressive sound system, extended after hours, and the defining sound of Berlin techno.
For Oscillation, the collective placed 147 contact sensors on all surfaces inside and outside of the club: concrete walls, steel staircases, water pipes, ventilation tunnels, air ducts, metal frames, cages, fences, dark rooms, toilets, engine rooms, industrial glass windows, pillars, DJ booths, ceilings and more. Over the course of multiple club nights they mapped out the whole structure, and progressively recorded the entire movement of the building under the impact of the hammering music.

Culled from live performances in Los Angeles in 1980, Towards A Total Poetry holds radioplays and sound poems by Julien Blaine, Adriano Spatola, F. Tiziano, and Paul Vangelisti. Two concerts were organized by poet and professor Vangelisti and broadcast on his KPFK radio show. A rare gathering of extreme French and Italian sound poets in California, flown out on with an arts funding grant (my, how things have changed!). A jarred specimen on a golden platter of a time passed.

The electricity of the performances is unparalleled. Sadistically funny, dizzy with confusion: a map lies dissected on the table. Adriano Spatola (1941-1988) is the most beautiful Italian post-war poet, also publisher of Baobab, Tam Tam, Geiger editions. His stage presence is that of a drunken wolverine, thrashing his words and letters, madly chuckling and whispering secrets to himself. Spatola interprets a disfigured rendition of “Buddenbrooks,” a traumatic and shocking radioplay, held alongside his infamous “Aviation / Aviateur” and “Al Capone Poem,” read with explosive tension. His younger brother, F. Tiziano, is a more mysterious figure. His radioplay, “Los Angeles Bridge,” has four characters: North, South, East, and West. Quibbling through a fever dream over a card game. Professional voice actors were hired for all of the radioplays, translated from Italian by Vangelisti (as with all of Spatola’s English publications). French artist and sound poet Julien Blaine (1942) composed the play “Passe / Futur” – utilizing his actors as verbal instruments: buzzing and howling as carefully as dots on sheet-music. His sound poems are hilarious, “Amputation” mimics the sound of four severing surgeries, and “Mots d’enfants” still confuses me as to what exactly is going on… Paul Vangelisti’s works open and close Towards A Total Poetry. The Los Angeles poet and publisher of Red Hill Press organized the affair and was able to hold his own against such powerful artists. Paul’s pieces are conceptual, opening with a fitting typewriter hymn, “Radio,” and concluding with “Auld Lang Syne,” the Ms of the phone book sung by chorus.

These are some of the strangest radioplays in existence. A format I feel is underused. The infusion of drama and comedy and open air to fill... oh, the possibilities.

Limited LP Edition of 250 copies, 12-page booklet with essays and poems by the artists.

Wire Parasitism EP is inspired by the electronic music which was produced during the end of the 80's and beginning of the 90s by the likes of Richard H. Kirk, Psychic TV, Coil, Dave Campbell or Lagowski (to name a few). Walid El Barbir uses his unique producing & sampling skills to create contemporary and industrial sounding compositions out of found footage like occult documentaries, rave stabs or Emax sound-libraries. Walid El Barbir is a part of the collective Les Points based in Zürich, Switzerland. His art/music draws from 90's rave utopias, occultism, progressive & accessible frameworks as showcased at their offspace Mikro - a physical room which has no doors and opening times during exhibitions and raves - making an institution available to all social layers.

Okinawan talent City1 has been making some serious moves with his unique dark productions as of late and we are honoured to welcome him to the Subaltern family.

* Speak Out feat. Rider Shafique
In the mighty title track City1 delivers a clinical slab of bass science which gravitationally pulls deep into a different dimension. The dreamy yet dark atmosphere and vibrant basslines are graced by the elevating bars of none less than the notorious Rider Shafique - one of bass music’s finest vocalists hailing from Bristol.

* Koroga
Going even darker, City1 opens up another world in this trip of a track. Koroga rides on relentless dark synths and keeps switching up the pace, leading the listener through a maze of eerie sounds - be careful though, the walls are closing in. Dangerous!

* Zee
Zee is just as otherworldly as the first two tracks. With heavy hitting basslines and snappy percussions, City1 delivers yet another absolutely unique roller. Whenever you thought the track had arrived at its peak, it takes another, even wilder turn.

Massimo Carozzi is a sound recordist, sound designer and musician based in Bologna, Italy.

Since 1994 he has looked into relations between sound and image, sound and script, sound and literature, sound and space. Massimo Carozzi has created sound design for theatre, documentaries, short films, installations. As a musician he collaborated both in studio and on stage with various musicians and sound artists such as Andrea Belfi, Stefano Pilia, Margareth Kammerer, Valerio Tricoli, Claudio Rocchetti, Luciano Maggiore, Sinistri, 3/4HadBeenEliminated, Starfuckers.

In September 2000 he founded the group ZimmerFrei whose artistic practice ranges from video art to documentary films, sound and environmental installations, as well as photography, performances, workshops and public art projects

Suzanne Doucet 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’ and the follow-up ‘Transmission’, 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. In 1984 Doucet married Video Artist and Yoga instructor James Bell. Together they recorded ‘Reflecting Light Vol. 1 using a Roland JX-3P, TR-909 and a Steinway Grand Piano. The cassettes had mirrored covers, a reference to the Zweistein jacket 14 years prior. An a-causal combination of visuals and sound, based on the analogy of Archetype Symbols will create expanded associations and emotional experiences for the consumer and allow a creative state of consciousness and openness of the Inner Being in all directions. All songs have been remastered by George Horn at Fantasy Studios and each album is housed in jackets using the original cassette artwork.

In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep.

Animated Violence Mild was written throughout 2018, at Blanck Mass’ studio outside of Edinburgh. These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief - the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it.

I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated — brought to life by humankind. Violent — insurmountable and wild beyond our control. Mild — delicious.

WRDubs return with a unique coupling of musical missiles from 2 of our favourite UK producers and badmen.

The FRANCO EP is an exploration of sonic tone; from rich soulful depths, to a vibrant palette of hip-hop and funk-laden beats, the debut offering from FRANCO is a polished entry. Here is your chance to become acquainted! Featuring Australian hip hop legend Plutonic Lab on drums & production and Natalie Slade on vocals.

The debut 12" from Sydney-born, London-based producer Logic1000. First discovered by Four Tet, lead track ‘Please Forgive Me’ has since made it into the sets of Daphni, Ben UFO, Anthony Naples and DJ Python. Limited to 300, the white label also features the footwork-influenced ‘Derrière’.

Demon Records goes on a journey through time and space to the world of the Mighty Boosh. This is the classic BBC Radio 4 comedy that launched the careers of writers and leads Noel Fielding and Julian Barratt. The series made it’s vinyl debut as a strictly
limited coloured edition for Record Store Day 2019 and is now reissued on three black 180g heavy-weight vinyl. Housed in a gatefold sleeve with original artwork by Noel Fielding and sleeve notes by Julian Barrett, Noel Fielding, Rich Fulcher & producer, Danny Wallace. Written by: Julian Barratt and Noel Fielding First Broadcast: BBC Radio 4, 16th October 2001

Porridge Bullet reveals it’s third “Bullets” compilation with five dancefloor lifters.

AIWA is on warm up duties stomping away with bubbly saturated electronics. He hails from Budapest by the way. On to Madis Puuraid aka Profile and “Teramachi's” shimmering ambience lead by a funky drummer. Let this one roll a while before you show off your mixing skills. Estonia’s ug-scene oldtimer Neuronphase makes his second appearance on the label with nods to breakbeat. “I Have None” will make them come closer. Fact. There’s a second track by him on here too… Ruutu Poiss stretches his wires between Amsterdam & Tallinn with ease –– “Mjau” purrs in his unique broken-not-broken style.

Hey kids –– no digi!

Ravaged and warped breakbeats haunted by wailing euphoric noise, vivid and graphic reflections of fractured post-industrial hardcore, moments of poetry flashing within a thick impending fog. This is our soundtrack. A unique and visionary achievement; a wholly original future of beauty and despair: brutal, gritty, alive and urgent, blooming in the ruins, spiraling and raw, howling with life.

Under the tree - In The Cave - At The Water, there's where you'll find Eleventeen Eston, savouring the shade since his 2014 debut LP 'Delta Horizon' turned the spotlight his way. Taking shelter in the subterranean, the Perth musician has found a sound saturated with entheogenic splendour, growing something gorgeous from the grotesque. Finding a natural home on Hamburg's Growing Bin, Eston emerges into the daylight with a dreamy LP.
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The vision quest begins with 'C in Sympathy', a freefall into the perverse beauty of the Domus Aurea, brought to life with E2-E4 electronics, chorus pedal shimmer and muted bass. Leaving the grasslands we dip a toe in the water with the hypnotic ripples of '2 d'Or (Cab Chassis)', a Carl-Craig-goes-New-Age number which fuses the electronic and acoustic to perfection. Delicate piano, crystalline synth tones and tape-saturated emotion lend their cinematic charm to 'East Perth Stories (Closing Titles)' before the propulsive bass and soft focus groove of 'The Four Fountains' hits you with the heat haze. Eston takes another tapey diversion on the sci-fi synthscape 'I Remember', while the coastal cool of 'Thread & Truth' picks up the wavy white funk baton from Spike.

The B-side brings more beauty as the drifting and dreamy ambience of 'I Float, I Am Free' gives way to the Windham Hill guitar licks, snaking bass and billowing textures of 'A Squall, 1988', offering a welcome echo of the wonder of Wilson Tanner. 'Where There Is Rain' sees Eston tune the Ute radio to 96FM Perth, marrying cascading keys, evocative vocal samples and lush guitar with a solid 80s pop beat, before he slows the pace for 'Sand Man' a skewed and stoned bit of beach funk that's perfect for seduction. We part ways with the panoramic 'Dory On Swan', a serene soundtrack to lapping waves and magic caves. Always in season, Growing Bin do it again.

Hauke Freer flying solo on Pen & Paper 03 for the first time since his infamous XK XK. Well, not entirely, as austrian beatsmith Sam Irl took PART 1 on to his Studer Console, equipping the beautifully trippy composition with that exact ammount of sonic glitter and gold. On the B, Hauke drags us far out into an enchanting chord progression, as the seductive 4G demonstrates filigree elegance to an almost fragile degree - bewitching we say.

LMAJOR marks his return to WNCL Recordings with another set of blistering originals, accompanied by in-house remixes from Boxwork and West Norwood Cassette Library