Beats Vinyl New Releases - News

Words from the label:

Our imprint marks its five years anniversary this year and to celebrate it's offering up five special various artist packages across 2019 limited to 250 copies each, featuring material from the likes of Vid, The Mole, Cinthie, Shinichiro Yokota, San Proper, Akiko Kiyama, Com Sin aka Cosmin TRG, Subb-an and more..

Tokyo-based Far East Recording artist Shinichiro Yokota opens the '5 Years Anniversary Series 02' with 'I Know You Like' a harkening back to the days of soulful, musical house courtesy of jazzy synth lines, warm chords and choppy bass running alongside a swinging drum groove and vocal hooks uttering the track's title.

The Mole follows on the flip side with 'A Simple Day', turning in a typically raw and funkinfused workout via dusty drum sounds, looped guitar licks, warbling low-end tones and an underlying psychedelic feel that always makes The Mole's tracks unique. This project also sees a new design concept for the imprint from London's David Surman's painting installation project 'Paintings For The Cat Dimension' which ''explores the motif of the cat as emblematic of internet aesthetics, a place

Amit Presents 'splinters'
'a Generation Of Eclectic Artists All Under One Roof'.
Splinters Is An Anthology Of Electronic Music From Some Of The Most Exciting Established And Emerging Artists Working Today.
Each Bring Their Own Unique Style, Flair And Vision To The Album, Weaving Together Their Disparate Voices To Create An Aural Kaleidoscope.

Charles Trees. Myth, tall tale, legend of a human being, one of those people who one minute you'll be scouring reddit for obscure content and the next, stepping on stage to casually DJ to thousands of people like “no big whoop” at a French music festival. Charles is unassuming, the kind of person who effortlessly mixes ghettotech into soul for lulz, who samples a speech (/rant) by Funkmaster Flex in an acid track, or rides BMG & Derek Plaslaiko’s “True Story of a Detroit Groove” with Velvet Underground’s “Sister Ray” for 8 minutes straight.

Charles' relationship with electronic music started early. In high school, Dave Shayman (Disco D) introduced Charles to DJing and he was a regular at Dubplate Pressure*– Todd Osborn's now-legendary record store in Ann Arbor. By 1998, he was already playing on raves in Detroit. A year later, he was the first person to show Zach Saginaw (Shigeto) to Ghostly International, arguably altering the course of our lives forever. In the late 2000s, they became label mates on Moodgadget, the record label of Jakub Alexander (Heathered Pearls).

Through out the years, Charles has been a musical mentor (whether DJing, producing or throwing shows) to many, danced at every weekly at every venue in Ann Arbor & Detroit, produced Hip Hop, and fronted a psych rock band. He has released music on Moodgadget (US), Musique Large (FR), Lovemonk (ES), Vanity Press (US) and JFX Lab (FR). Today, between DJing, hosting radio shows and producing new music, Charles regularly throws shows/parties/raves, and hosts a monthly at Deluxx Fluxx.

We love Charles Trees and we're proud to present "2019," the eighth record on Portage Garage Sounds.

*Additional reading: Dubplate Pressure: was the precursor to Technical Equipment Supply; how Todd Osborn was discovered by Richard D. James and signed to Rephlex Records; where Sam Valenti IV, the founder of Ghostly International, met Tadd Mullinix (Dabrye, JTC, Charles Manier, X-Altera); one of the reasons why we're all here

"Got No"
Hit the ground running.
Chopped up vocal stabs and a playful syncopated melody accompany this percussion heavy two-step shuffle as it speeds down the Lodge on a Friday night in Detroit.

"Think First"
Undeniable rhythm section pocket.
Acoustic bass and dirty ride symbols swing alongside lush keyboards and sprinkles of light melodicism in this psych house banger.
Think St. Germain with CAN playing a warped version of "Rose Rouge."

"In Arms"
Crave the rave. Whips crack and sizzle in this dubbed out techno slapper. A modern take on a classic sound. Trees conjures an era close to his heart: when the warehouse was church and service didn't stop until the sun came up.


"Acja feat. Marcus Elliot ("12 club mix)
Beautifully understated and triumphant.
This closer marks the return of Detroit Saxophonist Marcus Elliot (Detroit pt II - PGS 001). His notes dance and soar over a creeping acid line, while driving drums and warm pads effortlessly take you home in this powerful house anthem.

'For his first EP in two years, and second release on Leicester's Grade 10, Forever returns with a six track exploration of hazy, dub-inflected sounds entitled 'In Your Own Time'.

On the A-side, the tense atmospherics of 'Depth Charge' give way to the sun-kissed chords and dancehall-esque rhythms of 'Watch This', finally being rounded off with the record's title track - a sub-driven 7 and a half minute roller, where percussive patterns and dusty chords drift and weave amongst each other.

Side B continues on to more dub-leaning tracks, with 'Alpine' picking up the pace and echoing pulsing synths in to the abyss, followed by a drugged out 'Opioid mix' of the title track - a drum and bass combo sat somewhere between Memphis rap and classic soundsystem rumblers. Closing out the record is 'UR', plunging in to the depths with sonar-like samples and echoing vocals like ghosts trapped in the machines.'

Paramida's Love On The Rocks imprint readies its eighteenth release, in this, the year of our lord, 2018 - the latest instalment on the ever-evolving, hard-to-define label is a decidedly non-dancefloor oriented, melancholic/euphoric instrumental number from promising Lon-don/Lisbon producers Elles & Violet.

Elles, fresh from her Netil Radio & Rádio Quântica residences, alongside Violet, with a string of releases under her belt on One Eyed Jacks , Cómeme, Paraíso, Snuff Trax and her own imprint, Naive, deliver big time here with A Life Lived In Fear Is Like A Life Half Lived, a warm and bubbling acid future closing time jam that has all the feels of watching the sun rise over the city with your best friends on ecstasy.

Backed with 4 heavyweight remixes from Love On The Rocks fam Kasra V, Prins Emanuel, Etbonz and Massimilano Pagliara. Pure love.

Romain Azzaro come's back on his own imprint with a Rouge Mécanique Extended Play compiled with cinematic shaded instrumentals and a heady mix of post-punk, ambient and noise. Bringing acoustic life to electronica, his signature sound rolls over the Ep with elegance and versatility.

In 1985, I started working as a sound engineer in the famed Far Studios of German hit producer legend Frank Farian in Rosbach near Frankfurt, and there had an array of gear at my disposal that not many producers could afford, and know how to use in consequence. In the center a high-end Neve studio desk, but also the finest machines created by mythic brands like Linn, Kurzweil, Publison, or Quantec. Confronted with this considerable amount of opportunities on a daily basis, I soon decided to use what I was surrounded with for my own musical ideas, and started experimenting with it in my spare time. My perception of sounds quickly surpassed what I had known before. The equipment offered me many possibilities to position sounds within a song and I learnt how to compose by filling up all the places in between the speakers. There was not only left and right but near and far as well, and even up and down. My preferred perspective grew to be that of standing in front of the speakers, "looking down" on a song from a slightly higher position. The material was recorded on analogue reel-to-reel audiotape, which I subsequently edited and deconstructed manually with a razor blade, an edit block and a roll of audio splicing tape.

'By Your Side' is the second solo release of the year from Will Saul, it follows his spring 12 'Bugs' which gathered support from Gilles Peterson on his BBC 6 music show as well as Leon Vynehall, Midland & Deetron. Never content to sit still in one style or genre 'BYS' see's will exploring his love for electro, acid and tripped out left of center house. With more EP's on the horizon for the autumn we find an artist full of inspiration, elated to be back in the studio and enjoying his most fruitful production spell in recent history.

For well over a decade, Erkki Veltheim has been involved in some of the most critical contemporary sound works
performed in Australia. Celebrated widely for his performance approach, that orbits outward from his extended
violin practice, Erkki Veltheim’s recorded works are grossly under represented. With Ganzfeld Experiment, his first
published solo recording, he lays out his methodology for creating music that is intense and provocatively ex-
trasensory.
Veltheim’s Ganzfeld experiment is an audiovisual work for electric violin, video and signal processing. In para-
psychology, a Ganzfeld experiment is a test for evidence of extrasensory perception, particularly telepathic
communication. It is based on the Ganzfeld (German for 'total field') effect, which describes the tendency of our
central nervous system to invent patterns in random, uniform sensory data, for instance hearing voices in white
noise or seeing images in visual static.
In a Ganzfeld experiment, a test subject is exposed to such a continuous uniform stimulus field, while another
person attempts to send them telepathic messages. Using this premise as a starting point, this edition replicates
elements of this experiment in order to explore synaesthetic hallucinations. The electric violin’s signal acts as a
tool for gradually manipulating and transforming static noise in both the audio and visual domains.
Drawing influence from esoteric and occult numerology, Tony Conrad and Brion Gysin’s experiments with flicker
and the Dreamachine, and Terry Riley's ‘Persian Surgery Dervishes’, which fuses composition with improvisation in
a long-form ecstatic and trance-like work, Ganzfeld Experiment resides in a tradition of transcendental minimal-
ism.
From Erkki
“I’m always interested in how structure interacts with randomness, form with formlessness, and ways in which
sound can be used to transform a listener’s perception and sense of time and place. I’m also often looking for
ways to expand my musical ideas to other media, through ritual, installation, or visual elements. An important
motive in my work is the idea that through sound (and these other elements) we can enter different realms of
experience: the mystical, the magical, the shamanistic. In ‘Ganzfeld experiment’, as in many other of my works,
I’m particularly searching for an ecstatic experience, one that transports the audience outside of their rational,
everyday selves. The constantly panning white noise and visual flicker are intended to induce a hallucinatory
state where one’s sense of time and perception are disoriented, becoming prone to suggestibility by the repeti-
tive but subtly morphing sounds and images.”
ABOUT
Erkki Veltheim (b. 1976 Finland) is an Australian composer and performer. His practice spans noise, audiovisual
installation, improvisation, notated music, electroacoustic composition and multidisciplinary performance. He
has been commissioned by the Adelaide Festival, Vivid Festival, Australian Art Orchestra, Sydney Symphony Or-
chestra, Musica nova Helsinki, Punctum and Maison Folie, Mons, Belgium (for Mons 2015 European Capital of
Culture program), and his pieces have been performed by groups such as the London Sinfonietta, defunensem-
ble and Sydney Symphony Orchestra. He composed orchestral works for celebrated indigenous musician Gur-
rumul's posthumous album 'Djarimirri' (2018), which debuted at No.1 on the Australian charts, and won 4 ARIA
Awards and the 2018 Australian Music Prize. He plays violin in the improvising trio North of North, with Anthony
Pateras (piano) and Scott Tinkler (trumpet), and has performed with musicians from a wide range of styles and
backgrounds, including Chris Abrahams, Bae Il Dong, Han Bennink, Berlin Philharmonic Orchestra, Anthony Burr,
Cat Power, Brett Dean, Ensemble Modern, Robin Fox, London Sinfonietta, Jon Rose and Wadada Leo Smith. He
regularly collaborates with the artist Sabina Maselli on audiovisual performances, film works and installations.
++
ERKKI VELTHEIM
GANZELD EXPERIMENT

Presenting ten experimental/ambient compositions performed live in a living room in 2017 with a Buchla Music Easel, and some pedals, then edited.

This 3 track EP comes out from Limited E's vault called Retro Vol 2. Each of these tracks represents the early emergence of Jungle musik from the early 90s. E.Lets Go - This track made in 1992 by Potential Badboy was groundbreaking as it had soul elements n soulful house vocal which was unheard of back then. This track pushed the boundaries in the scene as soul n jungle beats inter-mingled.When it was played by Micky Finn in Ministry of Sound nightclub it was repeatedly jack up on that night.
EE.Part 1 - This track made in 1992 by Potential Badboy called Part 1 has a continued flavour of the original 'Lets Go' with the soul vocals. Pushing the musik further as the scene started to change and basslines became more dominant.EEE.Part 2 - This track made in 1992 by Potential Badboy called Part 2 is a re-mix of Part 1 and continues the flavour of the soulful vibez . With more hardcore n jungle breaks dominating along with heavier basslines this is jungle at its fineness.

Overview
Australian electronic composer Todd Anderson-Kunert creates a deeply reductive electronic drone work
for Moog System 55.
About
Every recording project explores a gap that exists between uncertainty and realisation. It can be a
treacherous zone of investigation, one that can frustrate as easily as it can reward. In this expanse of pos-
sibility, artists and musicians traverse a particular set of variables within which the potentials for their cho-
sen work are realised.
When Australia artist Todd Anderson-Kunert, commenced work on his debut edition for Room40, Conjec-
tures, he was intent on approaching this zone of entanglement with equal doses of curiosity and strategy.
Undertaking a residency at Melbourne Electronic Sound Studio, which is run by Room40 comrade Robin
Fox and artist Byron Scullin, Anderson-Kunert began trawling through the vast array of synthesisers within
the facility.
After some time, he began to realise the answer to the creation of Conjectures did not lie in some survey
of modern electronics, but rather an interrogation of one machine. With this strategy in grasp, he sat at
their Moog System 55 Synthesizer, one of only a few existing in the world and set about creating a deli-
cate but richly timbral album of reductive electronics.
From Todd
I feel I don’t know much, it’s not that i feel stupid, but often I feel like I’m trying to engage with the world
while simultaneously trying to understand it. It’s a gap in some form of knowledge I’ve learnt to appreci-
ate, a contemplation of details and how they relate, but where many are still unknown. When trying to
translate this feeling into linear form, the word Conjecture feels appropriate, mainly due to a complimen-
tary duality of meaning.
There is the ‘formation of conclusions based on incomplete evidence’, and so there is a form of under-
standing and comprehension without knowing. However there was also what was referred to as an ‘obso-
lete’ use, which was the interpretation of occult signs. And so here there is a similar type of guesswork
happening, however the material that is being considered could be described as ephemeral, experien-
tial, or maybe at times non-tangible. The details I’m trying to correlate aren’t always hard scientific facts.
They can be thoughts, feelings, impulses or superstitions.
The album formed a rumination about engaging with this experience, and in that elements of confi-
dence, doubt, mystery, connection and quite literally the unknown, not as abstraction but as an actual
thing, an entity. Sonically it uses only electronic sounds in order to interrogate frequency, dynamics, and
timbre, being influenced by genres of Noise, Modern Classical, Ambient and varieties of Electronic exper-
imentation. Recordings that were close to me during this period include works by Eliane Radigue, Sarah
Davachi, Pan Sonic, Stephen O’Malley, Okkyung Lee and The Haters.
I still feel that I don’t know much, but I wouldn’t have it any other way.

The fourth various artists compilation album on Netherlands based 030303 Records... Splitradix has been given the honour to kick off with a wonderfully meandering acid epos, reminiscent of 808 State's more obscure output, with a euphoric element entering about halfway. Zaphyd takes the energy level up a bit further with a strange dry beat driving the tune which is full of melodies trying to elbow each other to the side in the friendliest possible way... Side B opens with Star Flip by Holovr where a series of classic throbbing acid basslines are accompanied by an unsettling melody, not for the faint hearted! The Exaltics' What If We Could is a haunting bubbly motherfucker of an acid track, not totally unlike Polygon Window's Untitled, pure dark bliss... The C side then starts with a brilliantly bouncing contribution containing a beautiful melancholic theme by Piepiep, one of 030303's co-founders. Argentina's Nacho M Meyer is the mastermind behind Planeta, yet another dreamy cut full of Detroit-like melancholy. Zelfkant, the first contribution on the D side, is by Betonkust and feels like a classic Warp Artificial Intelligence armchair track with a touch of wave/electro. One of the best tracks on the comp then, is by Dirty Data, who delivers a track full of twisted breaks, hectic bleeps and eerie synths, mind blowing this one... Kramphaft is behind the final contribution to the compilation, again a sinister and dark one with haunting melodies spun out over unusual hard hitting electro breaks. All in all, very warmly recommended, this compilation full of bouncy and screwed up acid from the sewer!

Summer tunes by upsammy, Tammo, Oceanic, Amandra & Mattheis and Konduku. 180g solid pink vinyl.

Sebastian Mullaert and Kontra-Musik have been involved in a love affair for quite some time - an affair that even resulted in an offspring called The Dance that came out on Kontra-Musik last year. Sebastian Mullaert is of course first of all known as half of Minilogue, a duo so influential in the hypnotic field of Techno that Korg recently named a synthesizer after them. Lately, Sebastian has focused on his solo path under the Wa Wu We moniker, releasing stripped back and personal music on his own Wa Wu We label, the cryptic S.E.L.F label and now on Kontra-Musik. On the title track Travellers, Sebastian Mullaert uses a straight up techno formula that may surprise listeners who haven't followed his move into Wa Wu We territory. You almost get the impression Sebastian buried a recording destined for a rigid techno label in a deep forest back in the 90's and has now decided to uncover it again, finding that the track has matured under the black soil. The sharp edges are now covered in smooth moss and the soundscape is immensely deep and moist. But it's still a vibrant and very much effective track. Above all, it has loads of free space to let the listeners make up their own journeys as travellers into the world of sound created by Mullaert. We float, on the flip side, is a beautiful and meditative ambient piece. It's also the fastest way for the urban dweller to find him or herself floating in a serene lake surrounded by strong, green trees instead of floating in a sea of stress and anxiety. A set of headphones and this new release from Kontra-Musik and you're there.

Veyl Industries is releasing ‚Dreams & Memories‘, the debut work from Ori, one half of TV.OUT. This 8-tracker
features malevolent electronics, experiments with noise, textures and blood.

Soul Deep Exclusives is proud to present our latest vinyl release! This time we've recruited 4 talented producers that have created 2 tracks of musical bliss. Greek producer, mSdoS, has gone to the other side of the world to collaborate with Subsid, a Brazilian Producer, to craft up the song entitled, "Malibu". The song oozes with uplifting musicality and summer vibes, heating things up for the warmer time of the year. British producers, Payback & Conspire, team up to produce the second offering. The track offers up a more edgy sound, but is softened up by its epic pads and dreamy soundscapes. Overall, these 4 producers have created some classic music that will stand the test of time. Classy vibes!

Nasty Electro-Acid and Techno from the lost mind of Shinoby including an repetitive & paranoid, spiritual yet sexy psychedelic techno funk remix by Unit Moebius

Finally we are ready for the big announcement!! MS050 - V/A - Moonshine Recordings 10 Years [Versions & Excursions] will be released in June. For this very special release we have compiled remixes and alternative versions of some of our all time favourite moonshine singles. Across 2x12” vinyl you will find remixes from the ones of Radikal Guru, Von D, Bukkha, RSD, J. Sparrow, Dub Conductor & Numa Crew. You could already hear some of the tracks being played on heavy rotation from dubplates during the last 2-3 years. Don’t sleep!

NS013 is a sample of the forthcoming album by
Nomine Sound wonder boy Boylan (more info soon),
who is doing a lot of damage and about to do a lot
more!
A monster of a track called Start Up, featuring the
mighty Flowdan on vocals, who drops a very unique
"Flow" compared to what we are used to.
A fusion of heavy Grime, Spoken Word, Dubstep,
Jungle and Drum & Bass = an absolute corker that will
vibe up any dance. "watch ya basins I'm telling ya"…!

Kami Is The Fourth Opus Of Foudre! - A Telluric Drone Quartet Composed Of Frédéric D. Oberland (oiseaux-tempête, Le Réveil Des Tropiques, The Rustle Of The Stars, Farewell Poetry), Romain Barbot (saåad), Grégory Buffier (saåad, Autrenoir) And Paul Régimbeau (mondkopf, Autrenoir, Extreme Precautions) Who Meet Punctually For Sessions Of Ritual Improvisation Where They Invoke Noise And Drone And The Deities Of Chaos. Improvised And Recorded Live At Le Rex De Toulouse Supporting The 10th Anniversary Of French Doom Metal Band Monarch!, Kami Extends The Cosmogony And The Sound Of The Band By Taking Excursions Into The Invisible And Ambiguous Side Of Nature. In This Orgiastic And Surprising Mix Of Sonic Textures And Rhythms, You May Hear Strange Phenomena, Summoning Of Animistic Spirits, Shamanic Calls, Siren Yellings And Growls. The Original Chemigram Artwork Was Created By French Artist Fanny Béguély By Painting With Chemicals On Light-sensitive Paper. Following The Sold-out Earth Soundtrack (gzh71, 2015), Kami Delivers An Immersive Soundscape For Abstract Clubbers, Where Kosmiche Electronic, Power Ambient And Industrial Punk Music Are Freely Invited To Commune. This Pagan Ceremonial Is An Ode To The Ever-changing Vortex Of Life - A Sonic Dream Machine For The Occurring Now.

300 Beer-coloured Vinyl With Black Inner, Poly-lined Paper Sleeve.

Repetition is learning. Retrace, the new EP from Jeff McIlwain aka Lusine, moves along this line of thought, reflecting the Texas-raised/Seattle-based producer’s recurrent, iteration-embracing approach to music-making and living. Following 2017 full-length Sensorimotor, which explored the body’s instinct versus the brain’s intent, this introverted 4-tracker finds McIlwain just as kinetically-curious. Balancing focused programming with washy, less concrete sonics, Retrace plays with the unexpected by drawing from slight variations on the same idea.

Sequenced into his trademark mix of polyrhythmic synths, processed vocals, and organic instrumentation is the more prominent use of a looper. The technique lends each composition an uncanny kind of multiplicity. Opener “Not Alone” repeats and stretches vocal phrasings from Hardly Art-signed American singer-songwriter Jenn Champion, building onto itself until a climactic, near-duet reset. South Korean musician Yousun Cho aka CIFIKA brings a fluttering of bilingual directives to “Step On,” a buoyant exercise in electronic pop. The title track embodies the whole, allowing a single synth pattern to morph, regenerate, and bloom before returning to its original form.

Glasgow-based soundsystem and production unit, Mungo's Hi Fi, are pleased to announce the release of new album ‘More Fyah’, a stunning collaboration with UK singer and MC, Eva Lazarus. Released 19th July via Scotch Bonnet Records, the album follows the success of their 2017 hook-up on the extremely popular ‘Amsterdam’ EP. A genre-melding masterpiece, ‘More Fyah’ traverses between reggae, dub, dancehall and other bass flavours. Eva seamlessly tackles every track with her unique lyrical flow and wide vocal range, matched by Mungo's infectious signature sound. From the rocksteady relick of ‘Dub Be Good To Me’, the ragga mash-up title track ‘More Fyah’, the summery riddims of ‘Light As A Feather’, featuring London reggae artist Kiko Bun, to the roots sampling ‘Babylon Raid’, featuring Jamaican reggae legend Max Romeo, Mungo’s have a sound that is deeply rooted in dub and reggae’s lineage, backed by the sharp, sassy and slick vocals of Eva Lazarus. Raised out of one of the most musically creative cities in the UK, Mungo’s Hi Fi have made a massive contribution to Glasgow’s musical story with a respectful nod to Jamaican sound system tradition. Founded in 2000, Mungo’s was formed by two like-minded DJs, inspired by the free party scene but following the Jamaican tradition of King Tubby and Jah Shaka. True to reggae/dancehall’s DIY ethos, they built their first sound from speakers found in a skip and began producing on an old Atari. They started inviting visiting vocalists to their regular nights in Glasgow to hold the mic and then join them in the studio. Following early recordings on London’s Dubhead records, including debut album ‘Mungo’s Hi Fi Meets Brother Culture’, they founded the Scotch Bonnet Records label in 2005. Today Mungo’s Hi Fi’s three DJs, Craig, Doug and Tom play all over the world, assisted by the team at Scotch Bonnet Records: all committed to spreading their philosophy of serious, seismic productions plus easy going democratic dancehall fun. Highly collaborative, they’ve worked on remix projects with Leftfield, Coldcut, Submotion Orchestra, Kahn and Prince Fatty in the UK to Major Lazer in the US and are currently expanding links with East African Records based in Uganda. The vocal collaborations go much further, from foundation Jamaican legends such as Sugar Minott, Ranking Joe and Johnny Clarke to contemporary artists like Charlie P, Kenny Knots, YT, Solo Banton, Parly B and Marina P. This is Eva's first full length album, having recently featured on tracks with Swindle, Zed Bias, Jus Now and Gentlemans Dub Club. A multi genre artist, she has been making waves worldwide, fresh from her first global tour which took in Panama, Dubai, Uganda, Kenya, India, Vietnam, Australia and New Zealand. Her releases include The Nextmen vs Gentleman's Dub Club ‘Pound for Pound’ and Benny Page ‘Front Left’. She is also set to release her first solo EP later this year and has a starring role in ‘Kid_X’, a theatre production that charts a futuristic romance between a boy with a bionic heart and a famous rooftop selfie queen.

Spectral Empire are George Thompson (aka Black Merlin / Karamika) and Kyle Martin (Vactrol Park / Land of Light). With the release of Iron Muscle they are celebrating 10 years since their debut ep Innerfearence saw the light of day in 2008 on the now defunct THISISNOTANEXIT record label. Legend tells all track were made around the same time (2008-2009), at what was back then Kyle's studio in Archway, London, however opinions remain divided over the validity of this info. What is remembered for a fact is that they'v used practically every home appliance and improvised noise they could find, record and harness, in order to create the feeling of what they describe as a ' Robot walking' for the title track Iron Muscle. Anything from kitchen drawers to DVD's and cutlery was sampled and then drenched in effects and manipulated in order to create what came out as a cinematic futuristic piece to dive into again and again, a soundtrack for an unwritten sci-fi movie, or just a dramatic soundtrack for your everyday lives.. With See the invisible, rules do not apply. An arpeggiated groove sitting on a steady half time 60bpm beat, its like the perfect soundtrack to the perfect car chase. Mediterranean riverbed guitars- not-guitars, sirens, and a heavy (dreamy) atmosphere fill the voids and keeps the track pushing forward throughout... The 4th track on the record is a never before seen the light of day epic remix by Die Wilde Jagd, that back then still included Ralf Beck (Unit 4) as an active member of the band (back when they were still known as Der Rau¨ber und Der Prinz). The release will be a vinyl only release, and is already getting massive support from the likes of Vladimir Ivkovic, Michael Mayer, John Talabot, Red Axes, Manfredas, Trevor Jackson, Lena Wilikkens, Man Power and many more...

Ideas call for realisation, realisations turn into habits, habits then quickly turn into traditions, and traditions become an intrinsic part of culture. Born at the turn of the new millennium as a symbol of a new era for electronic music, Kompakt's longstanding TOTAL series returns with its 18th iteration, spreading over two CDs the essential of the label's last few months of intense activity and extended breadth of resources, blowing out its 25th birthday candle with the breath of a young, throbbing heart.

Introducing faces new and familiar, full-scale hits and criminally overlooked tunes, TOTAL 18 recollects glorious moments on the dancefloor and further intimate ones between friends, inviting the listener to flick through a family album marked with tracks as distant yet eerily close as Sonns highly sensual 'Tame' and John Tejada's propulsive 'Detector', Terranova's elegiac 'Let It Fail' and Rex The Dog's mind-altering 'Crasher' but also, and as usual, its lot of unreleased cuts - transcending the mere retrospective nature of the classic compilation format for a further complete core sampling of Kompakt's zeitgeist.

With a handful exclusive deliveries courtesy of label co-founder Jürgen Paape - here making a rare appearance with the humbly-titled opener 'Well It's Paape', &nd's one and only Aaron Ahrends with the nostalgic 'Eyes Closed', Tobias Thomas and Michael Mayer as Thomas/Mayer, Lebsanft & Raquet and the poetic synthesis of 'Signale', Cologne figure Jörg Burger on electro-punk- wave mode, minimal Danish talent Christian Nielsen and Voigt & Voigt for a session of left-of-centre techno, TOTAL 18 sweeps the spectrum back and forth, navigating from the deeper umbra onto the brighter shades seamlessly.

A wide-scope snapshot of the label's recent past, immediate present and near future, TOTAL 18 moves and shifts, from the power of dancefloor-oriented pieces such as Tom Demac & Real Lies' 'White Flowers' (here presented in its house version), Dixon's silky revamp of Vermont and Gui Boratto's euphoric club weapon 'Forgive Me' onto the funky electro pop flavours of Fahrland, cosmic dub-tech jazz of Ghost Vision and robot bounce of T. Raumschmiere's 'Augen Zu' for a whelming tour d'horizon. Kompakt's annual yearbook as seen through Michael Mayer's eyes, for your ears and pleasure. A collection of music to discover and rediscover.

"It's become such a nice tradition to put together TOTAL compilations. It feels a lot like going through one's photos at the end of the year. Memories come back to mind from moments when a particular track made its first impression on me or how the same track would become a highlight in my DJ sets at some point. Each track has a story to tell. Apart from the obvious big tunes, TOTAL's also bear room for the sleeper hits, those tracks that were criminally overlooked. With a bunch of new exclusive contributions thrown in the mix there's plenty to discover or rediscover. KOMPAKT's annual yearbook seen through my eyes for your ears and pleasure" - Michael Mayer

Ideen rufen nach Realisation, Realisationen werden zu Gewohnheiten, Gewohnheiten werden dann schnell zu Traditionen und Traditionen sind ein wesentlicher Bestandteil von Kultur. Initialisiert an der Schwelle des neuen Millenniums als Symbol für eine neue Ära elektronischer Musik, kehrt Kompakts langjährige TOTAL-Serie zum 18. Mal zurück. Das Wesentliche aus den letzten Monaten intensiver Labelarbeit und der Fülle an Material wird auf zwei CDs ausgebreitet und bläst nebenbei die Geburtstagskerzen zum 25. Labelbestehen aus - mit dem Atem aus jungen, starken Lungen.

Vorgestellt werden neue und bekannte Gesichter, kristallklare Hits und sträflich übersehende Tunes. TOTAL 18 erinnert an die Momente auf dem Dancefloor und die Gespräche danach, die den Hörer einladen durch ein Familien-Album zu blättern, das gefüllt ist mit Tracks so fern und schon unheimlich wie Sonns höchst sinnliches - Tame' und John Tejadas forttreibendes - Detector', Terranovas elegisches - Let It Fail' und Rex The Dogs bewusstseinsveränderndes - Crasher'; aber ebenso, und wie gewohnt, seinen zahlreichen unveröffentlichten Cuts - die bloße retrospektive Form des klassischen Compilation-Formats wird transzendiert, um den kompletten Zeitgeist Kompakts einzufangen.

Mit einer Handvoll exklusiver Beiträgen von Label-Mitbegründer Jürgen Paape (hier mit einem seltenen Auftritt in dem bescheiden betitelten Opener - Well, It's Paape'), &nds einzig wahrer Aaron Ahrends mit dem nostalgischen - Eyes Closed', Tobias Thomas und Michael Mayer als Thomas/Mayer, Lebsanft & Raquet und ihre poetische Synthese auf - Signale', Kölns Koryphäe in Sachen Electro-Punk und Wave Jörg Burger, Minimal-Talent Christian Nielsen aus Dänemark und Voigt & Voigt mit einer Techno-Session vom linken Flügel: TOTAL 18 grast das gesamte Spektrum ab, nahtlos von den tieferliegenden Kernregionen bis zu den helleren Plateaus.

Aufgenommen in der Totalen ist TOTAL 18 eine Momentaufnahme, die die jüngste Vergangenheit, unmittelbare Gegenwart und Nahe Zukunft des Labels einfängt und sich um die Kraft von am Dancefloor orientierenden Stücken wie Tom Demac & Real Lies "White Flowers" (hier in der House-Version) bewegt und wandelt. Mit Dixons seidig sanften Remix von Vermonts - Dschuna' und Gui Borattos euphorischer Club-Kanone - Forgive Me' bis zu den funky Elektro-Pop-Geschmäckern von Fahrland, dem kosmischen Dubtech-Jazz von Ghost Vision und dem Roboter-Bounce von T.Raumschieres - Augen Zu' sorgt TOTAL 18 für eine mitreißende Tour d'Horizon. Kompakts alljährliches Jahrbuch gesehen durch die Augen Michael Mayers, für die Ohren und Vergnügen von euch. Eine Sammlung von Musik zum entdecken und wiederentdecken.

"Es ist eine schöne Tradition geworden die TOTAL-Compilations zusammenzustellen. Es fühlt sich ganz so an, als würde man seine Fotos durchgehen am Ende des Jahres. Erinnerungen an Augenblicke kommen zurück, als ein bestimmter Track seinen ersten Eindruck auf mich gemacht hat oder wie der selben Track irgendwann ein Highlight in meinen DJ-Sets wurde. Jedes Stück hat seine Geschichte zu erzählen. Abseits von den offensichtlichen big tunes lassen die TOTAL-Compilations immer auch Raum für die ,schlafenden Hits', jenen Tracks also, die sträflich übersehen wurden. Mit einem Strauß an neuen exklusiven Beiträgen gibt es einiges zu entdecken und wiederentdecken. KOMPAKTS alljährliches Jahrbuch gesehen durch Michael Mayers Augen, für deine Ohren und Vergnügen." - Michael Mayer

Matthew Sage is a composer, producer, label owner, and publisher based in Chicago, IL. Since his
earliest recordings, Sage has carefully considered and crafted each of his various approaches
to experimental music. His debut LP A Singular Continent was an endless epic that charted
imaginative aural cartography and seemed to soundtrack actual worldbuilding. Now, after five
years personal changes and growth, Sage returns with his tried and true sonic trademarks, but
with a noticeably liberated approach to his brand of experimental studio music.
Catch a Blessing shows Sage in a much more impulsive light. Where past work existed in space
that was cerebral, meditated, and composed, the music here is more natural, playful, and effort-
less.
Opting for chance and the unknown rather than rules and conceptual rigor, Sage “practiced” an
amorphous technique that led to profound moments of accidental, unplanned beauty.
The moods and modes are constantly, entirely at odds with themselves: private vs. public, abject
vs. profound, rural vs. urban(e), and so on. Where other players of experimental studio music take a
more high-minded, often stuffy approach, Catch a Blessing floats in airier, more refreshing modes.
It’s endlessly lush but sincerely marked by decay. This is naturalism in the truest sense.

a a1. F.O.I - One More Stripe LionX & Drama1 Remix
[LionX & Drama1 Remix]

Msymiakos (Miss-a-me-akos) droppin some serious heat for PPJ 002. Proper Jungle at its finest!

A1. from The Triple J broadcast. Live at The Palace, Melbourne, 1992.
B1. recorded at The Pier in Seattle, 1993 and broadcast from MTV USA, except B6 & B7 from Saturday Night Live, 1992.

STANDING OVATION was a short lived project from Clacton on Sea, UK, created by the very young Paul Bramhall and Glen Redgen in 1982, while they were still at high school. Armed with a Casio MT40, a Korg Polysix, a Korg M500 and a Boss DR55 drum machine plus a guitar and a bass they booked a local studio on 22nd October 1983 and recorded two songs in one day. The two tracks were released on cassette by the also local Falling A label shortly after. They continued making electronic music for a further two years and seeking collaborators through the papers they managed to include a drummer and a lead guitarist, but the sound changed and was no longer the electronic sound that Paul desired. After a few local gigs they drifted apart with musical differences.

The WHAT MEANING / TIMES OF FUN cassette didn’t have much repercussion back then and being impossible to find nowadays we decided to give it another try on vinyl. WHAT MEANING is a true minimal synth masterpiece, with its pulsating bassline and overall dark feel. This genre just doesn’t get any better. TIMES OF FUN is a much brighter, poppy tune that puts a smile on your face.

The two songs have been transferred and remastered from the original ¼” reel tape and the also minimalistic but beautiful hand-drawn original artwork has been adapted and enhanced to fit this 7” release.

We are immensely proud to bring it to you as a limited, hand numbered edition of 275 copies, housed in an old-fashioned, matt finish card-sleeve including a download code.

"Master of ambient spaces and far out places, long-time Finnish producer Sasu Ripatti (aka Vladislav Delay) blesses us once again with another release, this from his 'Visa' period of unreleased tracks.


The first track out of the gate is a recognizable Vladislav Delay piece, but instead of gently flowing rivers of sound, instead we have a series of stiff, machine-like rhythms applied to his classic infinitely deep pads and ambient environmental sounds. It just continues to pile in more elements until becoming almost indistinguishable from his natural, organic flow. From there we move into somewhat more familiar territory but still unusually stripped down and mechanical for a Vladislav Delay joint. It’s fascinating to see such an intricate songwriting process laid bare in such a way, often exposing each individual, nearly bottomless sound in isolation.


Deeper into the album, things veer into decidedly more abrasive and synthetic territory, at times becoming an almost unrecognizable artist for a moment, only to be eventually subsumed under layers of shifting ambience that could only be Sasu.


This austere minimalism makes these tracks some of the most hypnotic since the early 90s excursions, but at the same time seems to have left its organic, analog roots and melded with the harsh gridlocked modern sequencer. ~Clint Anderson

In celebration of Liondub International’s10 year anniversary, Liondub is proud to present the 2nd 12” EP taken from Saxxon's premiere full length LP "Action Saxxon - Jungle Odyssey". Saxxon’s success and extremely loyal fan base is the result of years of hard work crafting stand out tracks that are infused with a classic jungle sound that draws from Soul, Funk, Jazz & Reggae.