Beats Vinyl New Releases - News

Carlo Onda vinyl debut represents the Neue Deutsche Welle reinterpretation as it must. Truly vanguard and fresh minimal synth and perfect Germanic vocals that transport us to splendor days of Grauzone, DAF, Joachim Witt or Robert Görl. All tracks have been specially remastered for long cut vinyl by Eric Van Wonterghem at Prodam Berlin.

* After many years away from producing, DJ Seduction from the legendary Impact Records returns with his old skool flava on his new label, 21st Century Impact.

* Both tracks on this first release retain that authentic old skool sound, but with a nu skool twist thrown in for good measure. The A side 'It's You' features a hands in the air piano track with a familiar vocal that goes down an absolute treat on the dancefloors. The AA side 'Sub Dub 2018' is an updated remix of one of the biggest rave anthems from back in the day. A very strong first release of many...

Heavily supported by DJ's such as Slipmatt, Billy 'Daniel' Bunter, Seduction, Ratpack, Fat Controller, DJ Sy + more

To celebrate 30 years of Ellis Dee we've got this amazing re-issue. This re-issie is a limited Edition of 300 copies on Red Vinyl. This originally came out in 1994 on yellow vinyl. This 2019 version has be remastered by Ellis Dee from digital files.

- Utopia Music are extremely proud to present UM021, the sampler to Hydro's 'Lateral Thinking' album. - The A Side is a heavy and energetic exploration into 'New Territories'. Whilst deliberately targeting the dance floor it also suggests, even demands, the potential to go further beyond.

- The AA Side is a beautiful roller with both the crispness and warmth that you may feel from a sunlit journey in the mountains. 'Sagarmatha' reaches out from its breathtaking heights... way back down into deeper paths of rhythm.

- Hydro has been releasing incredible music since 2003 on almost all of the big labels. Since his production beginnings collaborating with Break, he has continued to work on many different styles and with many other different producers. He's become known for his musical diversity and his name is synonymous with quality & finesse. It's an absolute honour to be able to introduce his debut album to you. This project also features War, who again establishes himself as one of the best engineers in the game. Since first collaborating in 2011, Hydro & War have proven to be a formidable team, known for consistently delivering essential releases, including for Utopia.

Goldie - 'These guys are at the top of their game'Break - 'One of the best labels in dnb, very happy to be involved'
Ulterior Motive - 'Big tunes'
Spectrasoul - 'The quality is always super high'

New LP from the youngest of the outrageously talented DeenMamode brothers (Mo Kolours & Reginald Omas Mamode IV), Jeen Bassa. 'Cassava Pone' follows up on his hugely successful 'All My People' and 'Timewaves' LP's on 22a.

**vinyl only, strictly limited one-off pressing, once it's gone it's gone!**

This is a classic beat-tape style LP from one of the most under rated Hip Hop producers in the U.K. right now. Warm and woozy productions that stand out in a world saturated with bland Dilla and Madlib-esque pastiches.

Heavily influenced by Bassa's Mauritian roots, the album takes you on a journey through aboriginal and pan African sounds with heavy layers of percussion and samples from his fatherland. Features Mo Kolours, Al Dobson Jr, Reginald Omas Mamode IV and Shepherd Manyika.

This summer, Samuel van Dijk (also known as Mohlao and VC-118A) takes up his Multicast Dynamics alias for his fifth album on Denovali. Once again this storytelling artist sets out to remove you from reality and sink you deep into his Lost World. You arrive long after humans have left, but why? That is for you to find out. Multicast Dynamics albums are always absorbing and journeying affairs that are as immersive as a film or evocative as an audio book. Since 2015, long players like Aquatic System, Outer Envelopes and Continental Ruins have explored forgotten utopias and unexplored oceanic abysses with a documentary maker’s attention to detail and narrative, and Lost World continues in this fine tradition. This is a mysterious album that wants you to engage not only with the music, but with what it means. Where it takes you. What happened before it started and what will happen long after it ends. How did you get here? Where will you go? Listening to it is like tuning into a world that already exists, somewhere, like some distant sci-fi reality turned underwater ruin that has a million stories to tell if only you can find them. It’s an isolated world that is somehow alive with microbial life, crumbling architecture and radioactive energy that leaves you with a thousand questions as you descend ever deeper in search of some form of truth. Track titles are subtle signposts along the way, while the music is like sonic poetry: expressive and beautiful, yet open to wide interpretation and always rather mysterious. It is music that fits perfectly with our visual world in the way the artist places sounds in specific places in the sonic field. You are the central character as the action moves, pans and unfolds around you in a 360 degree spatial field rather than on a linear plane. Lost World, then, is a voyage to a distant reality that awaits your own endless exploration.

The tail end of 2018 saw the release of Oberman Knocks’ third album on aperture records, Trilate Shift, which was included in The Moderns Vol.2  written by Kevin Press (a book dedicated to the world’s great, currently active, avant-garde artists).

2019 sees the release of Remhex Coyles EP – neither companion piece, nor follow-up to Trilate Shift, but a standalone set of tracks with a different collective energy to them. Knocks steps out from the experimental room and heads towards a different kind of space, one that's less claustrophobic and subterranean – a place that’s more structured and in places more melodic than his usual output, but one where he still brings his own distinctive sound.

Before heading into the sound production for a new film, his first theatre piece and next album, this five track EP shows an electronic musician in total control of every last detail. The surprising shift of focus in these tracks displays an alternative approach to his output whilst retaining the usual attention to sampling and manipulating sounds, combining them with a more regimented logic and groove than is usually apparent.
These undeniably enjoyable tracks show a desire to have a more playful immediacy, with a different sound palette and a drive to forge Oberman Knocks’ sounds into something that would be as likely to be played out as listened to at home.

Meanwhile in the Blast Office, Party Nails have been cooking straight bangers for bent dancefloors.

Four more heaters to test your meters.
Following an inclusion for PN001 in DJ Boring's Phonica top 10 for 2018 the duo gave up their day jobs to pursue their dream of full-time idiocy.

Please buy this record. The kids still need wine.

DON'T ASK WHY - JUST BANG THE NAILS

Walls, Corridors, Baffles is the debut album of Swiss musician and producer Samuel Savenberg aka S S S S. Following various releases on Haunter Records, aufnahme+wiedergabe, and Hallow Ground, his LP on Präsens Editionen tries to find an approach to an artistic expression beyond tropes of darkness, harshness and excess. Thus, the aesthetic of Walls, Corridors, Baffles is radically and uncompromisingly sober. Instead of focusing on a conceptual or symbolic treatment of sound as an abstraction, Savenberg emphasizes its materiality. The album consists of eight pieces strung together into a manifesto which calls for a febrile embrace of an unheard-of, intense sobriety.
In Walls, Corridors, Baffles, unadulterated percussive force meets an astoundingly precise and frugal vocabulary of electroacoustic sounds, as for example on the opener “Deserter”. Passages extended over long melodies invite the listener to lose oneself in the contrastive emptiness. Central to the work are the affective qualities of the music which lapses only at moments into a more defined emotional quality – as on the final track “Nothing But the Circulation of Air”.
*Edition of 300 copies

SHELVED RECORDINGS 2.2

The second part of the two part set from SHELVED RECORDINGS !

Returning to a brief but very fruitful period in electronic music production, Shelved Recordings exists to look back to the golden age of the remix, with a clear view of the future it imagined.

Artists who were steered towards maverick producers, with a view to changing the rules, to re-defining the terms of what modern music should and could be.
Pioneering techniques, over-dubs and an exploratory period of pop production, resulted in many lost dub versions and mixes. Mixes, which invariably were left on the shelf, deemed too 'out there' by the bosses of the the hedonistic label managers who commissioned them.

Carefully reconstructed and rebuilt lost classics from someone who was there the first time around !








One limited vinyl press only

* Seasoned Shogun duo Technimatic are proud to celebrate 10 years working together with the release of their 3rd studio LP ‘Through The Hours’. Born of time spent behind the boards, on the decks and travelling the world honing their craft, this is their most profound work to date.

* Their first single ‘Sometimes’, ‘Goodbye Kiss’ and ‘All Our Yesterdays’ are loaded with floor filling nostalgia while the tempo changes of ‘Recurring Dream’ and stand out ‘Resolution’ are thrilling explorations away from the pair’s trademark liquid sound.

* Technimatic fans will rejoice at the sight of previous collaborators appearing. Jono McCleery’s devastating ability shines on ‘The Nightfall’, while ‘Weightless’ ft Lucy Kitchen is vintage, sublime drum and bass. Matt Wilson also joins the project as ‘Holding On’ finds its feet firmly on the dance floor revealing a fresh side to their production skills. Just looking at the three vocal tracks highlights the passage of time in the Technimatic sound, seamlessly manoeuvring from classic to current.

* The grit and swagger of ‘True Believer’ matched with the hypnotic lull of ‘Let It Fall’ give the album a conscious edge to satisfy all tastes.

* ‘Through The Hours’ moves harmoniously through sonic timelines appealing to both new and old school heads simultaneously. Lastly and most importantly, the music is fantastic. The Technimatic sound is as rustic as it is contemporary and after some time away, it’s clearly well worth the wait.

Ever since their debut 7” landed on our doorstep unannounced, we have been captivated by the powerfully understated movements of the duo known as Undefined. Sahara (keys/bass/programming) and Ohkuma (drums) have deep roots in the Japanese dub and reggae scenes (Heavymanners, Soul Dimension) and operate their own experimental dub label, Newdubhall. Recent collaborations with Kazufumi Kodama (of dub elders Mute Beat), dBridge, and Kabuki are nudging the group further into a spotlight that they richly deserve.

Named for the 3-feel of its colossal groove, “Three” is a locked groove of pure downtempo dubwise, techno in its repetition, hip hop in its tempo and swagger, motorik in its muscularity, meditative in its clarity. Featuring the unmistakable voice of ZamFam Rider Shafique, showcased in a moment of profound introspection and vulnerability, “Three" banishes all thoughts of flash-in-the-pan “big tunes” for an incredibly deep and immersive dive.

“Three Dub,” a version in the classic sense, strips out the vocal entirely to focus on the rockstone riddim, crafted of one of the most captivatingly beautiful bass tones we’ve ever heard, combined with wicked drum turnarounds, lightning hi-hat work, and extremely subtle & sophisticated dubbing technique. A masterclass in dubwise essentialism and profound attention to detail, stripped down to the foundation yet incredibly lush and alive.

Strictly limited to 600 copies for the world. No digital, no repress. Design & screen print by Polygon Press. Mastered by Sam Precise.

Harnessing the golden age of Italo where the synthesiser was king and the cosmos was key, Riot Records bring four, standout re-edits to the table.

Ziggy Phunk steps up first with 'Lost Treasures', chopping and re-stitching this chugging, cosmic masterpiece - heavy on the Juno bass, arpeggiated synth lines and weighty drum machine hits. Rayko then hits with 'Inchi', introducing a dreamy arp and reverberating snares to this celestial jam, where resonating guitar licks trade off with interplanetary synthwork from a distant dimension.

On the flip side Jaegerossa blasts off to Mars with 'Love To The Max', packed to the rafters with sublime brass synth sounds and that archetypal, punchy '80s snare hit that echo off into the ether. Couple this with absorbing, pitch bent chords and a dynamic bass and it's a galactic marvel ready to be unleashed. Closing out the E.P, sensuous vocals marry with sweet strings, dazzling keys and uplifting melodies in Camino's, 'Bela Solo' - the perfect round-off to this expertly done Italo homage.

DJ Support:

Dimitri From Paris, Soul Clap, Hifi Sean, A Love From Outta Space, Ron Basejam, Sophie Lloyd, Eli Escobar, Mousse T

Club / DJ Support
Target to over 400 key DJs and tastemakers on the Shogun Audio mailing list including but not limited to Skrillex, Andy C, Goldie, Calyx & Teebee, Friction, Alix Perez, SpectraSoul, Rockwell, Technimatic, Bailey, Breakage, Danny Byrd, Roni Size, LTJ Bukem, Fabio & Grooverider, High Contrast, Lenzman, Camo & Krooked, Skream, Sub Focus, Zinc plus many others

* Just one glance at the tracklist and you know that this promises to be something special. Packed full of 24 brand new tracks & remixes from a whole host of absolute legends and sprinkled with some of the hottest newcomers around right now, Spearhead 100 does not disappoint.

* On the remix front the mighty Calibre takes on The Vanguard Projects ‘Stitches’ working Jemimah Read’s vocals into a deep soul wrenching anthem. Nu:Tone takes Jonny L’s ‘Bass Break’ and creates one of the deadliest DJ weapons of the year that is guaranteed to get the crowd reaction. Pola & Bryson totally rework Utah Jazz & DRS’s ‘Handle This’ with some of their best work to date. As if that’s not enough to sink your teeth into we haven’t even touched on the BCee reworks but we don’t want too many spoilers.

* Original tracks here don’t come with any less weight either, Technimatic & LSB team up to remind us just how liquid should be done in 2019. Villem goes solo and shows us his soulful side with the subtle vocals of Jevon Ives on ‘Reflections’, Seba effortlessly rolls out another understated peak time anthem, John B shows he’s still got the skills to make pretty much any style he wants with absolute class.

* This entire LP is packed with class, all killer, no filler, A game material. Long story short, you need this in your life.

* Support from DJ Marky, London Elektricity, S.P.Y, Hybrid Minds, Doc Scott, Rene LaVice plus all the amazing artists that contributed to the project and a whole load more.

Derived from rainy seasons and melancholic mindsets, Tassilo Vanhöfen has brought us Cosmix, a piece of ambient handholds and slow dance initiators.

"I always loved long movie scenes without dialogue. Just intense visuals and appropriate sounds. It’s where I can find relieve, inspiration and heartwarming, moving elements.”

Using a plethora of custom made diy gear (from the Lab's of Michigan SynthWorks), as well as vintage/New gadgets from Roland. The Acid Jakal Delivers a solid e.p. for true electronic music intellectualists, dance floor heathen's, robot's & purist's alike.

In heavy rotation for Dj's such as Benji B, Luke Hess, Will Web, Dj Roach, Mr.Blaq,

No repress white label only.
Add more spirit to your life... Dance Sacred.

We're excited to be joined by one of the most versatile and knowledgeable DJ producers on the planet. Hailing from Chicago, Chrissy's expertise knows no bounds and stylistically there's few hats he won't don, with productions appearing on labels as diverse as Planet Mu, Classic and Hypercolour to name a few.

For his debut on Super Rhythm Trax his wings remain characteristically unclipped as the tone veers from the massive Acid wall of 'Truth Bomb' (built upon an acappella from a house legend) through the ghostly dubbed out 'Stumble' to the anthemic house of 'We're Movin' before finally resting on the 21st century New Beat of '24 Hour Puppy People' .

'Truth Bomb' is exclusive to the Vinyl only. Digital versions will contain a version with different vocals.

Deep-frozen for many decades, something is on the verge of being released from obscurity. Dark Star is the project of Wolfgang Reffert (Ger). In the late '80s through the early '90s he released a couple of albums that invoke the darkness of infinite space. Clearly influenced by '60s and '70s sci-fi, the mechanical grooves and spiraling synths bring to mind the worlds of Alien, The Forbidden Planet and Solaris.

Utilizing a less is more aesthetic, Dark Star breathtakingly soundtracked space travel to far away galaxies like no other. Rhythmic postpunk drums lay the foundation for slow, down-tuned spacerock that goes deep into industrial proto-techno-like territory, while always maintaining a sense of groove.

Resurrected from the days of yesteryear, Dark Star once again re-imagines the eternal harshness and emptiness surrounding spaceship Earth. Cyborgs, extraterrestrials and genetically modified creatures rejoice on the dancefoor!

This is a collection of Dark Star’s best material. Originally released on two cassettes and one CD. Mastered by Wouter Brandenburg. Photography by Rogier Houwen. Poetry by Alex Deforce.

Dean Zepherin is truly a producer who has managed to find his lane and appeal.
Born and raised in London - a suitably eclectic city for a man of his musical persuasion - he is renowned for his consistently genre-pushing productions.
In other words, a perfect match for Local Talk, a label not afraid to go beyond the classic 4/4 sound and explore different styles within house music.

Opening track Blue Moon is an organic, warm and enveloping chunk of deep house bliss and there's no doubt that Dean loves his house served with with plenty of horns.
Next up is Flying High, a jazzy uptempo house cut smothered in expansive percussions, trading organ and trumpet solos over elastic synth lines.

Music that speaks to the senses

Full spectrum double 12' from Garies - eight tracks running from bittersweet beatdown-ish bits to slow-burn electro to second wave-inspired techno, injected with funk, melody and an MPC-mindset. Garies = New Jackson (All City, Hivern) + Lumigraph (MPR, Opal Tapes). Full colour cover. Mastered by Thomas P Heckmann. Cut at Schnittstelle. Pressed at MPO. Artwork by Mel Keane

KÖNIGSFORST – following the 1997 release of ZAUBERBERG (KOMPAKT 370.1), Wolfgang Voigt’s GAS project returned with KÖNIGSFORST, a full length that has stood the test of time as a template for introducing fundamentals of 90’s techno into the principles of contemporary electronic music.

Originally released in 1998 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS “BOX”, ZAUBERBERG is now released on his own label KOMPAKT on 180 gram 3LP vinyl in its original artwork.

KÖNIGSFORST brings glimmers of light into Voigt’s dark, magnificent forest. Melodic strings and brass are added to his signature layers of ominous intensity. The forest path is laid out by muffled kick drums as classical music loops incessantly swirl with no direction.

KÖNIGSFORST – following the 1997 release of ZAUBERBERG (KOMPAKT 370.1), Wolfgang Voigt’s GAS project returned with KÖNIGSFORST, a full length that has stood the test of time as a template for introducing fundamentals of 90’s techno into the principles of contemporary electronic music.

Originally released in 1998 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS “BOX”, ZAUBERBERG is now released on his own label KOMPAKT on 180 gram 3LP vinyl in its original artwork.

KÖNIGSFORST brings glimmers of light into Voigt’s dark, magnificent forest. Melodic strings and brass are added to his signature layers of ominous intensity. The forest path is laid out by muffled kick drums as classical music loops incessantly swirl with no direction.

Originally released digitally on Luke Solomon & Derrick Carter's Classic Music Company last summer; Girls of the Internet's deep-house-dub-techno-afro ballad 'When U Go' is now being pressed up to vinyl on RAMP Recordings. Since it's release, 'When U Go' has been burning up some of the more discerning dancefloors worldwide, with club support from DJ's as diverse as Mark Farina, Stacey Pullen, Eli Escobar, Oliver $, François K, Soul Clap, Roger Sanchez, Carl Craig, Booker T, Serverino, Riva Star, Doc Martin, Karizma, Marco Carola, Tensnake & Mousse T. Peckham's finest pervayers of Deep House, Bradley Zero approved duo FYI Chris, turn in an exclusive dubby West Coast-vibed remix of the track available only on this vinyl.

The B side is a brand new track from Girls of the Internet - 'Running' featuring Nattlie Maddix, of the House Gospel Choir. Mixing live instruments with synths and drum machines, 'Running' is a soulful yet driving disco tinged deep house track. To finish off this massive package, Local Action's Finn delivers a genre-straddling remix of 'Running'.

Debuting on the freshly-minted Mad Habitat imprint, Greville’s EP is a bifurcated effort split between tranquil ambience, and hazy couch-locked house, with influences of each bleeding through and influencing each work in a stylistic osmosis. The sound palette blends crystalline synth patches, mimetic foley and field recordings in a playful spectrum of realism and synthesis; borne from the duality of always wanting to be in the studio while dreaming of the natural world outside it.

Covert transmission from the outskirts of Neurealm... two dark strangers operating from below the ash clouds. PSYWAR vets tryna get the hell outta hell. The tomb of 'El Magnifico' is stalked by the spectre of OIR15A02aTC0008. Shouts 2 Peabody Jnr.
hand-scrawled, stickered-up

Remastered edition, Contains a printed inner sleeve and 4-page 12" booklet with liner notes and photos. TIP!
After a classic artistic journey and an experimental stint with Aktuala and other brilliant fellow musicians (like Franco Battiato, above all), Lino Capra Vaccina, near the end of the 70s, recorded Antico Adagio. It was an amazing album, anticipating countless future experiments in the field of new age and world music but also in avantgarde and electronic music. Apart from a few violin parts and the extraordinary vocal lines (sung by Vaccina himself and Juri Camisasca), Antico Adagio is an album fully built on percussions. But, at the same time, its the farthest thing from the typical idea of percussions. You wont find a single trace of African or primitive beats: instead, this is a collection of rather long, subtle and thoughtful compositions, crafted with vibraphones, marimbas and gong. Together they create a work which will remain unique both in Capra Vaccinas discography as well as in a more general sense.

Music From Memory follow up on their 2016 compilation 'Phantoms Of Dreamland' and delve further into the archives of British musician Michal Turtle. MFM 029 'Return To Jeka' brings together eight unreleased tracks recorded between 1983-1985 in London, and further highlights a very interesting period of material Michal recorded following the release of his only album 'Music From The Living Room' (1983).

Originally self-released in 1985 for Sterile Records, 'SOLAR' is the Nocturnal Emission's most successful album ever. The release is marking the end of a period of more "conventional" songwriting and instrument use for Nocturnal Emissions.

The first couple of albums were brooding, bleak affairs that called to mind a more sedate version of SPK. Then came a few albums that were firmly song-dominated. 'SOLAR' was the last of the bunch, and was the most explicitly "message"-oriented and political.

"Songs of Love and Revolution" was a big step forward for the band, having a full colour cover and turning the NE sound further towards electronic pop music. Classics such as "No Sacrifice" and "Never give up" have made this an essential album for every fan of electronic music.

As Nigel himself reminds, they were buying lots of equipment at the time and seemed to have naturally acquired some skill over the years so they thought, ‘Let’s make some pop music.' He continues: "The Miners’ Strike was on and there were riots down our street in Brixton. I was convinced there was going to be a revolution. But it would probably have been quite unpleasant. All these old punks and hippies preaching revolution, I don’t think we were really prepared to live with the consequences. If we actually had a revolution in this country, it would be like Iraq or something, or Syria. But we were having horrible times with Thatcher. All we could do in that sort of milieu was imagine what the alternative would be like."

180g Limited

Life is but an Empty Dream is the seventh full length from long-form ambient composer OKADA.
By pressing play, Gregory Pappas, the man behind the moniker, requires your full attention. Waves of crashing sound swirl around viscus beats and cavernous staccato piano. Sound becomes broken to be reconstructed many times over. This is not the lovesick nor heartbroken OKADA we've witnessed before. This is a cathartic, disillusioned, OKADA, out the other side, worse for wear but building anew.
The proximal six-minute opening to the album expounds destruction and disintegration, chaos and rebirth. The eye of this storm then disseminates wide allowing a female vocal breath to imply "again." Have these destructive waves ultimately lead to pleasure? Or moments of rage that have eventually lead to acceptance? It is evident that there is a need, a yearning, an ache, that percolates to the surface on Life is but an Empty Dream. This, mind you, has all happened in the first ten minutes of the album.
Pappas, as with all OKADA albums, has put every fiber of his being into the creative process. Such focus and shroud that hangs over the album lead us to assume Pappas' is in an antithetical state than the one apparent on 2016's ode to the blossom- ing relationship Love Telepathic.
Life is but an Empty Dream features four long from tracks that effortlessly progress through extended vignettes encompassing ambient, post-industrial, chillwave and even IDM. Life is but an Empty Dream also has the distinction of being the first OKADA album to be pressed to vinyl and will be available on May 24th

New Critical

Pale Bloom finds Sarah Davachi coming full circle. After abandoning the piano studies of her youth for a series of albums utilizing everything from pipe and reed organs to analog synthesizers, this prolific Los Angeles-based composer returns to her first instrument for a radiant work of quiet minimalism and poetic rumination.

Recorded at Berkeley, California's famed Fantasy Studios, Pale Bloom is comprised of two delicately-arranged sides. The first – a three-part suite where Davachi's piano acts as conjurer, beckoning Hammond organ and stirring countertenor into a patiently unfolding congress – recalls Eduard Artemiev's majestic soundtrack for Andrei Tarkovsky's Solaris. "Perfumes I-III" employs the harmonically rich music of Bach as a springboard for abstract, solemn pieces that sound as haunted as they are dreamlike.

While the first half of Pale Bloom showcases Davachi's latent Romanticism, the sidelong "If It Pleased Me To Appear To You Wrapped In This Drapery" reveals the Mills College graduate's affinity for the work of avant-garde composers La Monte Young and Eliane Radigue. Softly vibrating strings rise and fall like complementary exhalations of breath. As the fluctuating pitches create overtones that pitter and pulse, the piece slowly and subtly evolves – suggesting a well-tempered stillness, yet without stasis.

After his debut in 2014 in a compilation for the thirtieth anniversary of “Madrid City Breaker” in which appear illustrious producers from the electro scene as ERP, Luke Eargoggle and Boris Divider among others Gladio Operations launches its first EP with “Flight to Anywhere” produced by the duo from Madrid UHF also owners of the label along with Luis Elesox.

This first reference includes three original cuts, with a mix of tunes that range from cosmic-atmospheric as “Flight to Anywhere” to raw and acid from “Reality” and “Inner Flight” a cut with a touch of IDM with well molded and surrounding textures. The pack concludes with an excellent remix from the classic English producer Scape One who adds a simple and elegant twist to the original track.

"30+ minutes of life affirming ambient and drone coming from Zen Zsigo, otherwise known for his work under the Cremation Lily alias and as one of the spearheads of the current UK tape scene, where he has been mixing things up for 7 years via his Strange Rules label.

Winter Orbit was inspired by science fiction and it's relation to modern life, recorded in 2015 using a mix of both modern and archaic equipment it was later released on Belgian tape label Audio. Visuals. Atmosphere. on an initial run of 33 tapes.

Winter Orbit is now newly presented via an expanded re-issue, chronicling the original material, re-issued on one side (Fragments in Hologram Snow) while showcasing new material (For Artifice Rose) which was created in response to the initial release by Zsigo in 2017.

As usual, remastered and cut @ Dubplates and Mastering, Berlin and pressed at Record Industry, Holland to ensure optimum listening quality."

Modern Hypnosis welcomes New Zealand's 'Akcept' to the label. The Christchurch based producer has gone from strength to strength, his unique take on dubstep has had him labelled as one of the rising stars in the genre. Akcept continues to defy genre boundaries and push his sound, drawing inspiration from a wide range of musical influences such as, Hip-Hop, African rhythms and deep dub styles. After a string of releases at 140 bpm on some of the world's leading dubstep labels (Amar, Artikal, Moonshine Recordings, Sentry), Akcept pushes the boundaries further still with two hypnotic rollers demonstrating his love for minimal dub techno and ambient styles.

A sort after dub, 'Teachings' is now getting the full heavyweight 12" treatment, a mesmerising dub odyssey, distant stabs create an emotive atmosphere as his signature heavy bass notes roll in, followed by a 'steppas like' riddim to lock you in the groove. Subtle dubbing, dynamic use of space, and the introduction of an alternate skank will have you in deep meditation before the drums come back in with more energy and an astute bass line.

On the flip 'Going Around In Circles'. A thumping kick drum and groovy baseline accompanied by a classic 4/4 beat and a poignant vocal sample, blur the lines between house, techno and dub music.

'True Rights, True Love, True Justice'

With the debut release selling out in a matter of days and a repress already flying off the shelves, Rhythm Section International present their second offering in the form of a Remix EP, with reworks of Al Dobson Jr. by Polish rising stars Ptaki and Manchester mainstay Ruf Dug.

Eschewing the typical notions of a remix package, Rhythm Section International offers up 2 new tracks that didn't appear on Rye Lane volume one, accompanied by 2 strikingly imaginative remixes.

On the A side the Polish duo of Jaromir Kaminski & Bartosz Kruczynski take Al Dobson Jr's tribal tom-tom rhythm and extend it into a sprawling disco epic, adding catchy keys and sensuous vocals that aim to tease the most reluctant of movers onto the dance-floor.

Ruf Dug's rework, named ' Ruffy's 3am Canavan's Special' takes inspiration from one of many hazy late night sessions at the infamous Peckham pool hall that is home to Rhythm Section. Ruf Dug, a Rhythm Section favourite and huge admirer of Dobson's beats, takes the gentle guitar strokes of the original and morphs them into metallic stabs, layered over an aggressive squelchy bass sound and sharp phasing hi-hats. This mantra is built upon in an effortless style typical of the Mancunian producer and is as catchy as it is hypnotic.

All Artists on this release have played at Rhythm Section at least once and they now join the ever growing roster of RS artists, which is set to expand exponentially as we step into 2015. This is one label worth keeping an eye on...and if we can judge anything from the previous release then take notice when we say DON'T SLEEP!

Originally a Library oriented Music label, Apollo Sound by the mid 70s commissioned contemporary musical pieces from new composers, aiming presumably to provide atmospheric backgrounds for film, television and advertising, and to feed the burgeoning demand for ‘New Age’ music. Therefore comes Following The Light.
While certainly melodic, Owen’s music makes no concessions to mid-afternoon mindfulness or commercial use and reuse. Instead, Following The Light - whose title is taken from the Tao. Number 27 - is a deep and immersive listening experience, clearly the work of a singular musical imagination following its own rules in its own way.
With the help of Katherine Sweeney on violin and Milada Polasek on electric piano and organ, Albert Alan Owen recorded Following The Light in “live” condition, taking profit of a strong use of the digital effects which were in its infancy at this time; the music was written to make the most of what technology was available, resulting a singular piece of music of sheer beauty
The record demands to be considered as a stand-alone unit, its three sections unfolding elegant and propulsive by turns, as reoccurring themes answer each other through the layers. There are echoes of Reich and Riley in the use of delay, that warm rolling repetition and those bass pulses. But this is not in the service of a system. There is something more lyrical, more humane at work in the music.
With Following the Light, Albert Alan Owen has given us a record that stands outside of time and place, it’s familiar elements made strange and new, all bathed in magic hour light.

Mitchell Street Records proudly presents its second release following the success of Jasper’s James ‘Crypto’ opening the labels account back in late 2018. The Dutchman has a Moroccan background but grew up in the Netherlands and is now a firm fixture on the capital’s club circuit, and takes over both sides of the latest MS record, with two off-kilter electro jams and a twisted remix delivered by Scandinavian upstart Samo DJ.

Jasper and Elias’ musical relationship stretches back a few years after a chance encounter at Amsterdam’s Claire nightclub. The two young DJs instantly hit it off after sharing a DJ booth and were playing b2b minutes after their initial meeting. Following a late-night trip and some home-grown hospitality around Amsterdam. Jasper returned the favour by inviting Elias to join him at Glasgow’s legendary Sub Club alongside another Dutch favourite, Tom Trago, and their friendship was firmly established.

For a number of years Elias has been a regular at Amsterdam’s most respected institutions including his residency at De School. His ‘Private Hearts’ show on Red Light Radio is a go to show on the world-famous radio station and shows his eclecticism as a selector. Elias openly admits to being passionate, emotional and sensitive, and it shows in his DJ sets which take inspiration for the music around which he grew up – Michael Jackson, Prince, Stevie Wonder – as well as from more contemporary flames like Omar-S, Zip and Beautiful Swimmers. To date he has played venerated night spots like Concrete, Sub Club, Le Sucre, Institut für Zukunft, Nitsa, objekt klein a and many others.

“When I make music and I play out, I have to open up my heart and be able to spread the same love that I get when I’m on the dancefloor,” he admits. “That warm feeling that hits my soul is the thing I aim for when producing my tracks or when I play in the club. Music is a highly emotive way of expressing myself, and when people recognize that I’m the happiest person on the planet’’

The two original tracks demonstrate his ear for sounds that span genre and time. The EP’s lead track ‘The Right Key’ is rooted in electro but borrows from the electronic palette of Kid A or Aphex, whilst maintaining enough of a dancefloor feel to make it into one of Craig Richard’s DJ sets. Vocoders and a sense of melancholy make for a unique track that anchors around a musical bassline and melodic synth pads.

On the B side ‘Driving With No Purpose’ has a more Balearic feel, again taking lead from a melodic bassline. Synthetic strings rise with more of the melancholic introspection found on the A side, walking the line elegantly between dancefloors and lonely train journeys.

Samo DJ takes his remix into all together darker territory, sharp synths sit under Elias’s melodic arpeggiators whilst drilling down into the core elements of the original. Reverb washed cymbals and synthesisers fill the mid-range and the tracks notable lack of kick drum stops the track becoming predictable.