Beats Vinyl New Releases - News

Hi Tek Sounds is the new label from East Man (AKA Basic Rhythm) set up after his debut album for Planet Mu ‘Red, White & Zero’.

The second release on Hi Tek Sounds is a collaborative effort from East Man & Walton.

The A side, Horse Mouth, is a dread affair. Bursting into life with a staccato drum pattern and an ominous synth drone that slowly builds up before breaking down into a calm before the storm that utilises the now infamous vocal sample of Leroy “Horsemouth” Wallace, before dropping back in with militant staccato drums and a deep booming sub stab. This one guarantees damage on the dance floor!

The B side, Gunshot, starts with soft, summery chimes and a minimal kick drum and clap pattern, peppered with vocal samples taken from an old recording of a pirate radio show, before dropping into a spacious but heavyweight drum pattern and deep rolling sub bass. Definitely one for the heads!

Ophir Kutiel AKA Kutiman is a multi-instrumentalist from Tel Aviv, a “psychedelic space funk architect” to quote Straight No Chaser. When we were approached by his label Siyal about recruiting ZamZam/Khaliphonic artists for a remix project, we loved the idea right away - dub without borders or boundaries is our passion, and getting our hands on Kutiman’s freeform analog explorations felt like an amazing opportunity to push that passion further. All four remixes revel in the freedom of the original tunes, and each, while anchored in dubwise techniques, are totally unhindered by tempo or other genre constraints.

Alter Echo & E3 open with a remix of “Unknown,” the set’s only 140 tune, full up with a bubbling cauldron of bassline and flutes, esoteric vinyl archaeology, spring reverb shocks, and swung percussion.

J:Kenzo, known for 140 and 160 bpm sound system bangers, here takes the chance to stay deep - but in a chill mode - unfurling a beautiful journey of syncopated drum work and slapping percussion framing the lush, meandering melodies of the original “Behind The Noise."

Gulls’ rework of “Mineral” rocks with an offbeat feel, technically in four, but swaying like it’s in three. Plucked guitar figures recall the African roots of contemporary bass music, and tape hiss buffets the listener back and forth through a sonic hall of portals and passages.

Perhaps the most surprising of all four four versions is Headland’s closing “Lucid Dream” remix, which sets course for dub techno country and never looks back. Combining the best of the producer’s masterful sound design and sense of build-and-drop dynamics with the idiom’s 4/4 pulse and focus on immersive space, Headland closes a set as inspired as the album it was based on.

Madcap makes his solo debut on AKO Beatz. Some may remember NEMA on Unknown Elements 2 which he co-produced with FBD Project.
Madcap delivers 2 beautiful tracks which we think you will love.

Out Of Reach is a beautiful 165bpm track that takes you on a journey with Melodic Pads, breaks and a warm baseline to compliment and bring it all together.
Sunshine Dub takes you straight back to 1994 with an R&B vocal, rolling breaks. This one is sure to have the dance floor jumping.

Look out for a beautiful transparent yellow 10" vinyl, Summer is here

Never Ready Records welcomes Dublin's Major Grave to the label delivering Grime, Garage and Dubstep munitions from the Major's sonic arsenal, decimating all that lays in his path.

"Take Charge" drops like a depth charge of shimmering bass cannons and 2-step snaps. Waxing lyrical with "If You Want" sees Grave notch the mood down and get melodic, while still keeping proceedings bouncy. The B-Side is reminiscent of early FWD days with the woofah bass galore of "S.W.A.T" and the dark transient melodies of "Dem Nevah Ready".

From Dublin's first Boiler Room event to 12's released on Big Dada , Local Action , Sulk and with years behind the MPCs as part of Ireland's premier underground bass crew 'Standard', Major Grave cements his position as a force to be reckoned with in the instrumental grime and bass scene.

Never Ready Records' second release in a four part salvo of underground ordnance continues with cover artwork from Nerog, 180g coloured vinyl and limited pressing of 300 units.

Presenting the new 'Hello' EP from Monty. Forthcoming on vinyl and digi on 5th July 2019. Another fine effort from Monty, which sees collaborations with Visages and Benabu on 'Limbo'. This EP is signature Monty, and goes be- tween the more haunting and nuanced vibe to a harder edged sound.

Monty has gone from strength to strength and has found his place amongst the artists he looks up to. Monty very much our first label artist and is a regular at all our events both in Europe and in North America. His work ethic and mannerism, and a very natural talent for making mature dab has been refreshing for the scene. It is with great pride we present his new EP.

Navy Cut are pleased to welcome Ramsez! The Bremen ??born, Netherlands ??resident, creates a style of bass music that is deep, modern and energetic.

“Bigboi”, admittedly Ramsez’s most powerful track to date, has a big, bubbling bassline and well-rounded style.

The swinging off beat hats, inspired Ramsez for the title “Swinger Club”. A throwback half-step rhythm with modern sound design.

With a rolling bassline and snarling mid-bass, “Talk Crime” is deep and upfront; one of Ramsez’s most proudest works yet, he is excited to unleash it to the masses.

First 7" single from Denmark's TIGHTEN UP label, two great cuts from 2 TONE legend and (ENGLISH) BEAT vocalist RANKING ROGER. Side a is a rare 2001 cut written w/NEVILLE STAPLES, produced by BENTLEY RHYTHM ACE's FUZZ TOWSHEND. Flip is an unreleased SLY & ROBBIE production from 1989. Pic sleeve.

Nice & Straight Drum´n Bass

Nyege Nyege Tapes’ revelatory 1st Singeli series culminates with a rush from scene bossman
Mohamed Hamza Ally aka Sisso, whose studio in Dar-Es-Salaam, Tanzania is the epicentre of the
world’s most thrilling, punkish new dance style
Arriving after incendiary instalments in 2018 by Bamba Pana, Jay Mitta, and Duke, and the
introductory ‘Sounds of Sisso’ compilation in 2017, the ‘Mateso’ album pulls focus back to the
scene’s lynchpin with 8 none-more-compelling cuts of breakneck loops and helter skelter riffs on
vinyl, supplemented by a tape with equally exhilarating bonus material awaiting quick clickers and
dancers.
The collected 16 tracks chronicle Sisso’s work over the past four years, spanning a period after his
informal studio in the sprawling ghettos of Dar-Es-Salaam grew from a small shack selling DVDs
and MP3s, to come to catalyse countless new releases from local producers such as Bamba Pana,
DJ Longo, and Balotelli, as well as a wave of new MC’s including Makavelli, Cad Reedah, Anti Virus,
Dogo Muchi, Dogo Mjanja, Rehema Tajiri, and Yung Yuda.
Sisso’s productions epitomise Singeli’s hyperlocal scenius, distilling the vitality and struggle
of life of the fringes of the Swahili-speaking world’s most populous city, into a unique music
which seems to reflect the idea of keeping a cool head in frenetic situations. Between his ratchet
rhythms and pitched-up melodies there’s a sublime, unresolved tension at play, where the music
feels to accelerate so fast that dancers are glyding, sustaining a breathlessly “up” effect that
uncannily recalls mid ‘90s UK Happy Hardcore as much as Chicago Footwork, Caribbean Soca and
Shangaan Disco, yet with a psychotomimetic appeal all of its own.
The tracks on ‘Mateso’ are no doubt some of Singeli’s most potently direct and crafty, circling
from proper knees-up whirligigs to hyper, laser-riffing funk, ecstatic choral cut-ups and hard but
super-sweet steppers that will spark off any up-for-it dance the world over.
•
Prime, DJ-ready Singeli from the scene’s Sisso Studios epicentre in
Dar-Es-Salaam, Tanzania
•
16 exclusive tracks spread over an LP and bonus cassette, digital
included
•
Essential picks for fans of new electronic dance music from East and
Central Africa
•
Mastered and cut by Matt Colton. Pressed on emerald green vinyl +
pro-dubbed tape
•
Resident Advisor’s recent feature on Singeli -
http://bit.ly/2WwxF9O
Promo Contact:
so

Somah has been turning heads throughout the dubstep scene with recent support from Mala, Jack Sparrow and J: Kenzo to name a few. Within the last year he has released music on Chord Marauders, Scrub a Dub and Natural Selectas. Make no mistake Somah’s doing the bits.

Here he brings three deep, dark and superbly produced heaters to Foundation Audio for an incredibly impressive debut solo 12”. FYAHHHH!!!!!

Stepping out of the dojo with sublime focus - DJ Youngsta's subsequent addition to the Sentry discography unveils its sound system technique in abundant grandeur. Supported by the likes of UKF and Disciple Recordings, the achievements and long-standing dedication to the bass music scene of the London-based artist speak for itself. Now taking charge of the controls, The Others materializes two irreproachable cuts of undiluted Dubstep for the imprint's tenth single outing, bringing forth an exceptional display of the artist's creative ingenuity as well as technical ability, that perfectly falls in line with the label's vision and acclaimed discography.

Anticipation permeates the air. Haunting flute melodies intermingle with tribal drums in 'Shaolin' - introducing itself, saturated in tension. Surges of electric power progressively increase the strain as the sound of the final chimes strikes its apocalyptic verdict. Heading into full-frontal warfare and the midst of a sword fight, a murderous array of distorted overtones leads the way through the trenches, dug by its huge drums and minimal instrumentation. Densely loaded with ingenious sampling and off-kilter groove, the resulting soundscape will wreak havoc on any proper sound system and skanking audience.

Turning the echo up to eleven, the B-Side 'Feedback' boasts an equally effective inferno, culminating in otherworldly levels of pressure and energy. Contemplative synth melodies merge into the melancholic soundscape, feigning brief silence before promptly being reconstructed into a super-charged form. The ensuing shutdown swings to the merciless groove onslaught of its highly fissionable basslines, roaming the dance floor with rhythmic intricacy and a universe of switch-ups and creative breaks - The Other's signature style taken to its fullest extent.

The link between Jamaican music and US Soul and Blues is of course very strong. I am a huge fan of Stax/Volt, Motown, Chess Records and contemporaries which I consider to be the bedrock of pop music and whereas everybody hears about the more obvious big band influences on SKA such as Duke Ellington, Louis Jordan, Boots Randolph, Louis Armstrong.....less people are aware of the link to soul and R+B artists like Chuck Berry, Etta James, King Curtis, Rosco Gordon and so on. The great Lester Sterling once told me that he based the whole idea of the horn chop (or "upchuck" as some people like to call it) on what the guitar player was doing on the Yakkety Sax track. If you listen to that you will definitely hear the ska beat,

All these songs were mixed by myself over the course of different project sessions. The Ska Jerk recording is actually post the DLTBGYD album sessions and was originally intended for a compilation project that eventually never came out, so that track has just been languishing in the Toaster vaults. At that time we had been hired to do quite a bit of film and TV scores as well as commercial jingles for the likes of Cisco, Coca Cola, AOL, Miller Beer, etc. and so the band was tight, often incorporating guest members from the greater NYC SKA massive and we were able to turn around a complete mix like that in just one day. The engineer on SKA JERK was George Evagelou who also worked with me on the Edna's Goldfish record.

- Robert "Bucket" Hingley of THE TOASTERS

Holsten makes a welcome return to the Droogs imprint following his blistering debut last year with the weighty ‘Carrier Wave’ laying down a heavy bass that sets firm foundation for punchy drum workouts. Building on his established sound Holsten gives a nod to some of Drum & Bass’ most dearly held traditions. Another feather in the hat of a rising star of the genre.

Artilect’s ‘Echos’ declares a different tribute that firmly pays homage to the late 90s. A sound resurrection that plays with the space between drums and subtle tribal persuasion. The track lands running and keeps pushing. Tense, electrifying, retro-referential while undoubtably now.

Georgio Roumans aka Zygos has been making a name for himself recently with his incredible production skills, crazy work rate and mean selection of dubplates. His hard work has been paying off recently with stellar releases on top labels Rarefield, Subaltern and Unity Through Sound. Here he brings four tracks exclusively to Foundation Audio, each with their own unique flavor and vibe, but all carrying Zygos's signature sound - which if you didn't already know is dark and gully as fuck and a perfect fit for the label. Essential Dubstep pressure from front to back, Zygos has smashed it again!

Echoes is the second album by the Ukrainian producer Cape Cod, released jointly by labels Vinyla Records & Kiev House.

Echoes is a comprehensive and multi-genre work in terms of sound and song creativity. On second album, dance music floats between genres, styles and mood from track to track, while Cape Cod skillfully waves the breakbeat, r'n'b of the new school, soul and hip hop into the tracks and brings his love to the disco house to the sound level.

Shanghai-based female electronic music producer Laughing Ears is releasing her debut album “Tidal Effect” on Ran Music. It includes 8 tracks featuring her signature dark and cyberpunk sound, with heavy suffocating subs, intensive footwork influenced beats, twisted growling bass lines and mysterious cult-feel melodies. Laughing Ears delivers an epic of world-ending tidal effects using her extraordinary sound design technique.

Laughing Ears is a female electronic music producer who currently lives in Shanghai, China. Her music crosses genres which include Experimental, Ambient, Beats, Bass, Footwork and Noise. She treats sounds as building blocks and by layering and combining them, she builds stylized sound castles of her own. She uses vintage tapes and creates unique beats then processes them using modulated effects and granular synthesizers. She has several releases on Beijing-based label Ran Music and has been gaining recognition in the China electronic music scene ever since. She has been favored by many indie labels in China and has also been invited by NTS radio to play music for their program.

Christian Marclay: turntables

Mats Gustafsson: live electronics & slide, tenor and baritone saxes

Recorded and mixed April 2006 by Christoffer Roth and Olof Madsen at Studio Dubois, Stockholm

Mastered by Martin Siewert

Record sleeve by Kim Hiorthøy

Presented for the Record Store Day 2019, now officially in the stores. First collaboration on wax for Superluminal & Discarded gems.
Most likely an ensign which perfectly merge what an experience has been so far in Berlin at the Superluminal x Discarded Gems event series. It evolves radically with four different takes, exploring through IDM, Breakbeat, Deep House approaches, giving justice to the old and modern sound.

Presented for the Record Store Day 2019, now officially in the stores. First collaboration on wax for Superluminal & Discarded gems.
Most likely an ensign which perfectly merge what an experience has been so far in Berlin at the Superluminal x Discarded Gems event series. It evolves radically with four different takes, exploring through IDM, Breakbeat, Deep House approaches, giving justice to the old and modern sound.

Mika Vainio left behind a lots of unfinished projects and unreleased music.

This archive series is presenting some pieces which can be considered as completed works.

The first volume comprise of two selections from the 48:22 long untitled recording Mika Vainio did as Ø for the radio project Ambient City at the Museum of Contemporary Art in Helsinki 1994.

LTD to 300 / SPLATTER VINYL. Planet Mu Recording artist, Gobstopper label boss, and Boxed club night founder Mr.Mitch provides the third PRESSURE release of 2019. This strictly limited, blue and yellow splattered vinyl platter is futurist dancehall at its most exhilaratingly demented. Random synth patterns, chaotic bleep emissions and all round oscillating madness ensures this furiously fresh track, flows freakily, like a bogle frenzied droid transmitting from Kingston, Jamaica, year 2049. Kevin Martin aka The Bug, nagged Mitch into submission, to release this Acid Ragga killer, after the PRESSURE label CEO, heard ‘Not Modular’ standing out clearly from Mitch’s gobsmacking one hour ‘Techno Dancehall Mix’ at the end of 2018. And as a tribute to South East London don dada Mitch, The Bug himself decided to slice, splice and dice ’Not Modular’ into two additional atomised remixes. The Bug’s ‘Straight’ remix, is sub aquatic bashment, pulsating deeply from the bottom of the ocean, buried in a blizzard of white noise and disembodied, hypnotic chimes, with panic sirens set to stun. Whilst the ‘Raw remix’ is no less disorientating and funky, sounding like Lenky’s classic ‘Diwali’ riddim rewritten by an 808 clap addict, with hips set to full rotation. Conclusively alien and ridiculously infectious.

Paul DeMarinis is a key figure in the history of electronic music since the 1970s. Collaborator with the likes of Robert Ashley, David Behrman, and David Tudor, DeMarinis is a pioneer in the development of gallery sound installation and digital music technologies. Black Truffle is thrilled to announce the release of a double-LP collection, selected in collaboration with the artist, focussing on DeMarinis's exploration of synthesized voice and the digital analysis and manipulation of speech sounds. Drawing together tracks dispersed on compilations along with a number of pieces previously unheard in any form, Songs Without Throats offers a revelatory look into DeMarinis's alternately accessible and uncompromising production between 1978 and 1995. Opening with a mesmerizing piece from 1978 pairing the voice and tamboura playing of Anne Klingensmith with strings of letters spat out by a Speak n' Spell to the accompaniment of the randomised melodic patterns of DeMarinis's homebuilt electronic instrument 'The Pygmy Gamelan', the record then dispenses with the live human voice in favour of its recorded and synthetic doubles. We follow DeMarinis's restless probing of the possibilities of new technologies, from the hacked Speak n' Spell (which gives us the austere 'Et Tu, Klaatu' 1979, another duet with Klingensmith, this time on bowed psaltery, in which the toy's synthetic voice is stretched into an alien song) through to the use of digital audio samples manipulated with home computer technology in the early 1990s (including a remarkable dream-like collage piece that weaves a rare recording of Stalin's voice and bird-like electronic twittering derived from its formant-glides into a rich tapestry of samples reflective of the dictator's musical life). In between we get a rich sampling of DeMarinis's signature work with speech melodies - usually unnoticed melodic inflections that lie within speech patterns - which he analyses and translates into synthesized musical accompaniment. These pieces draw on a wide variety of textual and vocal sources, which range from the hilarious to the menacing ('Cincinatti (1830-1850)' sets a detailed description of butchering techniques, for example) and an equally broad range of musical conceptions, combining elements as seemingly unlikely as Beethoven's Opus 31 pianos sonatas and the sounds of 80s synth pop. The results are an extraordinary combination of the alien and the familiar. As DeMarinis himself characterises his work with vocal synthesis, this is 'a kind of signal that simultaneously carried and obscured meaning and ideation, even as it created a sound world totally alien in esthetic'. Presented in a deluxe gatefold sleeve with archival images and liner notes by Paul DeMarinis. Design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin

René Audiard delivers two tracks in between worlds for this Ep. Once again,his special approach left us with two out of the ordinary tracks, two long journeys where classical melodies and warm minimalistic beats come together. It's dark, yet beautiful.

it's a 2nd release of studio mule's new project with miyako koda aka dip in the pool.

following the cover version of ohnuki taeko's carnaval,we made the new version of japanese new wave classic 'shinzo no tibia by mariah' with a new lyrics in japanese(original is in armenian)which is written by miyako koda. yasuaki shimizu kindly gave us the permission to do this.

extended version on a side is full of the respect for the original version and dub version on b side is dark new wave dub version. kuniyuki said the idea of this version came from adrian sherwood's remix for depeche mode.

Wilted Woman is a producer whose left-field approach to electronic music emerges from an experimentally minded and refreshingly unapologetic attitude, forged on the punk and DIY scenes of the East Coast of the United States, and more recently, Berlin. Across her debut release for Phantasy, she contributes two unpredictable and outlandish cuts of hyper-modern club culture, complimented by a remix from fellow outsider alchemist, Laurel Halo.

‘Lon Lon Night Vision’ is a creeping, industrial interpretation of acid sounds, peeling away layers of tension to reveal a melody straight from the cold heart of a John Carpenter soundtrack, resolving in uniquely dystopian funk.

‘No Stinger’ immediately unleashes a burrowing, cybernetic ear-worm of a hook, biochemically blossoming into a sublime, undulating landscape of contemporary trance, rich in ideas and sonic euphoria.

Finally, Laurel Halo turns the screws on the original mix of Lon Lon Night Vision, extracting an almost impossibly taut slice of techno, building raw tension towards a blistering rush of electro psychedelia.

“Following on from Homenagem, Lugar Alto’s first critically acclaimed project, the São Paulo label's new endeavour is the reissue of another neglected masterpiece. This time, it’s “Poema da Gota Serena” turn by Zé Eduardo Nazário from 1982. This unique work gathers elements of free jazz, Brazilian Northeastern rhythms, Asian percussive instruments and electronics.

Zé Eduardo is a virtuoso drummer and percussionist with a prolific career as a musician and teacher. He was introduced to music in his youth and started playing professionally at the age of thirteen. In the late 60’s he was a regular at the famous Totem night club in São Paulo, where he performed alongside the pianist Tenório Jr. and other exceptional instrumentalists. It was there that he met Guilherme Franco, and together they formed the Grupo Experimental de Percussão. This period defined Nazário’s interest in different sonorities involving percussion, and he broke away from the more traditional genres, such as bossa nova and jazz. Over time, this distinctiveness in sound and playing allowed him to create his own path which culminated in an extensive number of remarkable works, including the colorful and psychedelic “M andala”, which examines Indian and hippie themes. He also played with Hermeto Pascoal’s group and joined him and Jaques Morelenbaum for the recording of the cult classic “Imyra, Tayra, Ypy” by Taiguara. For Egberto Gismonti’s “Nó Caipira”, Nazário performed with the khene, a mouth organ from Laos, a present from Gismonti himself.

But it is Nazário’s work with the 1976 collective Grupo Um which is his most well-known, who, during their 6-year legacy recorded, amongst movie and ballet soundtracks, 3 albums: “Marcha Sobre a Cidade”, “Reflexões Sobre a Crise do Desejo” and “Flor de Plástico Incinerada”. The combo is considered one of the most innovative formations of its time, unusually combining electro-acoustic elements, jazz and Brazilian traditional music.

Poema da Gota Serena was Zé Eduardo's first solo project and it was financed by the legendary Lira Instrumental, a collaboration between the ground-breaking venue, label and publisher for the São Paulo avant-garde, Lira Paulistana, along with the always interesting Continental Records, home to such luminaries as Tom Zé. The album was offered as a package deal simultaneously with the production of “Flor de Plástico Incinerada”, ensuring 2 studio sessions at JV studios in October 1982.

Each side of the album explores different duets which, with its suite formated tracks, give the album the feel of a cohesive whole. The first half of the A side, “Energia dos Três Mundos”, is shared with the improvised saxophone of Cacau. Nazário delves into free jazz rhythms and plays his drums with a rolling and tumbling swing, using the kit in full, demonstrating the power of Brazilian jazz fusion. The second half of the suite takes us into a more tranquil mode. “Só Prá Ouvir”, demonstrates Zé’s mastery on the glockenspiel, and Indian percussion instruments, such as the tabla and mridangam. Cacau, on his side, switches his saxophone for more delicate dancing flute driven passages, equal parts northeastern rhythms and deep Amazonian indigenous influences. The B side, with “Prá Pensar / Prá Sentir e Prá Contar”, contrasts heavily with the A side’s more organic and natural feel. In Prá Pensar Lelo Nazários’s synth clusters and electronic blasts strangely interact with the exploring, wandering percussion. This track leads into the sublime “Prá Sentir e Prá Contar” where South Indian inspired vocals, performed by Zé Eduardo, accompany the graceful synth chords and fluttering percussion. The result is a hypnotic, otherworldly feel to the music that is infectious and takes the listener on an extraordinary journey.
With Poema da Gota Serena, it is possible to hear music that extrapolates the lines of the avant-garde and popular music. It is an album the demonstrates that Brazilian jazz fusion can be both spiritual and challenging at the same time.

All the tracks were expertly remastered by Lelo Nazário, directly from the original tapes, maintaining the high quality of production that Lugar Alto are becoming renowned for. All the artwork was reinterpreted by the São Paulo design studio Sometimes Always, including an exclusive insert and unpublished images.

It seems that Lugar Alto have managed to excavate yet another gem from the seemingly bottomless Brazilian mines. Long may they continue to do what they do so well.”

Mannequin Records presents an outstanding collaboration between Michel Amato (The Hacker) and Alessandro Adriani.

What began as a B2B DJ set between two like-minded, seasoned veterans organically developed into a full force enthralling studio project and live set. Amato & Adriani is the new found project by Michel Amato, more commonly known as influential artist The Hacker, and producer and Mannequin Records label head honcho Alessandro Adriani. The collaboration fuses contemporary ideas with the duo's shared love for electro, EBM, Post-punk, Wave and the natural synergy to be found in the creative moment. Each artists production style and philosophy, when combined, elevates something new in one and other. The result, an innovative hybrid of classic sounds fueled by two creative forces working in pure synchronisation. Their debut EP, 'Présence Du Futur', is set to be released by Mannequin in June 2019 and includes a special collaboration with Cabaret Voltaire singer (and founder) Stephen Mallinder.

Oblique Russian sound strategist Natalia Salmina’s latest forking path portfolio as Atariame, Voiceless, arose in the wake of a dissociative relocation to Moscow, where she found herself adrift amidst a manic metropolis, alone in a skyscraper staring out at trees: “It made me lose faith in my ability to communicate, in my ideas about life.” Days without speaking turned to weeks. Even in private she felt estranged from her voice, and soon ceased singing.

For solace she turned to her Waldorf Blofeld, mining its panoramic frequencies to craft a shivering suite of futurist-noir nocturnes and rhythmic noise vignettes, equal parts exorcism and manifestation, desperation and delirium. Track titles hint at the headspace – “Outside At 5 AM,” “Same Thought All Day,” “Stay Late” – mirroring the music’s mood of hoods up, headphones on, wandering empty urban tunnels under flickering streetlights. Enigmatically, Salmina slips in a sliver of spectral voice on the intro and exit songs (“Breathe Exercise” and “Deconstruction”), framing them as induction into and escape from the cryptic isolationist condition of the rest of the collection. Mastered by P. Nikolsky, Powerhouse Moscow. Design by Britt Brown.

After a lengthy hiatus from the label, Melbourne's best kept secret Booshank returns with a highly anticipated four tracker, featuring a contribution from Japanese artist Gonno. Tumultuous beat tracks meet detailed synthesis to form the signature sound we've come to love and expect from the mystery man.

In "operating with a blown mind" Booshank has manifested the energy and intricacy of his previous fantasies on Butter Sessions, Domestic Documents, Unthank and his own newly formed imprint Couch Acid. A hybrid of club ready cruisers and dreamy mind-melting ambience that could soundtrack a nightclub experience in an alternate reality or a low-key arvo in the sun.

A great crossover record for both DJs and fans of more ambient vibrations bolstered by a crackerjack interpretation by Gonno.

Limited to 300 copies worldwide.

Belgium-based Composer Christina Vantzou's Fourth Full-length For Kranky Ventures Further Into The Uniquely Elusive And Evocative Mode Of Ambient Classical Minimalism Which Has Become Her Signature: A Fragile Synthesis Of Contemplative Drift, Heady Silences, And Muted Dissonance. In Regards To The New Album She Speaks Of Focusing Particular Attention On The Effects Of The Recordings On The Body, And Of 'directing Sound Perception Into An Inner Space.'
No. 4 Took Shape Across Roughly Two Years, Incorporating A Diverse Array Of Musical And Conceptual Collaborators, Including Fellow Kranky Artists Steve Hauschildt And John Also Bennett (of Forma) As Well As Angel Deradoorian (ex-dirty Projectors), Clarice Jensen, Beatrijs De Klerck, And Members Of Belgium's Echo Collective. During The Creation Process Vantzou Wanted To 'blur Lines Of Hierarchy,' And Thus Allowed All Ensemble Members And Technical Assistants To Add Or Delete Elements. Despite Such A Spectrum Of Input The Eleven Tracks Feel Distinctly Cohesive, Weaving Elegant Textures And Resonant Open Spaces Within A Twilit Landscape Of Eclectic Instrumentation: Piano, Harp, Vibraphone, Voice, Strings, Marimba, Synthesizers, Gong, And Bells.
Vantzou Describes The Recording Process As One Of Prepared Spontaneity: That Is, 'having Plenty Of Ideas Ready To Explore Going Into The Session, But With Enough Time To Depart From Those Ideas And See What Happens.' This Mindset Of Premeditated Exploration Informs The Album's Emotive Textural Intuition, With Hushed Drones And Delicate Gestures Eliding In The Periphery Of The Mix. She Cites Sleep And 'the Loosening Of Time' As Two Formative Practices In Her Private And Professional Life, Which Manifests In The Quietly Hallucinatory Properties Of Vantzou's Music. No. 4 Feels Both Endless And Ephemeral, Immersive And Immaterial. It's A Music Of Horizon Lines And Half-light, Mapped With Feeling And Foresight.
Recorded In New York City And Brussels. Mixed In Berlin.
A Portion Of This Work Was Funded By A Generous Grant From The Flemish Community In Belgium.

Having burst onto the scene with his stunning debut release on Influence back in July, and with Aaron Jay’s label continuing to fly the flag for this exciting producer, Easy returns and this time with partner in crime – Geeks. This Belgium duo are beginning to create a stir in the dnb scene with heavy support from Fabio, who played three of the forthcoming tracks from this ep on his Rinse FM Show in October 2018. Also getting support from LTJ Bukem and radio play/premiere of Steady from Skank and Bass plus Big Bud and Stunna were showcasing some of the tracks at this year’s Sun and Bass Festival in Sardinia. The future is looking bright for these two talented producers!

elected DJ feedback:

Fabio – ‘Wkd tunes’
LTJ Bukem – ‘Feelin Natural and Shadows’
Doc Scott – ‘Thanks for the beats’
Random Movement – ‘Wow these tracks are fire’
Ben Soundscape – ‘Nice EP, fav track is Shadows’

Gnork steps up for the fourth instalment of the Church Marble series with a selection percussive, breaks & acid infused heaters.

* Haunter Records co-founder and former member of Cage Suburbia Daniele Guerrini delivers a new release as Heith, after a period of intense collaborations with artists such as Jesse Osborne-Lanthier, Weightausend, Ruben Patino and more. Moving the projects into new territories influenced by traveling and fierce introspection, elaborated by organic textures and evolving sonic objects in a digital ecosystem. Heith hands in three tracks of meditative beauty, each one conceived as a build-up of layers and variations around a different theme. The track 'Maria', also features longtime collaborator Matthias Girardi AKA Weightausend, adding facets and nuances to the tune's design.

* Laguna is a polychrome electronic dreamscape, in which the ritualistic character that undergoes all of Heith's production assumes new forms, revealing a somewhat fractal harmonic and emotional structure. Lacerating the texture of consciousness into a different realm, held together by idiosyncratic laws of physics.

Almost four decades since it’s domestic release, Karen Marks’ 1981 single Cold Café has finally reaped it’s deserved international credit to become one of Australia’s most recognised minimal wave recordings. Efficient Space now showcases the Melbourne artist’s brief but entire discography, including two previously unheard demos, all produced with experimental synthesist Ash Wednesday (The Metronomes, Modern Jazz, Thealonian Music). A rarity in the then male dominated industry, Marks found her footing in music, first through rock journalism and then in band management. Formally of Adelaide, newly arrived synth-punks JAB (Johnny Crash, Ash Wednesday and Bodhan X) approached her for representation, subsequently contributing tracks to seminal 1978 snapshot Lethal Weapons and playing the Crystal Ballroom’s opening night. Wednesday and Crash would soon dissolve JAB, enlisting Mark Ferry and Sean Kelly to create Models. Still under Mark’s management, Models became one of the fastest rising new bands of the punk movement, playing to full houses of dedicated and frenzied fans everywhere. Sadly, internal frictions forced Wednesday and Marks to leave after two years, with Crash following three months later. Her creative relationship with Wednesday fortified with the co-production of his 1980 machine-pop prank Love By Numbers, her swooning chorus uplifting his deadpan count to 100, before the two collaborated on Marks’ own recording persona. Immortalised by the icy Oz wave of Cold Café, her Astor issued 7″ also boasted the caffeinated flip Won’t Wear It For Long - a should be hit with guitar from future Icehouse member Robert Kretschmer.

* Having become one of the UK's most exciting acts over the past few years releasing their bass-heavy brand of garage and grime across labels like Black Butter and MTA, My Nu Leng go back to their roots as they deliver their very first drum & bass EP. And as you'd expect from a duo who've been drawn in to remix the likes of Naughty Boy, Rudimental and Clean Bandit, it's big and it's very, very clever.'We are both so excited to be releasing an EP on Shogun! We've been huge fans for many years and have bought and collected most of their back catalogue on vinyl. We actually both come from a big drum and bass background and became friends through mixing and looking through each other's D&B vinyl collections.
We first worked with Friction by remixing his track 'Long Gone Memory' and more recently have been working with Ed under his new alias FineArt - we showed him some drum and bass we'd been making and he mentioned the idea of an EP on Shogun. It's been over a year since that conversation started and we are really happy to now get it out there and an honour for us to bring it on Shogun whilst working with SpectraSoul and Friction on music too. Iyamah on vocals for senses really blew us away and we hope people enjoy the music as much as we did making it!' My Nu Leng 2017

Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting. From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. ‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope. The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented: simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop pioneer Jacno in the happy/sad dichotomy and it is all the better for it. Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional accountability. More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night, dancing with tears in our eyes, dizzy and spellbound.