Beats Vinyl New Releases - News

Barker & Baumecker take Turns from techno, bass, breaks, and experimental terrain with their second album on Ostgut Ton.
Sam Barker and Andreas Baumecker's lives have always revolved around different kinds of music. That's partly why their productions as Barker & Baumecker are more unpredictable, harder to pin down than what you might expect from a label borne out of a techno club. And while their music is clearly built for dancing, listening to it reveals a deep love and respect for many forms of electronic music - bonding over more experimental dance forms is what brought them together in the first place. Imagining their music at any decent club, but disrupting the flow on the floor is what brings us to their second album Turns. An amalgamation of their unique musical minds, transcending electronic music genres and styles, while further developing and refining the Barker & Baumecker sound aesthetic.
Barker & Baumecker first met via their day jobs back in 2008, when the former was a booking agent and the latter was the booker for Berghain. Baumecker was instrumental in encouraging Barker and his colleagues at LittleBig booking agency to start Leisure System - first a party and now also a record label championing irregular dance music. Shortly after, their friendship - sparked by a kinship in musical curiosity - became a partnership in production. Now, with two EPs, an album, and almost 20 remixes under their belts, Barker & Baumecker continue to steadily explore and reshape their shared electronic musical interests, especially in techno, bass, breaks, and experimental terrain.
Baumecker's been a clubber pretty much from day one in his hometown of Frankfurt am Main. As he recalls, 'Frankfurt has a really good history in club music. There was a party series called Techno Club at the No Name venue, which began in 1984. It was an American gay club, basically. It was super tiny, but really happening. I went there for the first time in '86 when I was 18.' As the DJ nd_baumecker, he cut his teeth in the '90s playing house at Wild Pitch Club - an early party thrown by Playhouse/Robert Johnson founder Ata and Heiko MSO - and left-field techno, electro, and Warp-influenced sounds in Mannheim with Move D and D-Man. A regular guest at Berghain's predecessor club, Ostgut, he moved to Berlin in 2004 after an invitation to become a resident at the newly opened Panorama Bar inside Berghain. 12 years later, he's still a resident there, as well as a frequent DJ flyer worldwide.
Barker started out as a producer in Brighton's tight-knit experimental community, where, as he explains, 'it was an open-minded scene. Music as a platform for self-expression and originality were really the only judgment markers. Authenticity is Barker & Baumecker take Turns from techno, bass, breaks, and experimental terrain with their second album on Ostgut Ton.
Sam Barker and Andreas Baumecker's lives have always revolved around different kinds of music. That's partly why their productions as Barker & Baumecker are more unpredictable, harder to pin down than what you might expect from a label borne out of a techno club. And while their music is clearly built for dancing, listening to it reveals a deep love and respect for many forms of electronic music - bonding over more experimental dance forms is what brought them together in the first place. Imagining their music at any decent club, but disrupting the flow on the floor is what brings us to their second album Turns. An amalgamation of their unique musical minds, transcending electronic music genres and styles, while further developing and refining the Barker & Baumecker sound aesthetic.
Barker & Baumecker first met via their day jobs back in 2008, when the former was a booking agent and the latter was the booker for Berghain. Baumecker was instrumental in encouraging Barker and his colleagues at LittleBig booking agency to start Leisure System - first a party and now also a record label championing irregular dance music. Shortly after, their friendship - sparked by a kinship in musical curiosity - became a partnership in production. Now, with two EPs, an album, and almost 20 remixes under their belts, Barker & Baumecker continue to steadily explore and reshape their shared electronic musical interests, especially in techno, bass, breaks, and experimental terrain.
Baumecker's been a clubber pretty much from day one in his hometown of Frankfurt am Main. As he recalls, "Frankfurt has a really good history in club music. There was a party series called Techno Club at the No Name venue, which began in 1984. It was an American gay club, basically. It was super tiny, but really happening. I went there for the first time in '86 when I was 18." As the DJ nd_baumecker, he cut his teeth in the '90s playing house at Wild Pitch Club - an early party thrown by Playhouse/Robert Johnson founder Ata and Heiko MSO - and left-field techno, electro, and Warp-influenced sounds in Mannheim with Move D and D-Man. A regular guest at Berghain's predecessor club, Ostgut, he moved to Berlin in 2004 after an invitation to become a resident at the newly opened Panorama Bar inside Berghain. 12 years later, he's still a resident there, as well as a frequent DJ flyer worldwide.
Barker started out as a producer in Brighton's tight-knit experimental community, where, as he explains, "it was an open-minded scene. Music as a platform for self-expression and originality were really the only judgment markers. Authenticity is what we were looking for in those parties." But his move to Berlin in 2007, as part of the LittleBig team, and his subsequent exploration of DJ culture offered a new dimension to his musical philosophy: "The skill of DJing was something I had a lot of pleasure learning about. I was trainspotting DJs for the first few years. Music as a more communicative tool, this kind of, 'hey, let's all find a common ground,' - as opposed to, 'you can understand me or not, I don't care,' - didn't really make sense to me before Berlin."
While Baumecker had always thought of himself as a DJ, it was right around the time he met Barker that he bought his first synth from then-Ostgut Ton label manager Nick Höppner. "But then it went really fast," he explains, I bought a lot of stuff in a really short amount of time." With Baumecker having caught the bug, Barker readily admits that they're both hardware lovers heavily into technology and machinery. But while they own some classics, "most of the studio is under five years old." As Andreas reveals, they "want to create a new sound, and with the old machines it's been done." If you peek into the small studio they share with Höppner, there's a huge collection of synths, drum machines and all manner of gear. While Baumecker now has an impressive collection of Moog effects boxes, Barker has brought in several racks of modular synths.
While their usual aim is only to have fun and escape from "real life," they will admit to a theme or two. Talking about the title of the album, Barker explains, "the two of us have had quite a lot of ups and downs since the last record, and when you're in a collaboration where you only work together in real-time, in person, both people need to be in the right frame of mind." Baumecker adds, "Turns also had something to do with the tracks - almost every one turns towards the middle." The album also turns on the middle track of seven, a short interlude called "Technogate". "It's actually (the sound) of the gate right by our studio," Barker divulges.
But "Technogate" wasn't the only inspiration for Turns. "The title "Turnhalle" is German for a gymnasium or a sports hall," Barker explains about the album's fifth track. "And we are referring to Berghain," Baumecker notes wryly. Barker continues: "We checked every track out in the club, but "Turnhalle" we recorded playing back through the Berghain soundsystem. During the first two minutes, we tried to recreate the effect of ascending the staircase into the club." And while none of the tracks on Turns are merely functional, Barker & Baumecker do, of course, envision them in the club. "It's what I wish people would play at a certain time on Mornday morning, or sometime in the afternoon on Sunday," Baumecker explains. "There are certain periods in Berghain where I think it's really necessary to bring people down again and not keep them on the same vibe for six hours. I think something like this would interrupt that, and you can move on from there again." Tracks that mark a turn in a set, then.
There's nothing typical about any of these tracks, but they each share a clean aesthetic and sound palette with a sense of depth and compositional purpose. The ambient intro of album opener "Senden" morphs into a Reichian flow. "Encipher & Decipher"'s low-end drums weigh down dreamily melodic synths. "Club Entropicana" reduces rhythm and sound to machine signals, akin to Raster-Noton's starkness. Both "Turnhalle" and "Nocturnal" incorporate trance euphoria with breakbeats but in different ways, while closer "Statik" has a deliciously slippery garage pulse guiding it through a journey towards house bliss. You never know where they'll draw from next, but Turns feels like Barker & Baumecker are expanding and refining their own musical dialect. Like most of the music they're both drawn to, it's thoughtful, rich, and ever evolving - but always and completely committed to the club.

Champa B and Drum Cypha are both hugely established and respected in the underground scene and have released on some major labels including numerous releases on their own imprint Holotype Audio.
This is the debut for Champa B on Skeleton, where Drum Cypha had his debut track (Reflection Hologram) on the XXV Project album.
Watch out for this one... It's been causing damage on the floor.

Minimalistic breaks surrounded by celestial pads and acid vibes! The first release by Emiliano Comollo, one of the historical djs of the underground Turin' scene. Includes DJ Normal 4's Mood MixX, original artwork by Anna Rarefatta and mastered by Stefano Genta. Dance

DJ SUPPORT:

XDB
Stenny Ilian Tape
Andrea Ilian Tape
Topper Club der Visionaire
D-Vince from Boston 168

First time on vinyl! Official bonus 12 inch with songs from "Temple of Glendor", originally released on Tape via Plaque from Bristol + 2 New Bonus cuts!! Only 100 copies! "A series of twisted stairwells, fly dungeons and mossy, dimly lit passages. Help our hero navigate into the lower echelons of Glendor's claggy labyrinth and unlock the real secret behind it's master's evil ways. Potions can revive dead party members, consulting occult spaeman can unlock bonus levels. Destroy all the master's treasure chests and collect the keys to emancipate his disfigured servants from their opiated haze and assist with the struggle deeper into shadowy purple chambers. For this journey expect fragmented visuals with ever-tessellating rib vaults, turnt-up combat mechanics with challenging boss battles for a cerebral quest seeped in dread and unease."

alty shores of a deep blue sea, mountain tops with blinding hats and wrapped up greenery in reoccurring patterns. Three places, two journeys, heavenly lit in gentle warmth by the Feathered Sun. A collaboration of impressive beauty and beautiful impressions: Acid Pauli, Christopher Schwarzwalder, Jo.Ke, Nu and Raz Ohara take us, you, me, Luise by the hand to paint a picture of shifting shapes and scenerey. Two slow paced tracks, one per side, for that extra length and space it deserves.

Just breathe, brother. Breathe.

KILLA

Infrared Records are proud to announce the highly anticipated forthcoming J Majik album "Full Circle". Release Date 1st May 2019.
Full Circle features a variety of drum and bass styles, from the heavy amen edits of "The Crow Knows", the serene sci-fi influenced futurism of "Codebreaker" to the early hardcore sound of "Meridian".

The album also contains several other points of reference to the scenes pioneering years of the mid-90s. "Serenity" nods to the progressive style of Good Looking and "Point Of Return" pays homage to the experimental sound of Reinforced.

British-born, Berlin-based electronica producer Kamikaze Space Programme delivers his long-awaited debut album ‘Dead Skin Cells’ for Osiris Music. It’s the sound of eight years of the acclaimed project reaching its zenith, via releases on leading labels likes Mote-Evolver, WNCL Recordings and Mord, and through regular sets at the likes of Berghain and Tresor.

This bold new record mirrors decay of the physical world and the human form through its jarring sound palette and tense atmospheres. It’s a rebirth of sorts, with the title a reference to shedding skin — as KSP has done with his previous aliases. Combining his roots in jungle and dub (as Raiden and Dot Product) with the diverse textures of the contemporary techno diaspora and his skills as a found sound magpie and foley artist, it makes for a riveting, deeply nuanced listen.

‘Skin Cells’ begins with distorted synth buzzes trading places with haunted, heavily processed samples and thundering kicks. ‘Sparks’ channels taut jungle breakbeats, pitched down to a more chugging tempo, while menacing D&B screeches buzz through the track. ‘Dust’ teases DMZ style dubstep tension, while ‘Rain’ shows his mastery of sound design and field recording in a stunning ambient interlude. ‘Insomnia’ reaches for glitchy digi dub in the vein of The Bug with some cinematic undertones, leading to the brutalist sonic architecture of ‘Crumbs’ with its crunching breaks and rasping tones.

‘Derelict’ is the album’s most direct nod to his junglist past, the ghosts of hardcore imbued through blasts of chainsaw bass, dissected breaks and haunting pads. ‘Grey Clouds’ bathes you in thick swathes of ethereal pads and plucked, incessant bass before ‘EF5’ delivers a militant glitch-heavy onslaught. ‘An Empty Sky’ closes the album in apocalyptic fashion, with crunching bass pressure juxtaposed with graceful, filmic chord progressions.

The result of all of this is an album that feels at once uniquely London while perfectly contemporary to the Berlin scene, and perhaps a none-more-perfect sonic encapsulation of the continuing reciprocal dialogue between the two cities. Most of all, it’s the sound of a sonic excavator hurtling towards the top of his game, in perfect control of every granule of sound therein.

Welcome to another chrome-plated Arcola curveball, this time in the form of a trio of the moodiest cyber steppers from the shadowy LEVL.

Somewhere in an AI ether, faded pirate radio transmissions merged with drowsy half-memories of Metal Gear Solid and gained sentience. The results are subtle yet sublime, a masterful combination of percussion and atmosphere to get truly lost within.

These three shots of cave-dwelling soundsystem mutation are as evocative as they are insular and in the midst of these uncertain days you may just find you need them in your life.

Dread technicians Pact Infernal debut on their own Altar Label with 4 all new haunted constructions

For his first full-length since his self-titled 2017 debut on Blackest Ever Black, Pessimist links with longtime associate Karim Maas for twelve untitled tracks of fearsomely well-executed, paranoid, dub-fissured hip-hop, sinister ambient textures and voidal techno pressure.

Forget dnb…this is a downer than downtempo excursion, deep and dread, with low-slung, blunted breakbeats and weapons-grade sub-bass caught up in whirlpools of dissolve and decay and baleful, insinuating drone. It fully conquers territory that previous Pessimist and Maas solo productions have only hinted at, connecting with the Isolationist/industrial traumascapes of 90s E.A.R./Koner, Main and SAW II, the enveloping neo-noir of Plastikman’s Consumed, the crackle-and-hiss materiality of Rhythm & Sound and Pole. All suffused with a push-the-world-away paranoia and melancholy that feels unique to UK ravers/insomniacs.

“Pierre Bastien orchestrates his meccano marionettes on Tinkle Twang ‘n Tootle to form the charming imaginative ensemble that’s he’s been known for since the late 80s.

Equal parts composer, inventor, mechanic, and performer - Bastien translates his imagination into instruments and compositions that defy any musical categories. Whether it’s preparing instruments like playing a trumpet underwater or through a kazoo, using belt-driven motors and mechanical components to perform cumbersome yet surprisingly musical operations on traditional instruments and household items, or using a fan to hit the strings of a kundi harp with flowing paper - Bastien’s love for tone, rhythm, noise and harmony is poetically reflected across his quite extensive oeuvre.

Playful and melancholic, the sound sculptures that Bastien invents and plays with are partly inspired by the work of Raymond Roussel, a visionary French author who in the first few decades of the twentieth century wrote a unique form of literature which inspired and guided artists from the surrealist and pataphysical movement and was declared by Michel Foucault as one of structuralism’s founding fathers. On that note, the influence of literature and syntax on Bastien’s work cuts all the way through to the palindromes he uses for his track titles - which, much like his machines, infinitely loop.

True to its adorable title, Tinkle Twang ‘n Tootle is a music box of unfolding whimsical structures, half broken rhythms, detuned harmonies, and fantastical sound collages that evoke a childlike sense of wonder and an urge to explore the spaces in between the sounds.”

N.E.W.S. welcomes Musar. South America's finest Ricardo Tobar returns with 'La Condamine', an EP of melodic & cosmic electronic music adventures. Including Marc Piñol and Ulrich Schnauss remixes.

South America's finest Ricardo Tobar returns with 'La Condamine', an EP of melodic & cosmic electronic music adventures. The four tracks EP is the first release on the edgy 'MUSAR' imprint, set to release on October 20th, 2017.
As you can expect from a premium sound designer & tastemaker, Tobar's EP channels his roots from classic 80's darkwave analog sounds and the melodic, softer edges of early IDM.
'Rue Calme' is a deep and uplifting psychedelic trip that standing exactly on the borders between the dark and the light worlds of Tobar sounds, while the title track 'La Condamine' draws on influences such as Boards of Canada, Orbital and Sci-Fi movies, with an epic melody on warm northern drums-plate, perfect for sunset time. On the remixes are Barcelona's favorite player Marc Piñol and the sound architecture Ulrich Schnauss with a colorful explosion of electronic sounds. Ulrich's remix reimagining the beats in early 90's lo-fi shoegaze version of the opening track, while Marc's remix is a floor magical journey covered by bright vocals and rich atmosphere.

A hand stamped white label vinyl & digital project by Skeptical.

We were very proud to release Titus 12's debut physical release early last year, and we are just as proud to present his second ZamZam. Longtime host of Ujima 98 FM's Subsession radio show out of Bristol, and the hand behind new cassette label Limbo Tapes, Pete Hazell is well-known in his city as a purveyor of deep, eclectic, bass-centric music of many hues and shades... his myriad influences alchemically combine into a signature sound that is as unmistakeable as it is difficult to pin down. In a world of cookie-cutter soundworlds Titus 12 conjures something truly personal and magical and makes it sound effortless. Summon Luxo' opens with raw vinyl archaeology, managing to wed a humid, plaintive, layered vocal chop to a sultry boom bap riddim, with so much swing and space you'll swoon under its strange power. Titus 12 says, "Summon Luxo came about after falling in love with a recording of an Ethiopian funeral song, and the suggestion that the singer might be summoned to a funeral from many miles away, because of the calibre of his lament." Intertwining melodies, sophisticated vocal manipulations, deeply elastic bass and ethereal ragga flavor complete an absolutely unique and captivating tune you'll want to rewind again and again.Silly Youth' fuses distorted french cafe melodica vibes to rugged sound tape boasts and smoked-out 140 swagger with Titus' signature reverb-filled spaces, 808 bass and aquatic claps for another singular journey through the mind of a true original. No dibby-dibby sound !! Mastered by Sam at Precise

Soft Machine is a surreal wander through the mystical sonic forest. A vision curated and designed by Chicago native Justin Aulis Long. A Cyclopian point of view while gazing through a wide lensed scope, which exists in the liminal spaces where light meets dark and angelic forces bath in the sludge and stardust of unfiltered eroticism.

Eye of the Minotaur - collage 001 is a collection of artists working in varying musical practices that are channeling the solitude of mutantness, strolling through the familiar yet unfamiliar halls of the uncanny, refusing ordinary structures of the mundane, grasping the cold humor of cynicism, basking in the dichotomy of cosmos and chaos, and invoking the energies of Eris and Eros.

Setting the ground is Ciarra Black, a Berlin based New Yorker who makes no apologies for her bare knuckled soundscapes. DuPont Street is a ritualistic unification of discordant entities that summons visions of Pazuzu (lord of the demons) and Inanna (goddess of love) fornicating beneath The Tree of Life. Razor edged synthesizers slice through the atmosphere with the precision of an avenging angel’s flaming sword, while a psychedelic drum code activates ritual movement of the body.

As the needle passes beyond the next threshold it is met by a towering totem, bristling with the illuminated light of the sonic astral plane. Erected from the foundational matter that birthed the Detroit electro punk sound, Eyes Up continues to add to the narrative that is drenched in deranged electronics intuitively mangled in a post punk tradition. Dystopian percussive rhythms generate an unorthodox domain where muffled utterances present an aural Rorschach test. Could this be the riddle of the Sphinx, or an ancient spectral being that possesses secret knowledge? Only its creator, Stallone the Reducer, holds the key.

Fixed at the axis of the journey, Perfect Headache Forever, a mystic operating within the DIY spaces of Chicago, levitates on a transcendental mass that is equally melancholic and optimistic. Her voice hosts a strength equal to a pantheon of titans. Armed with a magical electronic musical box, she weaves narratives that are prophetic. Itself Ecstatic is a voyage through a misty soundscape that begins at one point, but ends in a distant other, in accordance with a system of divination.

Gazing into the murky waters of the oracle’s cauldron, Circling Vultures, (a collaborative effort by Justin Aulis Long and Kenneth Zawacki) channel and evoke the spirits of Antonin Artaud and Geroges Bataille. The poet’s voice, engaged in an act of mutilation and self cannibalization, howls while projecting visions of sacred conspiracies, sensations of vertigo while peaking over the edge of the abyss, and the looming weight acquired from the solitude of the Minotaur alone, sitting silently at the center of the labyrinth. Accompanying the mystical bard’s verbal declaration is a triggered mechanized synth that roars with the vitality of Cold War era Wave music, which is then juxtaposed against applications of loose keyboard playing. The artist’s hand is revealed against the calculated actions of machines.

Bringing the document to its finale, Libby Del Barrio, a multi disciplinary artist based in San Antonio, performs a closing ritual in a manner that only she knows. Setting fire to the Elysium Fields while personified as Moze Pray, Del Barrio rejects plastic narratives that aim to pacify. No Tears, is an unapologetic account of life’s feedback loop around the Wheel of Fortune. Sacrificial actions through ceremonial performance reveals a gateway founded on truth and torment. Moze Pray’s ability to combine musical production, poetic vocalization and ritualistic body performance is charged by chaos and amalgamates into a product of pure expression that defies the rose colored filters aiming to conceal harsh realities.

Athens based composer Akis Daoutis (Akis) remixed by Tolouse Low Trax, Bartosz Kruczyński, Benoit B and K100 Signal.

Dub echo, hip-hop lyricism and heavy guitar fuzz are boiled down into a heady, characteristic musical brew.

On “Dreaming Is Dead Now”, multi-talented wonder Skinny Pelembe meditates on grief, heartache, stunted aspirations and fresh possibilities in post-recession Britain. For his debut album, the Johannesburg-born, Doncaster-raised artist weaves together a patchwork of personal and musical touchstones; memories and observations are dreamily laced together, sun-dazzled California folk diced with the murkier corners of the UK dance lineage.

Tipping a hat to West London broken beat as much as My Bloody Valentine, the album was co-produced by Malcolm Catto (of The Heliocentrics, who’s previously worked with Yussef Kamaal, DJ Shadow, and Madlib), who helped to distil down its bounty of ingredients into the record’s distinctive flavour. Tough, tight-programmed rhythms are washed over with fuzzy overtures, and the title track is the product of a studio session with a foundational drum & bass duo (credited under the covert alias of The Bleeding Edge). It’s the rare kind of record where the messy, in-between musical spaces are given a light to shine.

First discovered through the Gilles Peterson- and Brownswoodfounded Future Bubblers programme, Skinny has since made it onto Peterson’s iconic Brownswood Bubblers compilation series, performed and collaborated with fellow Future Bubbler Yazmin Lacey, and been tipped by the likes of Ghostpoet and James Lavelle. Praise has also come from The Observer, The Quietus and Huck, with previous singles “Spit / Swallow” and “I Just Wanna Be Your Prisoner” bumped up onto heavy rotation on BBC 6 Music’s A-List. He’s also been in demand for live sessions with The Vinyl Factory and Worldwide FM, and supported Nightmares on Wax and Maribou State.

Aussteiger is a Berlin based German DJ / Producer. He runs the Dub Disco label in Berlin and DJ's around the world. Zusammenkunft is his debut album released on Copenhagen's Music For Dreams. Once upon a time a golden boy came back from the shadows. Rumors were told that he once left the big city in a time where the music scene and clubs were dominated by cold music and average beats. He left behind civilisation, living withdrawn in the woody mountains of a covert place. From there on people talked about him as Aussteiger. Connected to the nature and deeply rooted in the harmonic essence, Aussteiger became a part of the great whole. In a full moon illuminated clear night while experimenting with various unique herbs he accidentally found a recipe to create warm and ravishing music. He firmly believes that music is his infinite source to gather strength and positive energy After years of strengthening himself and shaping vibrant sounds Aussteiger decided to share his delightful music with the world. He returned from his retreat in order to enchant the music lovers all over the world with his feel good approach and supernatural sounds. Coming back to the city, he also co-founded the awesome Dub Disco Label with his buddy Serj Nosé.

Building on the already incredible collection of music so far released on Francis Harris' Kingdoms imprint, Emil Abramyan returns with the stunning 'Movement' album. Abramyan is a Brooklyn based composer, musician, and producer, whose work traverses various styles and disciplines. In this release Emil shares his unique perspective by bringing together his conservatory training as a cellist and his love of electronic music and sound design. Having played the cello on every Francis Harris album, Abramyan now expands his repertoire by playing every instrument, including cello, piano, and electronics. Beginning with 'Flightplan', the album lifts off in sublime fashion. Brooding cellos combine with pianos before subtle rhythms unfold and introduce themselves. 'Winter's' skittering rhythm is combined with pizzicato melodies, clicks and modular synth flurries. Showcasing his versatility, 'Foolky' is a more dance floor oriented cut - a highly percussive groove unfolds and carries along a variety of instrumentation. 4_24 also makes use of shuffling, percussive grooves layered with drone sounds, and more of Abramyan's signature cello.'Fever' sees the brooklynite heading in a more obviously ambient direction, building atmosphere with a mixture of close mic'd experimentation, and beautiful choral fragments.Rounding off this release, label boss Francis Harris reworks 'Flightplan', finding new nuances in the sublime atmosphere, and slowly building up to a subtle, understated groove that takes the track to a different place entirely.

Debut EP of the mysterious Ex-Pylon. Studio Barnhus (the young Swedish label run by Axel Boman, Kornel Kovacs and Petter) is bringing som hot forward thinking dance tracks that will create this special energy on any dance floor. Two powerful tracks with otherworldly melodies and rugged beats plus a more dreamy beatless piece on this intense and effective release. Check!!

The Canadian duo of Gremlinz & Jesta present their debut EP for Metalheadz, a 4-tracker full of energy, emotion, progression and creativity. All corners are covered with the ethereal atmospherics provided by 'Nessus', the weighty and assertive sounds of 'Departed', the delicate and graceful nature of 'The Drift' (which also features Rumbleton), and the title track closing the EP administering a dose of funk to the release.

After a two year hiatus, Bristol-based Hugh Hardie returns with 13-stunning tracks on his second studio album, ‘Shadows and Silhouettes’. After the

success of the ‘Colourspace’ LP, he’s continued to develop his drum & bass style, as a classically trained multi-instrumentalist, producing a plethora of

beautiful summer liquid, slick drumfunk and smooth down-tempo beats. He’s teamed up with the high-rising talents Pola & Bryson, Silence Groove and

Unglued, as well as singer-songwriters Emer Dineen, Cimone, Robert Manos and Charlie Brix

For Russian electronic music, Mikhail Chekalin is not only a major character, who has affected the scene's establishment and development, but also a kind of symbolic figure. His music has been praised by many in the West - from journalists and critics of all kinds to Frank Zappa and Karlheinz Stockhausen, while in Moscow Chekalin's name was excluded from the official cultural agenda for a long time: he was accused of propaganda of foreign 'pro-Western' aesthetics and up until the end of the 80's wasn't allowed to release his works or travel abroad. This, however, didn't interfere with him recording dozens of innovative electronic compositions and contributing greatly to the development of unofficial Soviet art in general - for example, providing sound design for the famous exhibitions of 'Twenty Moscow Artists' on Malaya Gruzinskaya or arranging the first audiovisual performances on a specially constructed 'light organ'.

However, just like all great artists, Mikhail himself prefers to focus not on personal achievements, but on creativity. 'I don't have a biography - only a discography' - this quote of the author may become an entry point of sorts into the compilation presented. This archival collection of works recorded within the period from 1978 to 1987 are Chekalin's multigenre experiments ranging from spatial music (in essence, ambient's precursor) to more contemporary synthesizer and post-symphonic compositions.

We find ourselves increasingly in a swell of solastalgia. Day to day, a vision of what might come to pass builds; one dystopian impression at a time. Solastalgia is not a new phenomena however, rather it has haunted us over the cen- turies. Change has never been humanities’ strong suit, but it has been our shadow. The perpetual ruptures in what we know and how we live are an inevitability; time takes no prisoners, no matter how tightly we might grasp things from moment to moment.

It’s here, at this fractious nexus of unpredictability and an absence of control that Rafael Anton Irisarri has created his latest work. Building on the echoes of landscape that guided his previous Room40 editions, Solastalgia imagines that which is not yet known. It traces possible terminus points for futures that many of us will not live to see. Utilising a range of unexpected variables, automations and uncontrolled systems in the creation of the recordings, Irisarri has devel- oped a new approach to his work, seamlessly weaving together intense layers of texture and saturated harmony.

Within these works, distant melodies emerge and in their wake the listeners’ focus shifts again and again. A never ending loop of the unconscious feeding into the conscious is formed. Whilst the skeletal form of pieces such as 'Coastal Trapped Disturbance' might remain, the organic matter that is the body of the music is in a process of persis- tent transformation. These subconscious variations morph the pieces from within. This is a record of sublimation, and dwells in states of transition and becoming.
Recorded in two suites (one released on LP and the other on cassette) , each section is a distorted mirror reflection of the other. Solastalgia stands as a landmark undertaking for Irisarri, it encourages us to remain unsettled and attentive in the moment, and prompts us to listen deeper and imagine what lies beyond or in excess of our expectations.

Rafael Anton Irisarri is an American composer, multi-instrumentalist, and record producer living in New York. De- scribed by the press as “one of contemporary ambient music’s most celebrated practitioners,” Irisarri's music often has a mournful, elegiac quality where ostinato phrases tap into minimalist ideals while atmospheric layers of effects suggests a more cinematic approach. In all, his compositions are deeply emotive and epic, like a symphony record- ing that’s been rescued from attic entombment after half a century. Irisarri concerts at museums, churches, syna- gogues, and other non-traditional performance spaces explore the physicality of sound. Combining an array of heavy metal bass amplifiers, multiple loudspeaker configurations, synthesizers, bowed guitars, notebook computers, video images, and lighting, Irisarri decontextualize the audience’s relationship to the venue, creating an immersive, otherworldly environment. Irisarri’s recorded works are widely published internationally.

Repress

In a pretty typical Sabre fashion he's sent us a tune called 'Halo Danger', expectedly what we heard instantly was pure danger and another killer in the works... Now here it is coming your way on the 4th of June 2012. Insane production as ever, huge riff, huge snappy drums, huge low end. It's an instant Dispatch fave for us! We say no more... On the flip we have Sabre's often studio production partner in crime Halogenix briging us something solo, completely creative, fresh and inspiring. His productions are quickly building a reputation and 'Laika' holds no exception!
DJ support is very widespread on this release already coming from the likes of: DJ Marky, Alex Perez, Ant TC1, Jubei, Spectrasoul, Octane & DLR, Klute, Zero T, Rockwell (Ministry of Sound Radio), Lenzman, Icicle (as featured on Rinse19 CD), Ulterior Motive, Skeptical, Hybris, Kasra, Nymfo & Safire.

Repress

PRSPCT's new hardcore orientated imprint's second release! The masters of The Outside Agency hit it hard! Limited Clear Vinyl Pressing

Finally repressed!

Limited Grey Marbeled Vinyl Pressing! The Outside Agency is more powerful than a locomotive that is more powerful than two locomotives! The inventors of crossbreed return in full force on this 4-track One Seven Five double pack to turn everything up to 11 and at the same time dial it down a few notches. Captivating kickdrums, searing snares, furious fills, roaring reeses, harrowing hi-hats and many other amazing types of alliteration are all combined on this release to bring crossbreed back to its very definition. This is what you get when you mix hardcore and drum & bass and do it well.

From the wilds of New Zealand our favorite kiwi drum and bass duo returns with a sinister vengeance. With a hot list of tunes as part of their De-Evolution series, the boys are finally ready to unleash their arsenal of productions to the public eye. Featuring collaborations with Ivy Lab, Orifice Vulgatron (Foreign Beggars) and Mara TK from Electric Wire Hustle. Released on Noisia's Vision Recordings imprint.

Pressed on 3 x 12 vinyl.
This album contains Pt.I, Pt.II and Pt.III of The Upbeats - De-Evolution series.
Comes with a download card for the full 320 kbps MP3s

Formerly of Chroma, with releases on RAM, Renegade Hardware, Commercial Suicide, CIA and more, Tyrone is now out to make a statement as a solo act.

Rasta Vibez back with another 10" Red vinyl featuring a pair of reggae infused rollers. Warning / My Sound by the artist who shall remain unknown is a soundsystem shaker with plenty of irie vibrations. 100% vibes!

Bastakiya's Cicadian Cycle Closed

17 years, the cycle of cicadas reborn, opening from membranes in the dirt, a smell rising, silence crushed and surmounted, a hum is new. The power lines move out in unison, some poles tipping, toward a horizon, graying at the edges like smoked gums and fission plants. Bare feet on a long, metal staircase, almost quiet, the skin impressed by the diamond-cut landing, the scent rises up, the first few cicada viscera litter the walkways. A landscape of empty gyms, humidity, bleach smell, janitors clean the shower rooms, rust gathers at the drains, 2 TVs left awake, 5 put to sleep, an elliptical machine is a towel rack, 4 treadmills watch the sun rise with one another, a sweatshirt is reapplied, the glass doors open, drag to a close, the central air conditioning blows the napkins from the common area table, a hum settles on the carpet entrance. The Bastakiya alleys have tiles that once held narrative. Now the ground is black. The ground has always been black. Death is a staircase. The cicadas are buried in the dirt another 17 years. A Bedouin close the refrigerator door in a gas station, half-lit before closing, Coca-Cola permitted during Ramadan because they have traveled so far from home. The membrane regrows, burrowed below the hydrangea bush, Bastakiya rests in peace, the Bedouin lives on forever.

-David Coccagna, June 2019

After their success of their single 'Smile' which was the theme song of warner brothers movie 'High Society' and placed on different commericals this Neo-Funk duo release it´s first debut album with a lot of 80s boogie and funk tunes. Featuring cali rappers King Tee, MC Eiht, Fresh Daily, Chuuwee and vocalists Benny Sings, JATA & NEEON. The LA/Berlin based funkduo is executive produced by Shuko the man behind different production of artists like The Clipse, Lee Fields, Snoop Dogg, B-Real and many more. "It´s a fact" with Benny Sings is also exclusively available on this limited 300 Vinyl edition with 12 tracks full of good old memories from the 80s funk era with a little modern twist of hiphop and which makes 'Night Cruise' the perfect soundtrack for some city rides at midnight.

300 Degrees is a solo project by Lithuanian producer Audrius Vaitiekunas dedicated to the sound of classic Roland analogue machines.

After featuring on their last year's Evidence Found No.1 compilation under his IJO alias, Audrius delivers his first album-length release for Little Beat Different.

300 Degrees' lush, drifting chords are delicately hung in space and drawn forward by thrumming acid melodies. As the album travels on, these propulsively beatless visions coalesce into cold, reverb-drenched deep house, dive into dank, slo-mo electro, and perform warmly melancholic echoes of rave and IDM.

Sound-wise the deepest release so far on this label will finally see the light of day in May on digital and cassette tape.

BNJMN's penchant for ambient music is showcased here across 8 tracks for his Tiercel imprint. The collection, made across multiple sessions over a 3 year period, documents various aspects of the sonic world BNJMN inhabits. The ongoing project demonstrates the lighter and darker, yet always emotional side of the Berlin resident. Limited edition cassette and digital release. Mastered by Inland. Artwork by Youvalle Levy

The Groove Chronicles is the second solo album release of Bouklas and his very first on vinyl.

The album is based mainly on Soul and Funk samples, chopped, flipped and pitched up by Bouklas and filled with his characteristic Boom Bap beats, giving an extra funkiness on this particular work. Bouklas has clearly been influenced by Gramatik on this LP and he took it to the next level by having some strong international guests on board.
The album includes the rapper INTeLL, son of U-God from the legendary Wu-Tang Clan, Mic Bles, a respected underground Hip-Hop MC from California, DJ Groove Sparkz from Lyon, the 3xDMC French Champion, IDA Vice World Champion and official tour DJ of L’Entourloop and the French vocalists, Cam & Nelly. Furthermore, there are featurings from talented local Greek artists, the vocalists Martzi and Alida SoulMama and the Turntablist DJ Moya, one of the best Scratch DJs in Greece.
The Groove Chronicles will be released on vinyl by the label Mind The Wax on May 2019 and includes 12 tracks.
Bouklas has been active on the Hip-Hop scene as an MC and a producer since 2002 with more than 10 independent projects to date. As a producer, Bouklas has collaborated with some of the most important names in the Greek Hip-Hop scene as well as with the rap veteran Masta Ace, Freddie Gibbs and the Grind Mode Cypher.
Furthermore, Bouklas has shared the stage with international artists such as the R.A. The Rugged Man, Dead Prez, Afu-Ra, Freestyle (of Arsonists), Foreign Beggars, Dope D.O.D., Killa Kela and DJ Vadim & Yarah Bravo.

Pingipung and Future Nuggets present Cosima, a Bucharest based artist, with two wonderfully poignant songs. Cosima Opa^rtan is widely known as one half of "Raze de Soare" (Future Nuggets). As a solo artist, she files her music under the genre widow pop - melancholically reaching out to the past and the future in one gesture. She sings like someone addressing a beloved but faraway audience, or a trusted, distant relative who can only be seen through someone else's description. Cosima has a background as an architect which she shifted to designing sonic treatments for various spaces such as sound studios. She is also a founding member of the Queer Night, a series of itinerant parties engaging the local LGBTQ+ community and part of Corp., a Bucharest based platform dedicated to supporting and promoting female & female identified musical talent. "Ploaia" has been co-composed and produced by Ion Dumitrescu, known to all Pingipung afficionados for his 7inch as Ion Din Dorobanti (Pingipung 056) who also runs the never failing Future Nuggets label. On the flip side, the two team up with Horatiu Serbanescu, an artist from the Future Nuggets roster releasing music as "Plevna".

There we go again, Luettje Luise el numero sixo. The soundtrack for a sunny sunday morning. Between the sheets and under the blanket, stroking the belly, feeling lush and lovely. Slide in your slippers and slightly sip the first coffee with a warm breeze touching you and your inner self. Lokke der Boss halt.

Emerging from the wake of his sold out release with Zehnin Records, Paleman continues his experiments with textural and visceral modular music exploration for his debut 3 track EP for Nonplus Records.

A side 'Sweltering Rain' is a powerful piece of groaning, urgent dance floor minimalism, charging forward with a ritualistic, undulating droid line set against scorched, otherworldly drones. B1 'Cells' opens with scurrying modulated white noise and reverberating cosmic texture patterns set against a monolithic kick drum ostinato. The elegant minimalism develops with radioactive analog synth alarms and stark futuristic vocal glitches as the track barrels forward with momentum.

B2 Titan Vulture explores an undiscovered alien landscape evoking imagery of liquid pools of methane, erupting geysers and swirls of otherworldly elements. It is an absorbing, chugging and captivating piece of textural escapism, evolving as it goes whilst still featuring the elegant and considered minimalistic touch that runs throughout the EP.

This EP sees Paleman returning to the physical dance floor based music he is known for, but undoubtedly reflects strong developments in writing approach, quality of sound and exploration of new techniques. 2019 seems set to be a flourishing year for the young producer.