Beats Vinyl New Releases - News

Complete with striking new artwork, Dubplate number 25 delivers a couple of sure shot hip hop favourites, re-worked by UK production don Haynesy, complete with turntable trickery galore from DJ whiz Jabbathakut.

DON’T SLEEP – LIMITED STOCK
Daddy Sets Off is the perfect party starter. One of the Golden Era’s best-loved rappers gets things going with a typically laconic flow over tight drum breaks, frantic bass and guitars and some very tasteful cut and paste action. Who’s A Big Mouth is a brass driven nugget from one of Brooklyn’s finest rap groups that’s been given more a little more club friendly bounce from Haynesy and some serious scratching skills from Jabbathakut. One that might easily be dedicated to everyone’s least favourite U.S. President!

An essential slab of hip hop heat courtesy of your favourite Dubplate provider!

Format draws from its Latin origin: "formatus", meaning "to be formed". Over two years, Germany's Max Wureden produced a variety of tracks using completely different approaches. It wasn't until they were placed together in unison that the strengths from the variety of productions came together. Max's studio recordings lined up alongside live performances; field recordings of foot-steps and sounds from deep forests amongst broken leaves and custom synthesizers; processed guitar-loops weave amongst soaring ambient pads and energetic driving analog pulses segue classic 90's ambient depicting the very furthest reaches of space. Max's abstract impressions were weaved together and Format was born. The result captures the very best of Max's multi-disciplinary techniques we've come to admire throughout his many productions and collaborations over the years with the likes of Thore Pfeiffer and his releases on Kompakt's Pop Ambient series.

Vinyl only. Even though we're not paladins of pure concepts, the sound we're currently looking to release usually has a raw, kinda primitive and rough around the edges nature. We're definitely not looking for the generic "soul sample meets a 4x4 beat" kind of edit. Our very own first release is the perfect picture of what we wanted this label to be. Can’t go wrong with a Mike Simonetti turn.

Together by Sierra is an EP of four tracks originally written by Kit Grill in 2016. The new Sierra project will show more of this style of music by Kit Grill, focusing on ambient, downtempo and field recordings.

After their successful release "Identity Crisis EP" last year, Fokuz is happy to announce that The Vanguard Project is back with four new bangers.

Following their acclaimed opera-in-suspension about Fugazi, NYC’s Object Collection imagine
a delirium of transhuman thought and progressive politics on their return to the inimitable Slip
label.
‘You Are Under Our Space Control’ sees the duo of Kara feely (text) and travis just (music) refocus
their “operatic” sensibilities into a typically confounding “space-opera” that somehow ties up
references as wide reaching as John Cage’s 1951 piano solo ‘Music Of Changes’, with Cy Roth’s
sci-fi ‘Fire Maidens From Outer Space’ from the same year, as well as texts inspired by Sun Ra and
the Russian Cosmists’ poetics and philosophies, and interviews from real (and imagined) space
travellers and astronomers.
Aye, it’s a proper headful of ideas, and understandably chaotic with it, but OC’s make a virtue of
somehow maintaining a coherence though their sharply chopped arrangements, which start out
tightly puckered, but gradually loosen up into more sprawling, psychedelic designs as the album
proceeds.
What happens in its 18 parts is comparable to a sort of home-brewed sci-fi soundtrack imagined
by a teenaged dream-team of Todd Dockstader, Bruce Haack, and Sonny Blount; a sound full of
mercurial wormholes, with an animist capacity to rouse arcane spirits, and a magnetic pull to the
most restlessly searching listeners of the weird and wonderful. Most crucially, for an album rooted
in ‘50s sci-fi and avant-garde, the results prize that era’s modernist promise without coming off
as retrogressive or corny.

AMIT is back on Metalheadz for the first time since 2012 with a weighty 3-track release dripping in his signature sound and style.

One of the original kings of halftime, AMIT's extensive discography speaks for itself, crammed with game changers, straight up killers and experimental offerings, with no doubt that this will slot right in.

From a new label set up by Claudio Mate, partner in the Dub-Ito label, responsible for the killer Soloist & Second Apartment and Dark Star LPs. Mate is a Japanese music fanatic, who has guested on Japan Blues' NTS show. His painstaking research in this field unearthed the works of Be-2.

Be-2 was the brainchild of cosmic rock guitarist Zen Oikawa and Psycho. The band released two flexi discs and a cassette on Oikawa's Inner Space Records in the early 80s.

Prior to that, Oikawa ran a cosmic rock band called Space Mandala, Be-2 was his merging of that style with the new wave moves of the early 80s. Since then, he has been music director for projects for anime giants Studio Ghibli, contributing to the soundtracks of Kurenai no Butta (Porco Rosso) and Omohide Poro Poro (Only Yesterday).




BE-2 "Minimum In Survivable Human Race Unit" was composed between 1982 and 1984. Available on vinyl for first time, and featuring unreleased tracks. A blend of of proto-techno, noise, ambient, channelling Manuel Gottsching, Ashra Temple, Klaus Schulze, and The Durutti Column,.

'No idea how to categorise this! I would have called it experimental dancehall but irel.ier who made it says it’s not! Besides i don’t care how you call it - it bangs! When I played it out in Pudel (Hamburg) people were losing their shit and someone screamed in my bleeding ear “MASTERPIECE!!” so let’s just call it that!

We made 300 copies. They feature a beautiful image of your inner ear Haeckelified by some naive AI and the title (gang guan li) skilfully handwritten in Chinese calligraphy on the flip in iridescent colours.'

Low Jack continues to rudely shape the dancehall in his own style with ‘Jingles du
Lieu-dit’ - the sequel to 2018’s ‘Riddims du Lieu-dit’ - packing six innovative mutations
inspired by radio jingles, YouTube dembow megamixes, sound effects and sonic clichés
Picking up where his screwed industrial dancehall edits left off last year, Low Jack racks
up six anti-nuke riddims from the bassbins of Brittany, churning up pendulous grooves in
acres of murky dub space with a patented sleight-of-hand.
Oscillating weightless, dematerialised, and heavily present frequencies, Low Jack turns
the dancehall into a flux of ‘90s ragga duppies and now ting reggaeton, leaving its rugged
structures notably free of vocals but full of characterful samples, idents, and studio elves
that can’t help but connote the artist’s moodily crafty and kinetic style, lying right on the
cusp of darkside and party-ready concerns.
Up in it, he executes a scything re-chop on Richard Browne’s ‘Baddis’ riddim teasing
out its eastern motifs into woozy shapes on ‘More Speed’, whereas ‘Dinner’ exerts a
hypnotic spin on reggaeton’s rub ’n tug rhythms and ’Shell’ spirals headlong into a vortex
of soundsystem ephemera. Down below, meanwhile, ‘Lasers’ finds its range in massively
swollen bass and GRM-like cyberdub dimensions, along with the windswept dancehall of
‘Find Them’ and the outstanding, hydraulic pressure of ‘Wheel.’

This third release on City Volts Records from the international producer and DJ collective sees West Loop Chicago channelling their inner Herbie Hancock and The Headhunters for this heavily jazz-fusion influenced record. The A-Side features 'The Serpent', a frantic analogue synth dance floor gem with its Mini Moog and Oberheim OB-6 parts leading the charge, a track very much inspired by Herbie's 'Chameleon' and Barry Miles' 'Magic Theater' from 1975, a Gilles Peterson/Dingwalls standard. The B-side includes 'Divinity', a more soulful affair with its delicious Fender Rhodes chords and atmospheric piano solos, which furthermore highlights the high level of musicianship contained within the 12". Both tracks also feature their respective bonus beats versions with 'Serpentine Bonus Beats' and 'Divine Bonus Beats' providing the rhythm tracks for both.

*Third vinyl release from the Berlin based Jazz-O-Tech Records.

Jazz-O-Tech introduces Black Gardenia Vol.1 composed by Berlin-based duo BEAT MOVEMENT.
The duo presents an unusual, psychedelic and moving techno jazz EP in collaboration with techno pioneer Sunil Sharpe, Italian saxophonist and composer Gianni Mimmo and the jazz quartet Gamapawa.
Black Gardenia is a mesmerizing aesthetic sound experience, taking the listener on abstract journeys and into cinematic sceneries. The title track "Silent Rain" opens the A-side with a soft and emotional fusion of drones and saxophone, followed by the sovereign and psychedelic slow groove of the track "Aphex Twin shot my neck". The B-side is a dancefloor killer combination between Sunil Sharpe's intelligent techno remix of “Silent Rain” and Gamapawa's featuring track "Untitled Reconstruction", where drums and saxophone reach the speed of 150 bpm.
Black Gardenia will be distributed worldwide in 300 limited edition copies.

Analogue Attic continues to draw from the fresh stream of talent running out of Australia, this time with Jack Burton, a composition student from the prestigious Victorian College of the Arts.
His debut LP 'Lake Monger' was composed across two cities over a period of a year, and features contemplative synths, techno and experimental influences.

The record climaxes in the three-part, 12 minute title track that swells in energy and intensity, drawing influence from ambient masterpieces of the 90's with modern day production, demonstrating impressive compositional maturity.

Limited Edition

* With ‘CHORDS’, the Stockholm-based musician and composer Ellen Arkbro returns to Subtext, following her acclaimed debut album ‘For Organ and Brass’.

* This new longplayer sees Arkbro adopt a more minimalist approach, focusing on the immediate qualities of sound and elegantly expanding the tonal capacities of acoustic instruments using precise, subtle synthesis.

* Composed of a carefully selected combination of tones, ‘CHORDS’ stretches, extends and obscures the timbral character of the instruments it is performed on.

* Across both tracks, Arkbro examines the sonic materiality and harmonic quality of chords. She considers how the compositions occupy space rather than time – transposing theoretical possibilities into the phenomenal realm.

* As a part of Arkbro’s systematic investigation of harmonic sound, ‘CHORDS’ proffers a divergence from conventional ways of listening. This work allows for a form of listening which goes beyond the mere reception of outer stimuli in letting the listener experience their role as active, and as embodying the sound itself. Space rather than time becomes the primary locus of listening as subtle movement of head and body reveals the inner complexities of ‘CHORDS’.

* ‘CHORDS for organ’ was first envisaged in Stockholm’s brutalist Västerort Church. With an interest in tuned intervals and chords, Arkbro sought out particular harmonicities before synthetically supplying additional harmonic content and texture. To pure fifths and octaves she adds synthesised natural sevenths and thirds, creating a heightened sense of harmonic stability.

* While this incarnation of ‘CHORDS for organ’ was recorded in Malmö’s St. John’s Church, this work is site-specific, requiring Arkbro to seek out appropriate chordal orchestrations in registers and tunings on each respective instrument, when performing live.

* ‘CHORDS for organ’ has been adapted and performed in Martin Luther Kirche in Dresden, Civico Tempio Di San Sebastiano in Milan, First Unitarian Church in Brooklyn, Lutherse Kerk in Den Haag and Sint-Jan de Doperkerk in Leuven.

* In the corresponding ‘CHORDS for guitar’ Arkbro applies her process to a more widely accessible instrument. Employing a fine-tuned Karplus-Strong synthesis, she supplements additional tones to create a harmonically controlled blend of the acoustic and the synthetic.

* ‘CHORDS for guitar’ places the listener at the center of a cyclically repeating complex of harmonic strings in wave-like motion. Attention is synchronously fixed with the sound as this chordal harmony rises, vibrates, and purrs away, before rising again.
* As she transposes these ideas across organ and guitar, Arkbro teases out their affinities and dissimilarities, and, in doing so, effectively highlights the harmonic character of the work as a whole.

* In Arkbro’s words: “I listen to these chords with an interest in them as complete events in themselves and without any particular attention to their sequential occurrence. To me, chords with a high degree of harmonic clarity display diamond-like qualities. There is sense of geometric complexity to the experience – both in very concrete terms, with regards to the ways in which these chords merge with acoustic space, but also on a more subtle level, on which harmony almost feels like space, and where the manifold ways of hearing these sounds spontaneously translates into modes of spatial awareness.”

* About the artist

* Ellen Arkbro is a composer and sound artist working with intervallic harmony in a context of high degree precision tuning. Her work includes long duration compositions for traditional acoustic instruments as well as for algorithmic sound synthesis.

* Arkbro’s music is heavily informed by her studies in intonation with La Monte Young and Marian Zazeela in New York, and with Marc Sabat in Berlin. She studied composition at the Royal College of Music in Stockholm and at Universität Der Künste in Berlin.

* ‘For Organ and Brass’ presented recordings of her compositions for renaissance organ, horn, trombone and microtonal tuba. It was praised by The Wire, Tiny Mix Tapes, Stray Landings and XLR8R.

* Since the release of ‘For Organ and Brass’, Arkbro has been developing new work for harmonic wave-field synthesis at New York’s world-renowned Experimental Media and Performing Arts Centre.

* She has also performed her work for acoustic instruments and synthetic tones at prestigious venues, institutions and festivals internationally, realizing site-specific adaptations in Milan, Paris, New York, San Fransisco, Dresden, Copenhagen, Budapest, The Hague and Leuven.

* Arkbro and Sarah Davachi performed their adaptation of a piece by the 17th century composer William Lawes for two organ players at the Third Edition festival in Stockholm.

* Most recently, legendary pianists Mats Persson and Kristine Scholz commissioned a work from Arkbro for precision-tuned clavichord and hammarklaver, which debuted at their studio in Stockholm.

No stranger to records that side-step club conventions, Banlieue’s latest release truly stands out from the rest of its catalogue.

Altkat is a Turkish-Armenian musician born in the late 40s and active since the 60s when he first started experimenting with an Anatolian saz, a two track tape recorder, and a fluegelhorn. Today, the saz is still there, the bugle is gone and the tape recorder has turned into a computer. Altkat, who spends most of his time working as a percussionist for sephardic and balkanic bands, is above all interested in the transformation of noise into music and does not shy away from using synthesizers and drum machines, along with his saz, to create his music.

Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.

"The Senja Recordings" is a collection of various outdoor recordings and studio improvisations recorded on the island of Senja, Arctic Norway, between 2015 and 2018.

After teaming up with label boss Coco Bryce early last year, Dead Man's Chest aka Alex Eveson goes in for his first solo release on Diamond Life.

Drum Shanty is definitely the more rowdy one. Going straight for the throat with a ragga chant and gritty lofi drums, it'll surely get any party started in no time. It's rough and rugged, but still retains Eveson's trademark subtle style and flair.

Blue Mountain is a whole other beast. Its low pitched breaks and quirky melody make it sound more like a double tempo trip hop tune than the junglist skank outs you might expect from Dead Man's Chest.

Emerging artists rarely exceed listeners’ expectations with a complete album right out of the box, but Deena Abdelwahed is the exception that proves the rule. While the young artist of Tunisian origin stood out with her daring DJ sets, it is her surprising first album, "Khonnar", released at the end of 2018 on InFiné which sealed her status of eclectic producer, guaranteeing her a place among the best releases of the year by Resident Advisor, Trax, Tsugi, The Quietus and Vinyl Factory. Khonnar remixes compiles a series of remixes in 12”, inspired by the unique atmosphere of Deena Abdelwahed's first album, while extending it across the entire spectrum of electronic, club and experimental music.

Italian club culture pioneer Beppe Loda, has played more parties and mixed more genres than Jesus (according to Vice Magazine) and his contribution to dance music cannot be underestimated (thanks DJ Harvey). He refined his unique sound and skills, during his long residency at the mythical Typhoon club in Italy from 1980-1987, hypnotising thousands of dancers every week and recording some of the greatest mixtapes ever made (thanks Vice Magazine again!).

New Berlin Based label Protofuture, with its “Typhoon Tapes” series, decided to bring back to life, some of this these mixtapes. probably Focussing on the lesser-known and not non on Youtube'd (yet) between tapes from more than 200 available that were recorded, with the goal being to expose showcase them as, what we consider to be, an important reference heritage, for the present and the future generations of deejays, diggers and music lovers.

“The Experimental Music Program 01/94 was recorded around may '94 at the Sound Music Room club in the north of Italy. Which was the club opened by the same owner of Typhoon, after the that legendary club closed in 1987. It is a very little-known or heard tape, a mix of space rock, trip-hop, break beats and trance, that didn’t see the light, except for less then 100 copies dealt passed between a small circle of clubbers in the north of Italy at the time.”

**We have dug the original covers from 1994 and all the original stamps from the Typhoon era, also a good dose splash of leftover ink, that has been used to stamp all the tapes, from the 80’s till until this release. **So that means that it comes with the original cassette cover from 1994, hand-stamped using the original stamp and the ink from the Typhoon era.......authentic!

Octa Push is a portuguese duo formed by brothers Leo Leoleo and Mushug that fuses lusophone music (Angola, Bissau, Brazil, Cape Verde, Mozambique, Portugal, Sao Tomé) with electronic sounds.

On 17 june, “Língua” will be released as limited edition vinyl on Rebel Up Records for the first time since its original release in 2016 on the band’s Combatentes home label. The vinyl celebrates this hidden gem of an album that has largely stayed under the rader of european and african ears.

“Língua” is the 2nd full length album of Octa Push and features guests such as Tó Trips (Dead Combo), Batida, Cachupa Psicadélica, Cátia Sá (Guta Naki), Maria João Grancha, Ary (Blasted Mechanism), João Gomes (Orelha Negra & Fogo Fogo), Braima Galissa, Alex (Terrakota), AF Diaphra and Gospel Collective among others. The record, almost entirely in the Portuguese language, is a tribute to the Lusophone music that has been made in the last 40 years. Electronic music meets semba, morna, funaná, afrohouse and even brazilian music.

The record opens with the title song Língua, rhythmically inspired by semba, it features the sharp vocals of Cátia Sá, the hypnotic kora of Braima Galissá (who sadly passed away this year) and the guitar of Alex from Terrakota.
In Cueca, Maria João imposes all of her vocal expressiveness on top of an heavy bassline and shows why she's one of the biggest portuguese Jazz references.
In the same heavy bass tone, Trips Makakas introduces the portuguese guitar of Tó Trips from Dead Combo into a dense electronic sound.
Gaia Cósmica has hints of brazilian grooves, features the guitar and deep vocals of cape verdean pop legend Cachupa Psicadélica and also funky keys provided by João Gomes, member of bands like Fogo Fogo, Orelha Negra and cult band Cool Hipnoise.
The rhythm increases in Fogo, in this funaná inspired song, kenyan Isaac Anyanga and Cátia Sá provide the vocal hook while Alex Terrakota shows his amazing guitar skills, newcomer AD2 raps about the cape verdean island of Fogo.
Xilofone Teteté is a xylophone driven electronic track, while Mana is the afrohouse approach by the duo together with kuduro rapper Bruno do Show.
In Barbara the rhythmic energy balances with moments of calm and it's where Cátia Sá's vocals shine the most. It also features Batida, Alex Terrakota and Ary.
LGS-LX has nigerian talents Afrologic and Temi collaborating with rapper AF Diaphra.
The closing track is a heavenly cover of a song by the portuguese icon Zeca Afonso and features the Gospel Collective.

Pete Cannon ends the N4 trilogy with the best of the bunch. This EP is his usual blend of raw Amiga power. Authentic hardcore sound made in an authentic hardcore way, using original ingredients, techniques and studio equipment. All hardware, all hardcore, all the time! However, this one takes a slightly more...piano-ey....turn, and in doing so brings us some of the most brilliant old skool to date. It is certainly an unmissable EP, not only the strongest of the N4s, but also the perfect end to a perfect series. Unless a part 4 comes along, in which case, I will backwards engineer this write up to make it look like it was always gonna be part 3 of a quadrilogy or whatever the word is for that!
Club / DJ Support
Aphex Twin, Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder and many others

Cosmic Bridge’s club focused ‘Earthbase Series’ continues with ‘Nocturnal’ the new release from Russian producer A.Fruit.

Four tracks that fuse Footwork, Drum’n’Bass, Techno and bold sound design into the 160 BPM framework. A er a heavy hitting set of releases via Russian imprint Hyperboloid, Irish modern trendsetters Rua Sound, and the ever vigilant Med School, so please welcome A.Fruit to the Cosmic Bridge roster.

Label boss Om Unit says: “Anna has a rare ear in this 160bpm world; one foot firmly in the techier sound-design lane, and one in the world of fun dance floor sounds. Well mixed, and not too serious! It’s great to have her on board and we look forward to sharing a stage soon!”

Kicking things off is ‘Make Them Shake’, a hypnotic and contorted expression of footwork with bubbling bass and drum FX - only for the boldest of dancers. ‘Polykarp’ comes complete with rugged old school hardcore chops twisted into a technoid stepper. ‘Deep Insight’, is reminiscent of early Moving Shadow Jungle; hypnotic & minimalist with tight drums, glitches and jazzy late night moments. Closing track ’Before You Go’ is a breaks filled, garage-footwork workout; cheeky vocal cuts and rolling syncopated rhythms for your waistline!

Some 3 years ago, Abyss was responsible for one of Myor Massiv's most popular releases. Now he finally makes his long awaited return to the label for a split 12” with Tommy The Cat.

Both tracks are heavy Amen rollers. On the a-side Abyss goes in for some serious hardcore business with “Journey Of A Crackhead” whereas Cat In The Bag head honcho Tommy The Cat opts for a dirty dubwise approach on the flip.

* Belia Winnewisser is returning to Präsens Editionen with Radikale Akzeptanz. The record is her debut album as a solo artist and it marks her second release on 'the curious label arm of Lucerne's zweikommasieben magazine.'

* Radikale Akzeptanz, a furious amalgamation of (synth-)pop references and more abstract sounds, combines long running traits from Winnewisser's practice in various band projects with rather new interests from her studies in sound art. Thus, bittersweet off-pop-hymns with bubble-y melodies can be found next to austere examinations. Add a good amount of time spent in clubs and you get a Skull Disco-esque banger at the end of this gutsy album.
The title Radikale Akzeptanz—or radical acceptance—stems from a concept in evidence-based psychotherapy. Even more than the concept as such that is about accepting uncompromisingly your situation, however, it is the expression's mere sound that is of interest to Winnewisser. Homey and adventurous, gentle and challenging, at ease with itself and full of tension(s).

Edition of 300copies, artwork (incl. booklet) by Vinzenz Meyner.

Quotes:
'Interesting stuff! It has a surprising bit of post-rock language in it to my ears, just executed with electronics.' - Byron Westbrook (Hands In The Dark, Umor Rex)
'A pleasant listen! Especially 'III,' 'Trapped In My Mind,' 'The View' and 'Albasty.' Also, found that the idea behind the title is weighty to the extent it can be related to relevant issues of today's ways of interaction!' - Arcagelo de Castris (Macao, Dance Affliction)
'Sounds like John T Gast, Caterina Barbieri and Klara Lewis making tunes on a space ship!' - James Marrs of Laura Lies In
'This is really good.' - Hypermedium's Timos Alexandropoulos 

Press / Promotion*Airplays on NTS Radio by Flora Yin-Wong, Hypermedium and more, airplay on Radio Raheem by Arcagelo, feature on Noods RadioVarious (release) events upcoming, incl. a show at London's Café Oto, an exhibition in Lucerne and gigs next to Lorenzo Senni, Puce Mary and more.
Premiere of 'WAHDWTH' on Bizaarbazaar.PE / zweikommasieben mailing list = 2000 subscribers

Social NetworkingPräsens Editionen - Facebook = 550 likes / Insta = 500 / Spotify = 350 subscriberszweikommasieben - Facebook = 5200 likes / Insta = 2000 / Twitter: = 680 followers

We all know that when it's a real vibe you can't go wrong. If you add talent and hearth to that you got gunpowder for pure bangers. And that's exactly what we at Hoga Nord Rekord wanted to accomplish with the sixth release of our UK 12inch series. Consequently we contacted Jo Howard from Sunderland in the North East of England.

As a producer and DJ he uses the alias Bird of Paradise. Smoking Weekend is the name of the four track EP. BoP came to prominence via his output on labels such as Jennifer Cardin's Correspondant imprint and New Yorks Throne of Blood. His debut e.p on the former reached number one in the Juno download techno charts in December 2015. As a DJ, he has honed his skills both at his own parties Cubik and Body Talk. As well as being a resident at Man Powers 'Tourist Parties' wich have afforded him the opportunity to play alongside Todd Terje, John Talabot, Daniel Avery and Ivan Smagghe.

Jo is raised on a steady diet of punk/post punk, and learning to play instrumentation from an early age defines why Jo's way of arranging music and his eclectic taste is different to his peers. Something that fits Hoga Nord more than hand in gloves. We prefer to ride it like bareback pirates as you should know by now.

The Smoking Holiday EP opens with Tito. The spooky oblique intro will soon start to roll deep into a dark cadenced haunting and whispering tune that will twist, trance and tribal your mind back to the early 90s mornings. On a loving, yet a bit dark and grimey, dance floor in- or outdoors. Second track Joy-Rides will lug your brains and fizzle your feet with its eclectic format. Ambient mixed up with rhythmic techno and bleep - a good appetizer of Bird of Paradises DJ-sets. B-side chugs on with the title track and ends with a electro tune that sends funky fresh flirtations to Andrew Weatheralls and Keith Tenniswoods project Two Lone Swordsmen. Bird of Paradise: It's authentic, can't go wrong!

One of the most prolific and best-loved producers in underground, electronic music, Fred P christens his new label, Perpetual Sound, with a return to one of his best-loved projects, Black Jazz Consortium.

Perpetual Sound represents an exciting new start following Fred P's decision to bring his former label, Soul People Music, to its natural end. Guided by his keen eye for emotion and experimentation, the label is set to unfold as a space to explorer a wider variety of styles and genres, with Fred able to invite guest collaborators into the fold for future releases.

This first release, knowingly titled 'Evolutions', is rich in the steppin', jazz-tech style that Black Jazz Consortium effortlessly injects with quite so much soul. Opening the EP, the Fred P reshape of 'Essential Paradise', featuring Slikk Tim, is a dynamic house-groover of the timeless variety that the NYC artist continuously makes seem so effortless. Immediately following on, 'Mystery Of Fantasy' generates a wide-eyed swell of orchestral strings, establishing a forward-thinking sense of wonder and opportunity.

From London, Mr. G adapts the same track with one of his hypnotic soundboy stomps, and an alluring vocal, slowly blossoming into a lo-slung groover with a legitimate hardcore and rave influence. After this wave of energy, the record concludes on a more mellow yet equally compelling note with the 'Continuation Interlude' edition of 'Black Key Experiment', a spectral denouement who soft keys and spoken-word samples concerning mankind, technology and the future, reflect the sixties-futurism evident on the record's evocative cover.

Fred's previous label, Soul People Music, has been the outlet for a distinctive style of house music for over a decade. A sound steeped in emotion, musicality, warmth and deepness, the imprint provided a home for Fred's numerous aliases, and artists he championed. Until now most of the catalogue has not been available digitally, but with additional high demand for represses of numerous titles, Fred has decided that fans both old and new be able to enjoy music from the Soul People Music catalogue however they wish. Digital reissues & limited vinyl re-presses of certain titles are to come

Rotterdam based Blendits proudly present their first four track EP featuring beats by Chromatic, J Daure, Bredren & Philth. The tracks are a perfect representation of the artists and label's versatility, ranging from weighty dancefloor steppers to stripped back minimal sounds and even some soulful/experimental vibes.
The 12'' vinyl release includes a download card for all four tracks.

Birmingham Hardcore Badman Deathmachine Back With A 3 Track Monster Vinyl On Prspct Xtrm!

Nasty Is A 190 Bpm Nasty As F*** Industrial Hardcore Killer And The Worlds End On The Flip Seriously Takes The Piss In A Good Way. That 210 Bpm Atmospheric/euphoric Uk Infused Hardcore We All Love So Much And Have Been Missing These Days.
All Killer No Filler. You Need This In Your Life!

Spell PETS backwards to get STEP. Spell STEP forwards and you get PETS going back to basics. STEP is the new vinyl-only label from the founders of PETS - Catz n Dogz - with a focus on the rawest forms and root functions of dance music. STEP searches for the fundamentals with under-the-radar house and techno that's not afraid to be rough around the edges. It's all about the music..