Beats Vinyl New Releases - News

PAN welcomes back the Lifted ensemble for a second cross-continental adventure off the grid,
simply titled Lifted 2. It expands on the expression of improvised fusion that brought about the
spectrum of styles explored on their 2015 debut album for PAN.
Lifted is now a core group of Future Times boss Max D, Matt Papich aka Co La, Jeremy Hyman and
Motion Graphics., alongside Jordan GCZ, Dawit Eklund, Will DiMaggio, Beatrice Dillon and Bass Clef
“On this record we went a lot deeper into our kind of studio technique,” Lifted say. “We tried to
cultivate the sound using the studio as a primary tool, almost a member of the group in a way.”
Max D’s international crew of Future Timers play deft roles throughout Lifted 2. Jordan GCZ
and Dawit Eklund both return for ‘Lifting’ alongside 1432r’s Sami, NYC’s Will DiMaggio and Sao
Paulo’s Repetentes 2008. Beatrice Dillon and Bass Clef, two highly-decorated artists from the UK
underground, make telling contributions which mark the latest in a long line of celebrated creative
collaborations for the pair. Further input comes via Aya, vocalist and bassist for crucial Japanese
experimentalists OOIOO, and Martin Kasey, a friend of Papich with a background in Baltimore
theatre, summoned for Lifted duty to provide some striking saxophone blasts.
How do all these collaborations manifest on Lifted 2? It’s a sort of inverse process full of blind
takes with the results more bruised than polished. “The song stays fluid until the end. We pile the
ideas really high and then decimate them,” Lifted say. “We delete until the songs are crystallizing;
lay a grid of silences to organize the tracks. The breathing spaces become definitive.” These seven
tracks adroitly weave through mood and vibe, demanding heads lock in with an initial blast of
whip sharp percussive hits and contemporary no-wave blowouts before letting off steam with
soothing ambient synthesis. “Black Pepper” acts as the album centerpiece, an unhinged mangle
of SH101 basslines, freeform flute & saxophone and multiple percussive sources brought to order
by Papich’s studio dubs. “Rose 31” edges closest to the kind of jazz fusion that inspired the project
from the off, Lifted utilising the various classic instruments deployed by the greats of the game.

“Style” can be defined as that special ability to watermark every track with an instantly-recognizable identity. Local Suicide, aka Munich’s Brax Moody and Greek-born Vamparela, has it in spades. And following releases on labels such as Bordello, My Favorite Robot, Multi Culti, Roam, Duro and OMBRA, it only made sense that the duo would eventually find its way to Lumière Noire. After all, “black light” (as per the meaning of Chloé’s label’s name) could describe the way Local Suicide’s music flirts with the more troubling zones of the listener’s psyche, where danger roams and aural comfort is no longer a guarantee. The EP’s two tracks set a dark, shifty sonic tableau, in which German-American multidisciplinary artist - and a unique personality of the Berlin underground - Nicki Fehr comes to blend his voice with Vamparela’s. With its swerving bass slithering over a slow tempo, Leopard Gum is the perfect slow burner, a slice of comatose disco that will find its way to the darkest corners of nightlife - and haunt its DJ sets. The synths that come crashing across the track’s Smagghe & Cross remix add their saturated signature that provide a different kind of hook through its breathless nine-minute run. The same measured tempo is found once more on the more ethereal Already There, where Local Suicide affirm their adherence to the more captivating signatures of new wave and post disco. Permanent Vacation stalwarth Lauer adds a surprizing electro pop shimmer to the track. With Leopard Gum’s opaque and impenetrable atmosphere, Local Suicide have released one of their strongest efforts to date.

Four variances of Shadows In The Sun from Midnat’s dreamy dubtechno infused ambient album Small Things In Life courtesy of Glo Phase, Maps Of Hyperspace, Diahgonal, and Aural Imbalance. Each brings their unique take on Kenneth’s original arrangement and sonic presentation.

Opening the side, Aural Imbalance flashes all this traits of luscious pads and sublime breaks on his version. Glo Phase takes the original’s core dubtechno themes and infuses them with a sweet sneaky midtempo chug to bring the bump and hustle for house headz. Maps Of Hyperspace rounds out the A-side, delivering another of his exceptional remixes with this terraformed slice of chillhouse as only he can do. Diahgonal brings the epic and ambience on his beatless rework. Approaching Silence closes out our journey with a return visit to Midnat’s gene pool.

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

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

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

The Music from Matthew Barney's Drawing Restraint 9 is a soundtrack created by Björk in collaboration with her then-partner Matthew Barney for his film of the same title.

For this project Björk traveled to Japan to study ancient Japanese music. Several tracks are made with the sound of the shō, a Japanese instrument which contains 16 various reeds; the shō performances are from Mayumi Miyata, one of the world's greatest shō players.

She also appears in the film, playing her instrument. The song "Holographic Entrypoint" features a Noh score and vocal performance by Shiro Nomura. Björk brought "Nameless" back from her 2003 tour, and, with the help of Leila Arab, looped and edited it to create the track "Storm".

Alternative folk singer Will Oldham (also known as Bonnie 'Prince' Billy) is featured on the first track, "Gratitude", singing a letter from a Japanese fisherman to General Douglas MacArthur set to a melody by Matthew Barney. Björk's vocals feature only on the tracks "Bath", "Storm", and "Cetacea". "Gratitude", "Shimenawa" and "Cetacea" feature harp player Zeena Parkins, who previously collaborated with Björk on her 2001 album Vespertine. "Hunter Vessel" was later re-used on her album Volta for the tracks "Vertebræ by Vertebræ" and "Declare Independence".

Deformer is known for breaking down musical barriers as well as crushing taboos and oh boy, are you in for a treat with this latest release. Musically Deformer reinvents his recognisable sound once again and it's no surprise that over the years many people consider Deformer a genre in itself. The record is fierce, it has dark humor, explicit content, original arrangements and the Deformer signature sound. What better to wrap this release with the bizarre artwork of famous Japanese manga artist Shintaro Kago. It's a match made in.. well, a horror hentai dungeon I suppose. I never knew that I would be comfortable in such a place, but all I can say is that I can't get enough of this record! Deformer has gained popularity in Japan in recent years and this is his tribute to his Japanese fans. Inspired by Japanese hentai Deformer introduced a new genre, sexually explicit Japanese Breakcore now known as: 'Bukkakecore'.

The vinyl release comes with a download code containing two bonus remixes by Japanese Hardcore heroes Myosuke and DJ Technorch.

[a] a1 Bukkakecore [Beat-Bukkake]

Open Letter to the Government of Georgia and Madam President Salome Zurabishvili

Dear Governing Class of Georgia and dear Madam President,

I hope you will allow me to first write my sincere greetings. I will spare you the J'accuse, but I am going to delve into a sinister and shameful situation for our otherwise beautiful country.

My name is Irakli Kiziria, I was born in Georgia and I am a musician living in Germany for almost two decades. I first heard about Mikhailo two years ago through friends and activists. I listened to his music and met him during an interview with Electronic Beats that happened in 2018. To be able to meet him in prison gave me the chance to exchange with him on different projects. It is not easy to collaborate with someone alienated from “regular” society, with no access to the internet and so on, but it is also very interesting. After almost a year, I am very happy and proud to announce that my label is ready to release our record on June 15th.
I believe music is an expression of freedom and that Mikhailo expresses in his music his longing for it. Maybe if you listen to his music, you will hear the voice of our brothers and sisters in prison. Maybe you will feel and understand that he and many others do not belong there. Maybe you will find the courage to change these laws that hurt so many of our brethren. And maybe you will try to help them see their families and their friends sooner.

My name is Mikhail Todua, I am turning thirty-four this year and I was raised in Tbilisi. Music was always my passion since childhood, which is why I decided to work in this industry. Thirteen years ago I met a girl named Salome in a club, we fell in love and I married her before she gave birth to our daughter who is now nine years old. Sadly for the past six years, I have only talked to my little girl on the phone. She thinks I live very far away in the USA because we did not want to hurt her at such a young age with the truth.
On September 12, 2013, while I was driving back to Tbilisi from holiday, I was randomly stopped and taken into the local police station. After which I was sentenced to nine years for possession of the drug MDMA (for personal use). After two years in jail, I was granted the right to work on music, and the penitentiary administration allowed me to arrange one room and transform it into a music studio. Music is one of the most important things in my life and I could not be without it. I collected various parts of music gear that people sent me. It was not easy, and I had to depend on the kindness of many people to get what I needed. During my time in prison, I have managed to release five records. This is a labor of love that I craft and work on during the 5-hour blocks of time I get five times a week in the studio. I have created music for a play based on 12 Angry Men and for the documentary Facility 16. I also offer music therapy for my fellow inmates.

My name is Salome and I am Mikhailo's wife. We are preparing his music studio space that will be ready for him after his release. Of course, Mikhailo has changed, but I do not know if the reason is due to his arrest or simply time, because many people change and improve without going to prison. I do think that prison showed him a different side to everything. He uses time as productively as possible there and I believe he is using his abilities to the maximum. What he is doing there no one has done before in Georgia. In September it will be six years after his arrest and I think that this a lot of time for such an offense.

My name is Beso. A few days after I had been released from prison, after serving eight years on drugs charges, three police officers took me to the police station demanding cooperation in order to prosecute Lasha.

My name is Lasha and I was arrested in 2013 for the possession of 0.00009 grams of desomorphine found in a syringe. An amount so small, it cannot be seen with the naked eye.

His name was Demur, he was twenty-two years old and in August 2016 he committed suicide. The young man left a note which spelled the abuse he had been subjected to. A policeman had threatened him into revealing the identities of people suspected of dealing marijuana in the town of Samtredia.

We are just a few names in the thousands that have been impacted by the current Georgian legislation. Our drug policy is one of the strictest in the world. Is it right? We are not just numbers, we are lives that are destroyed, children that are left alone, futures that vanish.

Maybe Mikhailo found solace in prison and became what he was meant to be: a musician, an artist. But what about others who don't find this welfare, this strength? People with no support that are pressured by a police force who often do not see us as human beings, because the current laws do not encourage them to do so. Please Madam President and our government, think about this youth that is getting stolen away. We have seen and endured these sufferings for too long. We can no longer be prolonging these hardships that are unfair and unjust. What we are asking for is not to decriminalize or legalize the use of drugs, but to correct the political errors which have led to and caused so much pain for the children, women, and men of Georgia.

Georgia has one of the highest incarceration rates with 252.2 inmates per 100 000 inhabitants, in Europe, only Russia has a higher rate. (Source: SPACE 2018 survey)

Georgian law does not establish a threshold for small quantities, which means that possession of even particles automatically qualifies as a large amount, triggering criminal liability and a mandatory minimum five-year prison sentence.

Between 2006 and 2008, the first two years of the “zero tolerance” policy, the number of registered drug offenses tripled. It also coincided with a tripling of Georgia’s prison population.

Modeselektor veröffentlichen eine dreiteilige, limitierte Picture-Disc-12"-Serie mit den Highlight-Tracks ihres Albums "Who Else" samt Vinyl-exklusiven B-Seiten. Die Single "Wealth" mit der Londoner Grime-Künstlerin Flohio erscheint samt Instrumental und Accapella-Version (Vinyl-only). "Who", die knusprige Kollabo mit dem estnischen Rapper Tommy Cash, wird mit Modeselektors atmosphärischem "Who Else" gespiegelt. Und der Dancefloor-Hammer "I Am Your God" mit Otto von Schirach ist gekoppelt mit dem nicht minder effektiven "Bronko". Alle Picture Discs erscheinen in vollwertig bedruckten Innenhüllen und Außencovern.

Bogwoppa is back with some serious tunes recovered from DAT! This time we bring you a 4 tracker of some of the tracks from Secret Squirrel . These tracks are all from the original 1992 releases on the Bogwoppa label but includes 2018 remix of "It's Outrageous". Ltd to 300 copies!

Every once in a while a spark of an idea balloons into something astounding and takes the drum & bass world by complete surprise. As an ode to the seminal track by legendary British band The Beatles, Urbandawn has created a very special 174 cover of 'Come Together', featuring the vocals of the world-famous Beatles Bootleg frontman Tyson Kelly.

Urbandawn's unrivalled production has seen him turn the heads of the scene's most infamous figures with support pouring in from dance music titans Andy C, DJ Marky, Danny Byrd, London Elektricity and the track even getting rewinds in the booth from Skrillex.

The 'Come Together' cover doubles down on the combined doses of nostalgia and euphoria. Where the energy from the original British pop culture classic is matched with all of the extravagant trimmings of Urbandawn's unique D+B style. It's first-class-crunch has made some serious noise and propelled him to the forefront of the D+B community, making Urbandawn one of the most sought after dubplate creators.

After notable releases such as his phenomenal 'Gothenburg Cluster' LP and the delightfully dynamic 'Sleeping Awake' EP, the cover comes in a class of its own that has come crashing through the ages - coveted by many, and now finally available for all on a limited edition one sided heavyweight, etched vinyl with classic 60's style design

“Last night I turned into a cat. Just like that.” A Colourful Storm presents an album by Brunnen aka Freek Kinkelaar, one of the everlasting beacons of the Dutch underground. One half of fabled group Beequeen (1988-2015) with Frans de Waard and collaborator with the likes of Nurse With Wound, Paul Panhuysen, The Residents, Merzbow and Edward Ka-Spel, Kinkelaar presents The Garden of Perpetual Dreams as a newly visioned recording of a cassette from 1989. Produced with Raymond Steeg of The Legendary Pink Dots and mastered by Steeg and Peter Van Vliet (Mekanik Kommando, De Fabriek, The Use Of Ashes).

Banging tribe UK style with a Raggatek solid influence... Defenitly a masterpiece refreshing the style

Man Band returns with its second release of 2019. Newcomer Tibia makes his first contribution to the label with ‘Polypola’, an outstanding 5 track EP of otherworldly broken techno, rolling downtempo rhythms and electronica hits for spiritual awakening.

Grattis! Thomas Flachsbinder 40år EP, otto002.

The title of the EP is "Happy birthday! Thomas Flachsbinder 40 years" and it pretty much sum´s up the whole reason for this EP. Our dear friend Thomas have been making lovely music for some 20 years now. And this EP is an selection of different aliases his created or been involved with. The genres goes from 50-60´s surf, rockabilly, rock, german house, ska, jazz, amen breakbeat organ pop to bossa nova. So hopefully you´ll find something that you´ll like.

✖ INCL 7 STICKERS, 2 BUTTONS + 2 FOLDOUT POSTERS
✖ SPECIAL „GLOW IN THE DARK“ PRINTS
✖ LIMITED TO 300 RECORDS WORLDWIDE!
✖ COVERART by SCOTT ROBINSON 3D (UK)
✖ MASTERING by STAZMA THE JUNGLECHRIST (F)
✖ DESIGN + PRINTINGJOBS done by e_wann (BE)

Definitive Hospital Productions artist Jim Mroz aka Lussuria follows duties on Prurient’s ‘Rainbow
Mirror’ LP and and appearance on Vatican Shadow’s ‘Berghain 09’ mix/compilation with a new
opus worthy of comparison to his dank ambient classics, ‘American Babylon’ [2012] and ‘Industriale
Illuminato’ [2014]


In the foreboding ‘Three Knocks’ Lussuria limns an unconscious, near-death experience based on a
tale told by his mother, who was admitted to ER after an allergic reaction escalated into something
inexplicable. She was put in a medically induced coma and administered a breathing tube. When
under the effect of heavy sedatives, she spoke of a visit by angels who warned of an impending
disaster. She eventually came around, and recounted that her illness was preceded by three knocks
at her office door, slow and heavy - proposing that each knock was a mockery of the Holy Trinity;
one knock for each crucifixion - but when she answered nobody was there. This omen, and its
confirmatory hallucination form the basis of Lussuria’s utterly absorbing new album.
Using a Hawaiian flute made from a human femur, and an Iron Lung for percussion (don’t ask how
he accessed it), together with operatic tape cut-ups and field recording made on the shores of
Long Island’s empty asylums, Lussuria stages his mother’s vision in four parts of lugubrious, black
metal ambient gloom. The atmosphere is just frighteningly tangible, revealing a sense of depth
perception and stone cold clamminess that brings its spirit vividly within touching distance, from
the over-the-shoulder vocals and cracked window pane howl of ‘Fentanyl Chaser’, to the hollow
clank of oil drums and spent ammo casings in ‘Three Knocks’, and through to the frankly terrifying
descent thru choral loops into a bony flute solo with ‘Confused And Ill By Shadows’.
This would all just be another urban myth were it not for the exquisite detail and dramaturgy of
Lussuria’s production and arrangement, which typically imparts its feeling in no uncertain terms,
most acutely hyperstizing (making a superstition real) a state of psychological dread and panic
induced by the occult imagination.
• Supremely dank, occult dark ambient and submerged black metal
atmospheres
• Follow-up to scene-defining classics ‘Ghost Entanglement’ and
‘American Babylon’
• RIYL Cold Meat Industry, It, Prurient, Deathprod
• Mixed and mastered by Josh Eustis. Vinyl cut at D&M, Berlin

New compilation Untitled collects seven collaborations inspired by the life and work of Jean-Michel Basquiat, pairing emerging and established musicians to create a genre-defying compilation of new music.

* Shabaka Hutchings, Kojey Radical, Wu-Lu, Nubya Garcia, Lex Amor, Ego Ella May, LayFullstop, Moroka, AJ Kwame, Lord Tusk, Roxanne Tataei, Kz, Mala, Joe Armon-Jones, Confucius MC, Kwake Bass, Maxwell Owin & Coby Sey.
* 12″ gatefold sleeve printed with UV Spot gloss
* 1 x 180g heavyweight black vinyl
* Artwork by Fabrice Bourgelle & Anja Ngozi
* Mastered by Finyl Tweek, London.
* Ltd Ed. of 1500
* Vinyl and digital release date: 31/05/2019

A1. Wu-Lu, Lex Amor, Ego Ella May – ‘Legend’
A2. LayFullstop, Moroka, AJ Kwame – ‘Broadcast By Chocolate’
A3. Lord Tusk ft. Roxanne Tataei – ‘Know Ways’
B1. Kojey Radical, Shabaka Hutchings – ‘No Gangster’ (Produced by Kz)
B2. Mala, Joe Armon-Jones, Nubya Garcia – ‘Scratch & Erase’
B3. =CoN+KwAkE= – ‘Same Ol Samo’
B4. Maxwell Owin & Coby Sey – ‘Response to Michel’

Released by Lonely Table, Anja Ngozi and The Vinyl Factory, with support from the Arts Council England, the album spans genres and eras, touching on jazz, experimental electronic, post-punk, dub and ambient influences, painting a diverse picture of the UK’s expanding underground sound.

Drawing on Barbican’s major Basquiat retrospective in 2017, the project also explores themes around identity, representation and social inequality.

As such Untitled also encompasses a youth project with Ruff Sqwad Foundation, in which seven BME young people aged 12-18 were given the opportunity to visit the Tate Modern and create music in response to what they saw.

As LayFullstop says: “We’re celebrating a legend who fought with his brushes and spoke with his work. The need for his work is still as current as ever. The issues we’re attacking are still as current as ever. So it’s only logical that Basquiat is and will continue to be as current as ever.”

Bastard Jazz is proud to present the new EP from Vancouver's AstroLogical, also known as one half of production duo Potatohead People. With a long list of collaborations outside of the group ranging from Pomo, Phife Dogg, Illa J and Chin Injeti - Astro's new EP "Private World" resides somewhere in between jazz, soul, ambient and future electronic vibes with it's lush keys, chunky breaks, and deep musicality.

Nate Drobner aka. AstroLogical is a multi-instrumentalist producer/composer based in Vancouver, B.C. Canada.
After releasing a number of solo instrumental hip-hop projects through the net label Jellyfish Recordings in the early 2010's under the AstroLogical alias, he had began focusing his energy on the producer duo Potatohead People; a collaborative project with his old friend Nick Wisdom, eventually getting noticed signed by Brooklyn-based record label Bastard Jazz in 2012 (with the help of Nightmares On Wax). Their 2018 full-length sophomore album 'Nick & Astro's Guide To The Galaxy' was released to great acclaim and led them to be invited to Jazzy Jeff's annual Playlist Retreat alongside such luminaries as Lord Finnese, Young Guru, and Pharaohe Monch.

Following last year's "Şeb-i Yelda" EP under the R.A.N. moniker, HÜMA UTKU delivers her debut full-length album under her own name "Gnosis": a blend of abstract electronics and ritualistic throbbing beats with field recordings and ambience, available as LP and DL.

With "Şeb-i Yelda" (2018) HÜMA UTKU introduced her musical style to a broader audience - storytelling through elements of industrial, techno and abstract electronics, blending in field recordings and traditional instruments from the middle east. A sonic journey that now continues on "Gnosis" that owns the signature sounds of the Istanbul born / Berlin based electronic artist and pushes them further. The Greek word "Gnosis" meaning "knowledge reached through intuition and individual experience" has been used throughout history by various schools of esotericism and thought, to signify gaining insight on workings of the universe. Coherently the album follows the hermit-like, truth-seeking traveller on a path through various times and geographies, through different forms of human experience. Merging field recordings that UTKU did in Greece, Egypt and Turkey with ambient soundscapes, abstract electronics and ritualistic throbbing beats, "Gnosis" is an intense sonic travelogue where the storyline exceeds the borders any specific musical genre.



Credits:
All tracks written and produced by Hüma Utku.
Tracks 2, 3 and 5 include samples of field recordings done by Hüma Utku.
Mastered by Rashad Becker at D&M, Berlin

9 years on from his Tectonic album, J Sparrow drops his next LP on MEDi with a carefully curated body of work showcasing the breadth of his production skill.


"#000000365 / Dark365 comes as a surprise, but one that feels the product of careful craft"Tomas Fraser - Mixmag Album of the month

Digital: 12 x tracksVinyl: 2 x 12" (6 x tracks)

31.05.2019

ABOUT//BLANK is a collage of collages, an EP pasted together from tracks that are built of parts of various tracks, recordings, sketches, hooks, grooves and loops that Persian Empire has been working on in the past few years. It's a warm piece of fragmented soul music and a project that's far more vocal than any of Sam Khatam's previous productions.

The vocals, though, float in a cloud of haze. Recorded lo-fi, on the fly, impro style. They're intentionally imprecise, leaving blank spots and holes for listeners to fill in. Thus the play of these ambiguous lyrical fragments becomes not just open to but in fact invokes obligatory interpretation. It's the listener who with active interventions solves the mumbles and connects the gaps.

The EP draws from classic funk samples and hiphop production techniques and nods to the end of 90s cut 'n' paste of vanguard styles Mo' Wax, Warp and Chocolate Industries championed so well. With all this retro, throwback swing Persian Empire delivers soft soul that doesn't fit anywhere but in the present.


Persian Empire has been immensely influenced by UK dance styles, from 2step to bass yet his music usually can't happen without the usual intruders - from jazz to experimental electronics and hiphop. With special attention to rhythmical details Sam's put out music for labels likeCosmonostro and Record Record and since 2015 he runs his own Prrrrrrr Records, with a focus on young promising blood.

His live acts are not to be missed.

From the green-fingered Terrarium collective springs its new label, DayNight Savings. Conceived as an interview series, DayNight Savings invites musicians and artists to share the music that soundtracks their daily and nightly routines. In its incarnation as a label, DayNight Savings #001 presents a streamlined and coherent exploration of this theme; an A-side guides you through the day, and a B-side devotes itself to the night. One side for home listening, with club ready music on the flip.

To start the Day, Gary Wilson’s She Makes Me Think Of Endicott sets out with an atmospheric intro that evokes those tender waking moments. The calm is soon broken by an energetic drop into a joyous Rhodes-driven track with a lilting melody and an addictive beat.

Eric Jackson’s Moments steers us late into the afternoon. A scene-setting synth is coaxed along by a Jazz beat in half-time but this is swiftly replaced by something more rhythmically and texturally complex - the virtuosic live drums doing most of the work. Vicky Flint’s trumpet floats effortlessly over the jungle-esque breaks creating a soundscape for focussed daydreaming. File this in between Rhythm Section and LTJ Bukem.

On the Night side, placid acid producer, Tinman, presents his previously unreleased Stay Gold. Analogue thrives and the pH remains sufficiently low. Flying head first into the early hours of the morning, this peak time acid belter will set any dance floor alight.

IND 003 is the 2nd Vinyl release on INDUSTRIA. Robi Insinna’s new project label. Industria is not just about music, but also products, art and more. This record one can say was planned a while back when Robi had a DJ gig together with Vox Low. The next day while meeting in the lobby for a late coffee and a croissant in a quiet Bordeaux Hotel, the idea came for a swap Remix on Vinyl. When Robi started Industria, he still had in mind that the second Vinyl release could be that swap. Guess both Artist coming from a similar background and working in a similar analog organic style liked the idea and knew what they would get sound wise would be something both have plenty to play with.

On the A side Vox Low remixed Robi’s HARD WORK, which was already released in 2018 including a remix by Die Wilde Jagd. Vox Low turned the track into a dark more dancefloor orientated version. Still with the trademark Vox Low sounds and Guitars.

On the B side Robi remixed You Are A Slave. He liked all the sounds so much that he thought it is better to keep as much from the original as possible, still trying to make it his own version. He added percussion to create a more funky/dark sound and extended the track. The dub was done in an old school kind of way. All the parts where laid out on a mixer and assigned to various tape delays and reverbs and would be dubbed real time, in the school of Mad Professor or Lee Perry. Not an easy approach and it needed several takes till it started making sense. All mistakes and organic things where important to this Dub.

The new solo project from Jack Stevens AKA one half of SpectraSoul. Under the guise of Workforce, Jack presents 'Late Night Soundtrack Vol. 1' on his new label, Must Make Music.

"Last year I had a chance to work on some music on my own for a bit. I bought some new synths, learnt some new techniques and had some fun writing some new music. This is the first of three EP's that I plan to release in 2019 under my solo Workforce alias, and the banner of 'Late Night Soundtrack’ - a title which hints at the loose concept behind the music; drum & bass for dark rooms, big sound systems, and late nights. I just wanted to challenge myself again, not knowing if I could do it. I wanted to back myself and see where the road might lead."

In mid 2018 Denham Audio and & Borai put out a self released cassette tape named Club Glow Vol 1 full of early 90s hardcore and breakbeat madness, it was well received and tracks started showing up in DJ sets and radio shows. The most popular and widely played was "Make Me" First championed by DJs Peach and Sienfield, the track took on life of its own and has been named checked and ID'd in groups many times by people desperate to know what it was called and where they could get it.

We have remastered the track alongside a new production by the duo that also has that 90s hands-in-the-air-singalong feel, and are able to offer a heavy weight 12in complete with artwork by Mani Festo for everyone who has been asking if it was ever going to be released on wax.

Part of The Optic Sevens Reissue Series
Limited to 500 copies on splatter vinyl Includes Poster & Postcard
The Servants second single, Originally released on Head Records in 1986 as a 12” EP . This is it’s rst appearance as a 7” single.
In 1986 The Servants recorded a John Peel session, got a full page feature in the New Year’s edition of the 1986 ‘NME’ hailing them as the next big thing, appeared on their C86 cassette and played shows with amongst others the Jesus And Mary Chain, Felt, Primal Scream, the Go Betweens, the Pale Fountains and the Wedding Present

Tim’s trash-opera ‘Time With People’ continues to be
performed around the world, past champions of which include
Object Collection, a.pe.ri.od.ic, Edges, and NEC, and he is a
co-curator of London’s longstanding ‘Music We’d Like To Hear’
series. Despite decades of fiercely independent production,
this is his only piece conceived of first and foremost as an
album.
'Pleasure Island' [SLP053] is available from 23rd May 2019 on
LP and download. Mastered by Giuseppe Ielasi. Artwork by
Rick Pushinsky. Distributed by Boomkat.


'Pleasure Island' is British composer Tim Parkinson’s
disquieting and joyous Slip debut: play time in end times.
Titled after the Disney adaptation of ‘Paese dei balocchi’ (or
the Land of Toys) in Carlo Collodi’s ‘The Adventures of
Pinocchio’ (1883), 'Pleasure Island' is a metaphysical
playground of organic and digital cohabitation, its inhabitants
pacified by toys and comforts.
Alongside Dawn Bothwell, Suze Whaites, Laurie Tompkins, and
Francesca Fargion, Parkinson exerts an uncannily emotional
pull from an unlikely but potent alliance of ultra-minimal
aesthetics, dead-beat drums, junk electronics, and mechanised
mantras.
Voices are hemmed in by electronic sound. People buffeted
around by machines.
Words surrounded by garlands of digital
interference. Time repackaged as countdown.

Moonshoe Records has bowled over first listeners by presenting this new side of their sphere - Air Space Ark’s debut, “All Rivers Lead” charts the course of divergent streams of contemporary ambient music, downtempo rhythms, and electroacoustic experimentation, arriving at a calming confluence of these sources. Across the 6 songs on these two sides, they evoke a calming and contemplative headspace

333 is an exquisite study in balance - the intermingling of bird song water sounds that could equally be field recordings or synthesized foley - the ambiguity adding a delightful trompe l'oreille effect - and crystalline keys ; these airy sounds weighted by washes of subbass.

BLANK PAGE is almost like a version of the previous track, retaining the nimble birdsongs and heavy sub, but foregrounding a lolling, stumbling hip-hop beat and placing more emphasis on the effects wizardry as abstract sounds careen across the track in wipes and wisps, before stripping down to a beautiful coda of birdsong, piano plinks and a textured backdrop.

The celestial keys, flute-like thrums and gentle chimes of WORDS BETWEEN SELF evoke the golden age of spiritual jazz, but the hazy ambiance and shuffling beats transmute the other elements around them into something more introspective and personal than jubilant praise. Lyrics aside, the subtle funk coupled with the pensive, meditative air channels the spirit of Stanley Cowell’s classic TRAVELLIN’ MAN.

LOFT IN 7 Is the most “out” moment here. It has echoes, literally, of jazz. Like decaying tape reels disintegrating in real time, we feel the tape buckling and warping under the weight of time as the sounds of a synthetic band warp and shift against electronic impulses and glitches, eventually leaving just a lingering, ghostly imprint. .

DUST SONG veers the closest towards a straightforward instrumental hip hop cut - a submerged sounding breakbeat coupled with a tender piano melody - but is buoyed by drifting pads and a dense, hallucinatory bed of effects.

CONCRETE closes proceedings. Charged with a crepuscular energy, it’s all-together as mercurial and magical as the transition from day to night. Different elements swirl and coalesce, honing in on dense, textural moments across a horizontal drift. The end effect is hypnotic yet captivating, so much so that when the track eventually blooms into silence at the end you’re struck by the brevity of the whole experience. Thankfully you can listen to it again!

Long time unsung UK techno artist Aubrey is to release Gravitational Lensing, a first artist album since 2001 and his third in all. It lands in early 2019 on Out-ER and across 12 tracks it finds him getting more personal and instinctive than ever before with jazz, techno, broken beat and house all colouring this most coherent of musical adventures.
Aubrey s discography dates back to the early nineties, when he was a key part of the UK scene on labels like Solid Groove, Textures and Mosaic. Up there with the greats from Chicago and Detroit, he has turned out a steady stream of music that marries perfect dance floor functionality with real musical invention. Always inspired by anything deep with a good groove, everything from synth band Japan to funk king George Clinton, electro break beats to Jean Michel Jarre all inform his work.

As a DJ, he cut his teeth playing the biggest raves in the UK with names like Carl Cox and Eddie C having been swept up by the acid house records that hit English stores when he was just 15. Add in a love of jazz, ambient and US house, and you have all the eclectic influences that this criminally under-the-radar artist has drawn on for his latest album.

It is one that finds him really put his personal stamp on his sound. It s a chance to be more who you are and what you feel without pressure to conform to a particular sound, it s a chance to be free, says the artist of the album process. It was partially produced at Out-ER s studio in Nard , Lecce over the course of a year s worth of studio jam sessions, and is his finest and most cinematic work to date.

Things kick off with the ambient synth modulations of Aerglo Visible before exquisitely loose jazz drums and sci-fi pads suspend you in the cosmos on Floating to Rigel. There is an experimental feel to the off grid drums, rippling chords and drunken keys of Doctor Portia that keeps you brilliantly off balance, and the first deep techno trip is Journey To the Blue Planet , which has gorgeous ambience swirling over rolling, dubby kicks and soulful Detroit synth work. Carrying on through more lush, musical synth work and inventive drums, there are moments of heads down dance floor power and hi-tech soul, serene techno landscaping and chord-laced deep house that is superbly cerebral throughout the album.

In all, it makes for a complete and storytelling record that draws on a rich variety of genres and reworks them into something deep, multi-layered and hugely emotional that works as well in headphones, at home, as it will in the club.

Redsonja Records is again back with a special project on a special format introducing the new NCFM series. Focused on The Zenobit3's particular way of configuring his Electro universe, the series consists of three exclusive instalments presented on coloured 10” vinyl. Each release is limited to 100 copies and comes with an exclusive cover print picture designed by S.Halley, who has managed to illustrate some of the extraordinary fictional worlds that surrounds the artist through a mysterious mini-series.

During a deep cosmic music journey through outer space: "Feeling the need to search for extra-terrestrial life I found myself, and now my mission is to reach the soul of humans through music beyond the stars". The Zenobit3 found a renewed sense of purpose, a belief in himself that welcomes new perspectives. The original roots and pure values of electronic music also found their place in the infinite space, as they are the starting point of the adventure as well as its final destination. His track named Madrid My Beat, released on vinyl in 2017 on Drivecom and signed as Zenobite, was the reason why Dj Picht became The Zenobit3. The Electro sound he carried in his blood from long time ago took hold of him and Madrid My Beat has become an anthem of this captivating music style. Now we are proud to present our 18th release, The Zenobit3's first solo release on Redsonja Records.

Lights from the Past (NCFM 01) is the name of the first EP on the NCFM series signed by The Zenobit3. This release is strictly limited to 100 copies and comes nicely presented on red 10" vinyl, containing two powerful electro tracks.

NCFM (Side A) is a strong statement about defending music values and respecting a life style that focuses on a deep and strong feeling for music. Using LFOs, he creates aliens sounds, 100% Zenobit3 style. Melodic structures lead by delay lines and arpeggios that will hypnotize you.

Lights of the past (Side B) refers to current trends in ancestral wisdom and inner knowledge loss, as well as the lack of understanding of how Laws of The Universe operate. This hypnotic track comes with a solid structure, a killer bass line, ascending melodies and groovy soundscapes that invite us to dance... The result is a stunning track.

If you managed to grab one of the limited 12″ with ‘Falling’ & ‘Light Show’ plus remixes – then you know what you’re in for here, and the chances of your captivation are already high…
If not, then here’s your chance for the full dive into E B U’s one-in-a-million sound world.
It’s a very special record, one of the most uniquely alluring albums we’ve heard in some time – and we’re sure this is only the beginning of her journey, so do yourself a favour and step inside now.

Throughout Hinge, Unnatural sounds and pitches exhale in melodic chants, ominous basslines resound and eerie loops fixate in this macabre ensemble. You are captive in her world. Moments of haunting clarity keep you wondering where she will take you next whilst strange narratives unfold. In her music and performances, her chameleonic visual display is charged with emotion, keeping you suspended in a state of flux as she orbits through the spectrum. ‘Stimulated by human behaviour and existence, she questions the very nature of being and invites the audience to explore through her cathartic performance.’

Her sound captures elements of the radiophonic qualities by electronic pioneers such as Delia Derbyshire, through to unlikely melody and harmony akin to that of Ryuichi Sakamoto or Laurie Anderson.

It’s an exploration of strange places with a weird & wonderful sphere, sonically capturing the colourful intensity of Alejandro Jodorowsky’s Holy Mountain, or perhaps sounding like a much more out-there, much more convincingly extra-terrestrial Space lady… These are just vague comparisons though… Essentially, her sound is a total world of it’s own.

Hinge, E B U’s debut album, is an outer body experience that will conjure up memories you never had before, images you can’t quite place but somehow relate to, and a sense of sweet disorientation as you slip into a whirlpool of shapeshifting melody, harmony and frequency.

The 4th disc on Young Echo Records comes locked & loaded with Jabu re-works from the extended family: SKRS & Jay Glass Dubs at the controls!

Pressed to 12″ with two remixed cuts from Jabu’s Sleep Heavy LP on Blackest Ever Black, YE004 follows the murky lyrical showcase from Manonmars alongside O$VMV$M, and reaches out to two producers who have been operating with similar style & fashion to the YE family over the years – forward thinking, eyes-closed, ears-open individualism is the order of the day, and these two remixes showcase this unique application of sound in loose dub structures perfectly.

Each approach the originals with their own take on skewed & stretched dubwise styles – letting the vocals swerve & sway over hypnotic rhythms, off-kilter atmospherics and big belly bassline… Like the best of dub, there’s an instant infectiousness to the rhythm, and a new-found focus on the original elements of the song – however, it’s too easy to apply the dub-tag to this – SKRS & Jay Glass Dubs are doing their own thing – listen and hear for yourself.

[a] A1. Fool If (Jay Glass Dubs Rework) - Remix [Rework] – Jay Glass Dubs