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Stephane Severac's 1987 'Hold On' is one of those obscure slices of pop history whose memory was preserved by the deep diving Balearic heads of the world...

Tamburi Neri is an Italian music duo comprised of Brioski and Andrea Barbieri. Their debut single was 'Pelle Rossa' on JD Twitch's Optimo Music.

'Dolce Veleno' is Tamburi Neri's first release on Mad On The Moon, fusing techno drum lines with spoken word.

The second album from outfit Trauma Trauma contains a elevated blend of primitive electronic music. Humanized machine music that relates to the german label Sky's early 80's releases combined with lo-fi boogie/r'n'b excursions lost in the streets of Stockholm.

Bold, inventive, daring and electrifying, 'Vision Electrified' is Xhin's most personal work to date. An alchemy of IDM, jazz, techno and live instrumentation, the artist's latest polarizing EP breaks through the barriers, further carving his highly unique space out in the sonic universe.Full printed sleeve with coloured artwork on cardboardcreditsreleases June 14, 2019

Full printed sleeve with coloured artwork on cardboard. His last release was in 2017.

Synths, programming and guitars by Xhin
All tracks written and produced by Xhin
Recorded and mixed in Singapore
Vinyl mastering by Simon Davey at The Exchange, London
Artwork by Xhin

R&S welcome emerging UK bass and techno producer Yak AKA John Randall for a 5 track EP of rugged broken beat techno, following up stellar EPs for Version, Martyn's label 3024, and VA releases on Le Chatroom and Brotherhood Soundsystem.

A classically trained instrumentalist primarily based in Sheffield, Randall began making his name as a resident at the cities seminal Pretty Pretty Good parties, quickly picking up the production bug and in recent years scoring a number of heaters, most notably the propulsive techno of 2017’s Mido EP on Version which reached the top of Phonica’s illustrious
Singles of the Year list.

Finding a kinship with the off-kilter grooves found on Swamp 81, Hessle Audio, Livity Sound and Timedance amongst others, Randall's releases have been tipped by the likes of Ben UFO, Martyn, Objekt, Call Super, Laurel Halo and Midland and marked him out as a name to watch.

Restless rhythms are in full attendance in the inspired rush of the tracks 'Wide Eye' & 'Spore'; "I started them the day after going to a sick party when the energy from the previous night was still fresh in my mind". The idea for the track 'Skooma' came to Randall while at home messing with foley samples and processing random noises like scissors cutting and paper being crunched. 'Termina' was constructed after a week long binge of listening to ambient soundscapes, movie & video game soundtracks and fellow R&S allum DjRum's album on repeat.

Randall's attention to detail and sonic craftsmanship alongside irresistible rhythms are a key part of what makes Yak music so alluring. “The music I make is always underlaid with a strong percussive foundation first and foremost," Randall explains "I think interesting and groovy percussion makes the difference between a track that's cool to listen to and a track that makes you move your body.”

''For ECK003 we celebrate Data Room's debut release on Planet Earth.

This EP sees a future-thinking take on the beloved Junglist movement of the past 30 years.

Data Room delivers 3 tracks of different pace & style, centred around the aforementioned influence. Class, sophistication & bass weight can be expected from this 12".

Accompanying DR on the A-side is V Recordings' Jumpin Jack Frost, one of the original pioneers of jungle/drum & bass. Born & raised in London, growing up in the heyday of rare groove, acid house, hardcore & jungle, JJF brings a fast paced 4/4 driven breakbeat track that delivers the goods 20 beats per minute either side of it's original 158 tempo mark - taking the A2 spot to perfectly adrenalize this release.''

Luke Younger returns to PAN with an eight-track album of his most direct work to date.
Composed alone at NO studio in the Essex countryside, to start an album with a piece called
‘Capital Crisis (New City Loop)’ seems an intentional misnomer. Long, sustained periods in the
rural studio setting see Younger working with an array of fragmented, disassociated sound
sourcesto build upon 2015’s ‘Olympic Mess’. It shares a similarly inclined vision of the urban
environment, but here ‘Chemical Flowers’ makes reference to paradoxical notions of authenticity
and creative practice by way of questioning the structures around us.
Collages are assembled and dismantled, temporal and spatial boundaries fluctuate and movement
is an overarching theme. Surrealist drowned world atmospheres sculpted far enough away from
the source of inspiration leave plenty of room for ambiguity. The nocturnal nature of the recording
process is self-evident, and pieces like ‘Leave Them All Behind’ tap into a deep psychedelic
undercurrent. Confused narratives, emotions and aleatory hallucinations ebb and flow throughout.
‘I Knew You Would Respond’ evokes murky soundtrack terrain with eerie repetitive strings and
ambient respite, disrupted periodically by brief bursts of granular noise. It’s one of the records
most unnerving moments, possibly as it’s one of the most recognisably human.
The album navigates dense passages with recurring signifiers. Hollow percussion, modulating
delay and curious field recordings come and go, maintaining a perpetual state of flux where
nnothing stays the same for long. The drowned world theatricals return on the swamp-like
‘Lizard in Fear’ whilst string rhythms creep in on the penultimate track to incite momentary
electroacoustic harmony. Floating synthesis slowly washes over and the title track unfolds - five
minutes of reverb-laced portamento, visions of decay and Editions EG influenced world-building.
‘Movement is key’..

Khanum joins the small but already acquainted Dubs Galore family with 2 soundsystem hitters

The masters for this classic were lost long ago. We have carefully restored them from Mint Vinyl and had remastered at Subvert Central Mastering. Check out the You Tube Videos for a taste of the quality achieved.

Remastered and recut by MUSIC PRESERVATION SOCIETY

Not Glass is the debut collaboration between Alessio Natalizia (Not Waving) and his longtime
correspondent Dimitris Papadatos (Jay Glass Dubs), paying tribute to Latin and Greek authors Ovid
and Heraclitus in a suite of dramatic electronics and cryptic rhythms comparable to a theatrical
soundtrack.
Knowingly, ironically pretentious, yet serious with it, ‘Forma’ is the result of years of daily
Facebook chats between the London and Athens-based artists where they cemented the album’s
concept around key quotes by the legendary poet/philosophers, who hail from their respective
homelands of Italy and Greece. The results are in effect a spellbinding attempt to transmute those
notions within the collaborative, contemporary framework of their music, using patented palettes
of hardware, vocals, and FX to render and reflect core classical mythological and philosophical
ideas about drama, love, metaphysics, cosmology and the “unity of opposites”.
On this timeless plane, Natalizia and Papadatos both step outside of themselves to find “what
opposes unites”, spaciously consolidating their typical, yet contrasting, rhythm-driven approaches
in a reverberant, often beatless sphere of exploration. Removed from their usual handrails, the
artists operate at their most open-ended and subtly suggestive, amorphously shapeshifting from
gloaming shadowplays of synth and keys to investigate arcane percussive impulses and iridescent
ambient whorls.
The result is a perfect, finely shaded marriage of their mutually esoteric, outsider Southern
European energies, which intuitively acknowledges and inhabits the paradoxes of their respective
styles. The illusively static yet mercurial ebb and flow of the atmospheric intro ‘Fallite fallentes’
sets the scene, where ‘Dum loquor, hora fugit’ invokes a viscous but brittle tangle of wide bass
and pointillist rhythms beside a stately cello vignette ‘Ludicrum’ that recalls aspects of Scott
Walker’s mystic charm ’Soused’. The rapid arps and slow moving, glassy pads of ‘Pauper ubique
iacet’ conjure a sublime tension that becomes diffused into the cavernous, hollow dub dread of
‘Ut ameris, amabilis esto’, possessed with its throaty, processed vocal, and the lonely strings and
plasmic electronics of ‘Forma bonum fragile est’ connotes a psychedelic coming-to-terms with
their artistic/philosophic duality.

After a 5 year pause for breath, Rainer Veil return with their debut full length for Modern
Love; an immersive, kinematic tumble through electronic forms from hyper trance to
tape dub experiments and loose polyrhythms - a summoning of ‘ardcore spirits in flux.
A hypnotic soundworld tempered by weighty bass and angular construction, ‘Vanity’
marks a breaking away from the binds of overthinking, an embrace of imperfection. It’s
a brighter set of tracks then anything we’ve heard from Rainer Veil before, discarding the
foggy filters and guitar pedals that were the signature of their first two EP’s in pursuit of
a more loose-limbed and swung ideal.
Opening on the skeletal Trance vapour-trail ‘Sim Screen’ and the agitated ‘Repatterning’,
we head into a ferociously asymmetric warehouse swerve ‘In Gold Mills’ conjuring an
uncanny, nighttime vision of suburban bass riddled with tension and bliss. ‘Shallows’
retreats through isolation dub, echoing ‘Change Is Never Easy’, a re-worked House
template fractured to its bare percussive core, while ‘FM2’ entwines a double helix of DX7
patches with a heart wrench, and ‘Gauze’ dismantles a mosaic of Kwaito patterns, buried
under a haze of smoke.
Tracing rapidly mutating electronic forms, from ringtone hooks to latinate rhythms
and Razor synth edits, ‘Vanity’ explores an instinctive swell of ideas and influences in
perpetual and unstoppable forward motion, a sequence of flash frames captured and
distilled for posterity.

DJ Tango (RIP) was a D&B scene legend and originator.

This series are remastered from Digital Originals and include Dubplate only versions of some classic tracks from the early years

READ CAREFULLY Blistering hardcore punk meets visceral drum and bass. Blastbeats, breakbeats, amen beats and kickdrums. A pure and perfect clash of styles and cultures, born from the same fiercely DIY, anti-authoritarian spirit that has shaped extreme music throughout the decades. This one goes from faster-than-the-speed-of-light-drums with screeching, feedbacking guitars to stomping 220 bpm dancefloor smashers on the flip of a coin.

Five tracks, two guitars, one bass guitar, one drumset, a fuckload of beats and synths. If this sounds too good to be true, that's because it is. We don't know what to tell you, this has never been done before.

For fans of: Minor Threat, Negative Approach, oldschool Amen infused Drum & Bass

Overmono's Poly Kicks label returns with the next installment in it's '50 Locked Grooves' series. Joy O supplies 50 total killer vocal loops.

Peder Mannerfelt & Pär Grindvik push the Aasthma envelope looser, faster, and stranger on a
second limited edition 12”, featuring one cut of blistered power ambient, plus a sidewinding
cybernetic techno twyster - properly f*cked & deadly dancefloor gear highly recommended if yr
into T++, Ugandan Methods!!!
A strong new addition to both artists’ oeuvres, the 2nd Aasthma 12” follows the same formula as
the first, and again finding a smart balance of immediate rawness and classy sound design, but
this time slightly altering the parameters to more reckless and experimental appeal.
The smoky ambient blush of ’Rotating Blue Device’ unfurls a fine mesh of gauzy mid-ground and
prickly surface disturbances to bend the mind’s eye and presumably sound steeply psychedelic
in altered states, which finely sets the tone for ‘Los Angeles’, where they spar with thorny techno
drums and surges of bass voltage in a roving, undulating, crisp but distorted mass that will swill
the club out something rotten.
No brainer.

DJ Tango (RIP) was a D&B scene legend and originator.

This series are remastered from Digital Originals and include Dubplate only versions of some classic tracks from the early years

The time-stopping tract of ’In Demons In!’ is a naturally elemental drone collaboration between
eminent experimentalists Jim O’Rourke and CM Von Hausswolf for their eternal admirers at iDEAL
Recordings
Offering a transfixing peek behind the curtain of pure black hole drone dynamics, ‘In Demons In!’
finds the American in Japanese exile and the proclaimed monarch of the imaginary kingdoms of
Elgaland-Vargaland meeting on common ground after 26 years of international correspondence.
Initiated in Tokyo 2016 and completed over the proceeding two years in Japan and Sweden, the
uncompromisingly adventurous results are galactic in scope and viscerally metaphysical in
presence, conjuring scales of abyssal bass and diffused, atomised, abstract dark matter that make
the listener feel like a speck of stardust floating in infinity.
Using sound as a magickal tool for psychic transport and to finely model notions of the
metaphysical that typically elude human comprehension, the near 40’ work feels to collapse
billions of years into a glacial moment. Location recordings made in Kathmandu lend an barely
there iridescence, like microbial filaments flickering in the endless darkness, to their plunging,
subharmonic basses and vaporised mid-upper registers, where spectral forces comb thru the
piece, only very gradually altering the weightless keen of its planetary mass and mental traction.
Ultimately, and fans are likely to agree, ‘In Demons In!’ amounts to a vitally definitive entry in both
artists’ catalogues, marking right up there with the most abstract wonders of O’Rourke’s electro-
acoustic Steamroom volumes, while manifesting some of the most fascinating results from Von
Hausswolff’s ongoing investigations into drone music’s paranormal properties. In other words: it’s
Grade A+ zoner music.

‘The Royal Garden Covered In Ash’ is a dream sequence of layered and mulched horror-style organs
and synths concocted by ambient explorer Fabio Orsi and the maestro Brian Pyle of Ensemble
Economique and Starving Weirdos. It’s a proper goodun - highly recommended if yr into Dean
Hurley’s super atmospheric Lynchain sound design.
Seemingly crafted to soundtrack bouts of sleep paraylsis, or the the heavy-lidded hypnagogic jerk
phase, ‘The Royal Garden Covered In Ash’ says its piece in gloaming strokes with an overtone of
menace that never quite manifests but lurks liminally, gnawing at the subconscious.
‘Belief is a whisper’ helms the front with a subaquatic swell of nocturnal crimson/blue/black hues
that give way to Pyle’s typical, Vangelis-like brass flares and ghostly synth figures that fleet out
of view just as quickly as they appeared, while the narrative subtly lures us into really noirish
mindspaces.
’You’re So Close, I Can Almost Hold You Again’ phosphoresces on the back, hovering in and out of
view with a beautifully elusive quality - sometimes tangible and shimmering, at others smudged
and just outta reach - in a proper aether dream style.
Beautiful, eerie music.

UK mastermind Phil Gamble aka Girl Unit makes a powerful return with Song Feel, his debut full-length album and first release since 2012’s acclaimed EP Club Rez, featuring Kelela, Taliwhoah, Ms Boogie and more.



An essential member of London’s eclectic Night Slugs camp, he’s back with a fully developed body of work featuring six key vocal collaborators. While still steeped in low-end pressure like his past work, Song Feel r eaches toward a classic timelessness: time-honoured elements of production sit seamlessly alongside the most contemporary sounds, as Girl Unit densely layers radio gloss and big melodies over beats that take influence from a variety of Club and Pop sources.



Since the start Girl Unit has always taken influence from pop, preferring to hear music with vocals both on and off the dancefloor. Here he has created a unique sonic environment for each of his collaborators to tell their story. The record opens with ‘WYWD’, featuring R&B iconoclast and long-time collaborator Kelela gliding over intimate street soul sonics and luminous funky leads. Next, a volatile West Coast bassline and stadium-size dancehall percussion guide British singer Taliwhoah through elegant synth washes on ‘Stuck’. On ‘Wreck’, Brooklyn rapper Ms Boogie spits hardcore verses that twist and turn along GU’s erratic lows, creepy atmospheres and drillin’ drums.



‘Pull Up’ featuring Tampa’s Thast delivering a menacing confrontational flow over gliding subs and eerie staccato. Los Angeleno Rush Davis sings metaphysical soul over a saccharine choir on the slow-burning ‘Evidence’. Lastly, London’s Brook Baili dances with big piano chords and jubilant basslines on the radio-ready swing of ’24 Hours’.



Though Girl Unit gave his features free reign vocally, clear themes of changing relationships in a modern era emerge across Song Feel, lending the record a curiously frothy yet intimate sensation. In-between, blissfully stripped-down instrumental interludes bind everything together, giving the album’s host and creator some much-deserved solo time.

Hailing From Montreal, Canada Is M.s.l. For Their Bakk Debut The Duo Present Three Rugged Floor Oriented Tracks. A Fast Paced Belter For The A Side And Two Nuanced Electro Tracks For The Flip. Comes In Hand Printed Artwork Provided By The Bakk Quebecian Consulate.

-
1
Breach One
9' 36''
2
Interlude One
3' 26''
3
Breach Two
7' 05''
4
Breach Three
9' 32''
5
Interlude Two
2' 29''
6
Breach Four
7' 34''
Breach dives into chaotic systems and reflects on the recent events of protests and riots in the world, exploring the build up and release of tension and energy in a new form of pitch black metal electronics and polyrhythmic structures.

Zeno van den Broek is a Dutch-born, Copenhagen-based composer and artist. Van den Broek works in a multi-sensory way to research and express physical, social and acoustic notions. He utilises audiovisual means to create site and concept specific works. This trans-disciplinary method has a strong conceptual foundation, originating from a background in architecture, which enables Zeno to comprehend and reveal the richness and complexity of spatial, visceral and physical perception. He works with a characteristic artistic language based on minimalist and fundamental elements such as sine waves, lines, noise and grids.

Released on the occasion of Thomas Baldischwyler's booth in the collaboration section at ART COLOGNE 2019.Through a Soundcloud mix by London Crew Front Left Life, Baldischwyler was pointed to the mysterious Laton 12" VI AUX by the Austrian project FON (Formation ohne Namen) which was released in 1997. The project consisted of Johann Groiss und Manfred Söllner, but it was mainly Söllner who was responsible for the production. Baldischwyler got in contact with Söllner in 2018 when he stayed in Vienna and asked him if he could release some of his recent productions, for the second time - after 20 years - on vinyl. While reading a documentation about the SS division "Feldherrenhalle" burning some of the most important works of Austrian artist Gustav Klimt (Especially "Schubert at the piano" from 1899) on the last day (May 8th, 1945) of the second world war in the Austrian manor house Immendorf, with this idea, Baldischwyler started to make the artwork and Söllner selected the tracks which are now in the "hidden" grooves beside the recording of a 1969 workshop for fire safety in California, USA.

ASA 808 delivers his debut mini album, merging his boundary-pushing club tracks with forward-thinking ambient & post-rock influences, dominating the space between the two.

Over the course of several EPs with the Berlin based TOYS label and an acclaimed three-tracker on George Fitzgerald's ManMakeMusic imprint, Asa has established himself as something far beyond a standard dance music producer. With every release, he hones his off-kilter approach to electronic music, continually adding new strokes of colour to his catalogue.

His debut mini-album is no exception: every track bleeds with melodic intricacy and brooding arrangements, showcasing Asa's unique capacity to flip the script.

DJ Support: Addison Groove, Alex Do, Avalon Emerson, Barker & Baumecker, Ben UFO, B. Traits, Breach, Charlotte de Witte, Damian Lazarus, Dark Sky, Erol Alkan, Etapp Kyle, Frits Wentink, George FitzGerald, James Zabiela, Leftfield, Maceo Plex, Marcel Dettmann, Marcel Fengler, Sasse, Skream, Tensnake, Tom Trago, Whitesquare

Repress available in early May.

Faitiche releases a new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA’s meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.

"Watching the Japanese sound artist ASUNA playing the organ, some people might be surprised. ASUNA is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.

I first met ASUNA when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed Signals Bulletin. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.

Whether using prepared organ, Casio keyboards or mechanical plastic toys, ASUNA creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.

The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.

It is no coincidence that ASUNA owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ..."

Jan Jelinek, Berlin 2018

"Mannequin Records and Platform 23 come together to start a series of stand-alone reissues of the music of post-punk / industrialists Bourbonese Qualk, starting with their 1983 album Laughing Afternoon. Formed in Southport during the late-70s, the band came to prominence out of South London's squat scene via their own Recloose Organisation. Early releases including the band's first experiments put to tape and the now highly sought after Sudden Departure compilation featuring luminaries Colin Potter, Eg Oblique Graph (Bryan Jones) and Lol Coxhill, laid the foundations of their burgeoning sound.
Recorded and produced at the Recloose Studios in Camberwell in 1983, Simon Crab, Julian Gilbert and Steven Tanza infused their music with politically charged atmospherics, instrumental exploration, heavily laden reverb and dub, all projected by drum machine rhythms to assemble a musical collage which encapsulated strands beyond contemporary music.
Track titles decipher little, as with the music, a discourse not belonging to a set style or movement, but crossing boundaries of supposition, pushing distortion and outernational leanings towards something else, a primordial discant. While tape loops warp the ears and spoken vocals propel songs like Blood Orange Bargain Day and To Hell With The Consequences and contrasting guitar acoustics pierce the mood on Qualk Street and Spanner In The Works, the overall embrace is claustrophobic, embedding a foreboding for the times. This unique, indulgent, cross genre melting pot where pounding rhythms, wailing trumpets, mournful melodica and electronic pulses all spiral in a contagious dissonance that heralded Bourbonese Qualk to the wider world.

n 2014, the Resono project was set up to study a number of highly reverberant locations around Scotland, with the aim of exploring and experimenting with the sonic qualities and possibilities offered by each.

Research for the project took place in spaces including a water reservoir, giant sea caves, oil storage facilities, an abandoned munitions factory, an early 19th century ice house and a cathedral. Among them was a 200 feet tall disused concrete silo, built in 1964 by the British Sugar Corporation to store sugar beet, but abandoned just eight years later. With the exception of a brief revival in the early 2000s for grain storage, the structure has remained empty.

The extreme acoustics exhibited by Cupar Grain Silo are an accidental artefact of it's ambitious industrial architecture, with a reverberation time approximating 36.5 seconds. Using impulse responses made within the structure, bespoke music was produced, sympathetic to these acoustics. These compositions were then reamplified back into the space in front of a live audience on Saturday 21 May 2016.

Resono was supported by New New Media Scotland's Alt-w Fund with investment from Creative Scotland.

Here we go with one of the most valuable records in the steaming pile of Bogwoppas. This one was bootlegged a couple of years ago from dodgy Youtube rips. So we thought we would go all out on an official reissue for you. Sadly the DATs were long since lost in the midst of time. However a NM copy was sourced and a small fortune spent on restoration. The guy who does the restoration usually works on African Jazz music on Shellac records. So he is used to doing his magic on much worse audio. The upshot of the restoration is the 4 tracks sound almost as good as the original masters. Bear in mind it's a 25 year old record with all the crackle and pop that goes along with that. We've tried to polish these turds without ruining the original vibe too much. The audio samples are the masters we used for production so you can hear them before buying.

Sorry this one has to be a couple of quid more as we shelled out a small fortune on the restoration. You know the score if you want the original though. So hopefully you're not too miffed!

A prelude to their upcoming second studio album, SCAR present the 'Hide In Plain Sight EP' on Metalheadz.

Now 5 years deep into their collaborative project, Survival & Script have continued to forge their own sound resulting in an illustrious back catalogue most could only dream of. The 'Hide In Plain Sight EP' is a fitting addition, encompassing some of their best work yet with 4 tracks primed for the dancefloor.

"including the "en route to Thailand " album on CD-r and the Sound Voyage "Schattenspiel Dub/ Golden Garuda Khidja remix" 12" .FREESOULINC002cdr & 003 . limited edition of 100, handstamped CD-r sleeve with 24k gold leaf."

Sworn Virgins are back on Soulwax/2manydjs label, DEEWEE with two more hugely effective club tracks entitled ‘Lazer Beam / Take Your Lady.

From the green hills of Albania to the back rooms of New York City, Sworn Virgins bring the light. A strangers hand on your shoulder, bright red painted finger nails scratching your thigh, all those beautiful things that made you leave that small town you came from. Greased up and ready to go, close your eyes and take it in.

Dj Tango (rip) Was A D&b Scene Legend And Originator.

This Series Are Remastered From Digital Originals And Include Dubplate Only Versions Of Some Classic Tracks From The Early Years

Early June 2019 Frankfurt am Main based label MMODEMM unleashes DRUMS – the first of a series of vinyl compilations in the spirit of signature sounds, stating a tribute to sound-libraries – a deconstruction of your favorite preset sound-groups.
DRUMS will be followed by sound-themed releases FLUTES, VOICES and SLAPBASS within the next months.

DRUMS features a proggy composition by Eva Geist (Macadam Mambo), a raving clave inferno with odd, pitched chants by Cienfuegos (L.I.E.S.), a dance-floor drum-solo straight from Ireland by Lumigraph (Opal Tapes, Mr. Saturday Night) and last but not least – a drunk masterclass drum-lesson by Peder Mannerfelt (Avian, Berlin Atonal Rec), taking house apart with his “Dumb Drums“.

Alex Jann returns to Censor for the label’s second excursion into the unknown with three direct communications and a mix of the title track from Rotterdam’s Animistic Beliefs.

The EP’s title track Computoid.Transmission.X is a pulsating drum workout laced with dystopian pads, laser-cut leads, anxious bass lines and an evocative mutant vocal from an A.I. system gaining consciousness.

Animistic Beliefs create a darker texture in their Electric Eye Mix of the title track, sending the vocal and lead sound straight through the stratosphere via complex bass and arp phrases that filter and stalk around the lead bringing a deeper and more contrasting A2.

Firewall Culture comes as an intoxicating trip on the B1 with off-world FX, feral acid lines and a spacetime-defying style of vocal that haunt Alex’s work.

Jupiter Storms on the B2 ascends the EP to a higher plane with deep washes created from evolving pads adding space and movement to the final track of the release, all accented with glacial micro drops, syncopated beats and tight trickling synth sections. The release was mastered by Keith Tenniswood at Curve Pusher.

Japanese maverick ALTZ teams up with relative newcomer IGAXX for a wonderful debut on the new LADYBUG imprint...

Having released the superb 'Permanent Vacation' on ALTZMUZICA a few years back, the two made a musical connection that has come to fruition with their celebrated Star Child parties & this collection of mesmerising cuts.

Osaka born ALTZ has forged a genre-defying career both behind the decks and in the studio, always unconventional, he combines a wealth of influences into something genuinely fresh.

He capably takes the A side here, with 'Ottie' a loose, musical and low-end heavy Theo style jam, while 'Sly' is a gurgling synth-out.

Tokyo's IGAXX steps up for the flip, with the atmospheric and intricately realised 'Sonorama' leading the charge. 'Minotaur's Dish' presents us with another exquisitely layered number, with aquatic undertones and a hypnotic appeal. Finally 'Unnn' leaves us with another beatless synth exchange, ending what has to be one of the strongest debut 12's we've heard in a while !

Bybo Funk's interstellar and futuristic sound returns in the form of a brand new LP entitled "Black Eye Galaxy".

June Records presents their seventeenth release, ”Diataxis" by Ioannis Savvaidis, which is comprised of 4 recordings and their accompanying texts.

Diataxis is an audio interplay between Optical Networks terminology and the main artwork of the release. The sound is transmitted throughout abstractly and emotionally structured spaces.

Recorded live in Savvaidis’ studio in Athens between July and December 2018.

We're delighted to share this record from the Moscow-based recording artist OL aka Oleg Buyanov. His most recent work, the double LP "Height Difference" on the seminal Gost Zvuk label, saw him transmit his research in soviet sound heritage into a range of genres and tempos. On "Dismeteo", we see him inhabit a similar atmosphere, refracted through a different lens of influence. In Buyanov's own words, "The tracks are like concrete blocks & buildings lost in the woods. It's a point where correct geometry and mathematical constructions meet with organic forms.

Third Space was inspired by a digital painting of a house by Marilyne Blais. A printout of the untitled work was pinned to the wall in Casa de Haikustudio, becoming an unexpected influence on the record. The duo realized early on they had started to imagine the soundscape inside the dream-like dwelling. The depth of field is fuzzy, angles are confused, and the structural integrity is unclear. On Third Space, People Plus wander freely between real and psychedelic territories, dipping into trip-hop, downtempo, and jazz. They find their sonic context in a hybrid space - neither the bedroom nor the dance floor.

Third Space is the second release from People Plus, a collaboration between Joli B and Mood Hut's CZW.