Beats Novedades

* Following on from the success of our 'Liftin Spirit Reloaded' vinyl series, we are pleased to announce our next project in collaboration with Ram Records. 'Ram Reloaded' will be a series of limited 12" vinyl from Ram's early years, re-mastered from the original DATs and presented onto our usual, high quality, heavy weight vinyl.

* In 1994, Ant invited Flatliner over to the studio being one of many local DJ’s that orbited the Ram HQ in Hornchurch. In just a day, the pair created one of the most celebrated tear ups on the label so far in the form of 'The Big Bang'. The track broke the mould of what had come before, with dual oscillating detuned sine basses and heavily time-stretched Amen chops. The breakdown also featured one of the most emotion ladened pad sections that balanced up the track, gaining the respect and adoration of the masses and fellow producers alike. Ant and Flatliner went on a major tangent and flipped the script to focus on a more rolling heads down vibe for ‘No Boundaries’. An anthem of the AWOL club, the slow time-stretched vocal and haunting melodies cemented the 12" as one of the most successful on the Ram label since 'Valley of the Shadows'. A year on, Ant Miles under his alter ego as Liftin Spirits, loaded up the parts and began to chop the strings and pads creating a more sinister and darker sounding remix of ‘The Big Bang’. To complete the remix 12”, Andy & Ant loaded up the parts for 'No Boundaries' and went to work under their prolific 'Origin Unknown' alias. Accentuating all the original ideas and taking them further into a full on roller vibe, with their usual precision tooled breaks and pounding bass lines.

2LP (4 tracks on each side)

What makes a being ? What tends to be, always, and yet remains never achieved ? Jonnnah puts on this set of imagination many parts, many pieces, many elements. In this ninth release on Worst Records, the Lyon based musician gathers all the impressions defining this nebula. « Mental & Physical » is a collection above all things. We talk about a collection of influences. Industrialized trip-hop, dubstep for concrete spaces, new-age-infused ambient daydreams, links are hazy but incarnate. A constant rotation, between extasy and uneasy meditation, shapes this mass of artefacts that seems almost involuntary as they dig so deep into instinctiveness. At the root of this first magmatic opus lies a years long work in progress, a sonic research, the attempt to make live this body of vapour which is the music in becoming. It's a listening with no answer, but the pulse is vivid and vital.

Bristol's loudest and fiercest duo Bad Tracking step up on home turf via ATC as part of the double drop, giving us their debut album, jammed with unhinged sonics, raw & industrial at its core. But contained within the fury, there's a definite heart, soul and musicality contained within, setting it apart from 'just another noise album' - it's a special one. Mastered and cut by Lewis at Stardelta. Served in printed sleeve, designed by Kin40k.

BERTIE MARSHALL is a writer/ performer. He is also an acclaimed memoirist, most well known for his book ‘Berlin Bromley’ (2006) about his transformation from Bertie, an anxious, androgynous, depressed teenager, into Berlin, a teenager who would reject suburban values and become a founding member of punk’s ‘Bromley Contingent’, alongside Siouxsie Sioux, Steven Severin and Billy Idol.

October 29th sees Upset The Rhythm release ‘Exhibit’ by Bertie Marshall, collecting for the first time his songs and spoken word tracks from this fertile period of the 80s-90s.

He’s currently working on ‘Looking: Backwards To Go Forwards’, picking up from where ‘Berlin Bromley’ left off. His other books include the debut novel ‘Psychoboys’ (1997), ‘Nowhere Slow’ (2014), ‘From Sleepwalking to Sleepwalking’ (2016), ‘Wild - re write’ (2017), ‘The Peeler’ (2018) and ‘Pete’s Underpants’ (2019). In 2015 the British Library purchased his writing archive.

From 1980-83, Bertie was the frontman for post-punk boundary-pushers Behaviour Red - they released one single (favourably played by John Peel), did a mini-tour and broke up. At various times Behaviour Red featured Noel Blanden of Normil Hawaiians and fine artist Nicola Tyson. Their sound was characterised by looseness and freedom, boasting at times tribal drumming, streams of vocals, dazed guitars and feedback. Bertie continued sketching out atmospheric compositions afterwards too, walking a tightrope between bewildered pop and gothic folk. Central to everything is Bertie’s commanding voice; heartfelt, impassioned and masterfully leading you through the story.

Bertie became interested in spoken word and performance poetry in the 90s, which then led him into writing and performing in his own plays and devised theatre pieces. He did regular readings and performances in NYC and began writing books inspired by the visceral talents of Acker & Burroughs. Having lived in Berlin, San Francisco, and Brittany, Bertie now lives in London.

Early support by: Laurent Garnier, AME, Marco Bailey, Jennifer Cardini, Terrence Fixmer, Kyle Geiger, Marcel Dettmann, Apparat, Richie Hawtin, Vril, Charlotte De Witte, Sasha, Benjamin Demage any many more..



Fresh off of a remix for Grimes’ “My Name is Dark”, producer Julien Bracht has been powering through CV19 studio seclusion on full-power, with a distinct vision for brighter days ahead. Bracht’s new album, “Now Forever One,” an emblem of dark analog synthwave, is set to drop June 11. Bracht’s first solo album under his own namesake is cut with surgical precision for the shoegazing astral sound travellers who long to break out of their pandemic quarantines, and reconvene for techno-induced ascension. The album’s first single, “Melancholia,” and it’s accompanying video, is already breaking hearts and charts. An exquisite sonic hybrid of communal revelry and profound introspection, “Now Forever One,” focuses Bracht’s multilayered craftsmanship on resolving this era’s angst with sensory exploration and optimism.



As a lifelong drummer, Bracht’s insatiable musical energy lead him to bang out his first 3 EPs within one year of first being signed in 2011-12. In 2015 he founded the band Lea Porcelain with Markus Nikolaus in London. Their hypnotic post-rock debut release in 2017, “Hymns to the Night,” gained instant acclaim from UK tastemakers Lauren Laverne, Steve Lamacq and Zane Lowe, to name a few. The lads broke back onto the international stage with dates on several major festivals around Europe, including the Leeds/Reading Festival, Great Escape Brighton and Latitude. Rich output combined with the inclusion of live drums in his solo live sets quickly gained Bracht recognition and slots on the global tour circuit.

“Now Forever One” forges Julien Bracht’s transition from techno djing, while continuing the explorations of texture and timbre over functional song structures from Lea Porcelain, to a more open-ended search for the aural sublime — the substrate on which music, life and light glide to create momentary nodes of meaning in an increasingly meaningless sociopolitical atmosphere. These are crucial themes to Bracht’s process and approach. “The intention in my music is to strengthen people’s awareness and minds… I want us all to gather in spirit and stick together.”

The album exemplifies Bracht’s hunt for elemental juxtaposition with the warm Prophet 6’s sawtooth howls and bright pads against chillingly indifferent pulsing basslines and percussion. Clocking in at just under 65 minutes, “Now Forever One’s” tracks are sequenced to take the listener through the full emotional arch of a 15-hour rave, with an emphasis on those moments of collective epiphany where heaving techno floors become the perfect microcosm for an idealistic and interconnected future. Interspersed with improvisational one-takes, the album submerges the listener in polyrhythmic meditations, of which “Streets” and “Nocturne” are standout examples, and soars on the vaulted synth melodies of future dance floor favourites “Melancholia” and “Dreams of Euphoria.” Sascha Ring of Apparat & Moderat puts it perfectly: “I played “Melancholia” the night I got it at Mutek Festival in Mexico City, and instantly knew it’ll shine on a big floor at the right time. It’s just the right balance of majestic melodic deepness.” The sounds are both triumphant and exploratory.

Greater than the sum of its parts, Bracht’s latest release hints at the artist’s emerging potential for nailing our moment’s zeitgeist; learning to live smaller while constantly seeking higher heights. Inhabiting the fertile ground between solitary rumination and dance-floor convenance, the launch of “Now Forever One’s” lunar expedition into the techno oblivion of pandemic lockdown is oddly fitting.

This limited edition 10” is very limited in numbers, and features an exclusive remix from rising star Knuckles in a new old skool style, plus a classic, never previously released and lovingly remastered version of the massive Midas track Break On Thru! Get In!

Repress

The album is the second full length album by Shawn Rudiman for Pittsburgh Tracks and follows his latest release--the joint EP with Jordan GCZ entitled AMS>PIT on Love What You Feel

* Artist Statement:
Conduit contains moments from the last two or so years of my life. There have been a lot of trying times and ups and downs in there. These moments are the exhaust of that life. Some more subjective than others. We are simply conduits for whatever flows through our cores. We tap into it. We allow it to flow through us. As it takes shape, we select its forms and hone its output. We are simply conduit for our work. Maintain the Flow State.

Carlos Nino follows up his endeavours on International Anthem with this set of blissfull ambient sounds, again touching base with his friend Jesse Peterson whom he made an album with for the japanese label Disques Corde and also collaborated with for the 'High with a little help from' album on Kindred Spirits. Much recommended!

Textural sound reflections, communicating our enthusiastic, diverse relationship with nature, The Earth, woven from improvised patterns, forming the fabric of composition . . . Among each others closest friends, Jesse Peterson and Carlos Niño sonically painted land, sea and skyscapes, for Pablo Calogero to tell impressionist stories a top, full of questions and answers about the many experiences and adventures in life. Drives To The Beach is an eager companion for you, on your own unique journey.

Blue Vinyl

iquid Drum & Bass 4 Autism is back! This time, the label is featuring a 4 track vinyl release, which features some of the songs from the top highly acclaimed album. The "Redefining the Spectrum" album, a 42 track charity album that provided 100% of the profits to charity, ended up funding hundreds of hours of treatment for autistic children. The vinyl sampler further showcases the immense talent that was on the album, all while providing another opportunity to raise funds for the students. Highlighted on the vinyl sampler are top producers such as Makoto, Furney & Scott Allen, Stunna, and Nelver. Also featured on the release, are the stunning vocals from Christina Tamayo, and the soulful sounds of Alternative Rock band, PRSNA. The unique and limited blue vinyl release is in high demand, so make sure to grab your copy before they're gone!

For more about the Liquid Drum & Bass Album and the Foundation, check out the website.

‘Eighteen Movements’ is a collection of recordings captured at live performances between 2017 – 2019. The record’s rich textures combine ambient, tribal rhythms, field recordings, ritualistic vibes, and a meditative feeling that runs through the entire LP. Đ.K. is in full flight mode, illustrating the project’s aptitude for deep transcendence.

Đ.K. is a DJ, composer & producer based in Paris, France. A versatile and prolific artist, D.K. has cultivated an eclectic body of work in recent years, with acclaimed output on renowned labels including Antinote, Melody As Truth, 12th Isle, Good Morning Tapes, Music From Memory’s Second Circle imprint, and L.I.E.S. (as 45 ACP).

Luminous and mesmeric, D.K.’s work combines finetuned traces of house, synth pop, ambient, balearic, minimalism, and fourth world music, creating energies and soundscapes which aim to invoke elevated forms of consciousness.

Prismatic tones exchange space with devotional drums on ‘Clarity’ and ‘Echo Chamber’, as Đ.K. hits a hypnotic stride somewhere between Jon Hassell, HTRK & a Folkways percussion ensemble. With ‘Full Consciousness’ meditation bells ring out across a progression of gleaming new age emanations, conjuring an entrancing spell. Movements of pulse and ether.

On ‘Mirror’, sonorous, elaborate percussive phrases are interwoven with drifting ambient vapours, while ‘The Other Side’ veers into broad, rolling blasts of dub and Antipodean drone, a cavernous trance evoking the early roots of Ras Michael and Yabby You, pared back to resolute drum sequences and infused with esoteric chimes and sultry synthesis.

The finale of ‘Eighteen Movements’ represents one of Đ.K..’s most ambitious recordings. ‘Awakening’ is an epic tone poem of aqueous, outer planetary resonance that completes this mercurial cycle with a poignant, euphoric fadeout. Chronicled in the moment, alternating between rhythm and repose, momentum and aviation, 'Eighteen Movements' sees Đ.K. voyaging further, into vast, uncharted outskirts of sound. A collection of movements for heightened states and new diversions.

Mastered by Jose Guerrero at Plataforma Continental. Graphic Design by Javi Tortosa.

140 gram vinyl

Hailing from Georgia’s capital Tbilisi, Gacha Bakradze is one of the national scene’s leading electronic music exponents. He returns to Lapsus Records with his new album 'Obscure Languages', his second release for the Barcelona label.

Following the superb LP 'Word Color' Lapsus Records, 2018, which appeared in several ‘album of the year’ lists for publications such as Pitchfork and XLR8R, the prolific producer now presents 'Obscure Languages'. This new piece of work could well be described as a sound continuation from his previous album and maintains a powerful narrative at its core.

‘Obscure Languages' delves into the world of cinematic soundscapes, replete with microscopic details and fragments that showcase a luscious IDM style audio palette, laced with ambient, avant-techno, bass and sound design.

12" inch white label sampler of tracks from Richard Zijlstra's 1980s Genetic Factor project.

Songs touch on loss, flaws, hiding places, love. Deep connections to the Bay Area, and
the North Coast, with its unique moods of solitude, beauty, and isolation—a place described and transformed by the chaos and power of river-mouth, wild maritime storms, columns of mist that rise up unexpectedly on the road at night. Portions were recorded on Mount
Tamalpais during a self-made residency years back, other pieces made longer ago in Portland, while the rest were tracked during more recent sessions in Astoria.
Throughout, Harris threads a hidden radiant language of voice, disquiet, and guitar, framed by open space and the sense of being far away.
Echoing a lighthouse, burying the faults of being human / Into things that we project upon the sky at night.

For our second release on +98, we have London raised and Berlin based Lost&Found. He’s in the hot seat with this underground UKG EP “ Gass The Club” with PJ Bridger stepping in to deliver a perfectly executed remix.

Lost&Found is no stranger to the scene and sets the pace with this heavily club influenced EP, where he draws his inspiration from growing up in London clubs in the 90’s. He certainly knows how to steer a crowd into the right zone and with this EP, there is something for everyone on the dance floor..

LIMITED ICE BLUE VINYL

On Delta, a dozen artists across four continents freely interpret Fountain across a double LP, again featuring Donna Huanca’s surreal artwork, and the unearthly graphic manipulations of Nufolklore Studios. Remaining faithful to Fountain’s presentation, Lyra’s curation reflects her commitment to stylistic diversity, with the old guard and the next wave alongside each other. Where some artists chose to rework existing works, others composed new material from fragments found across the record. The results showcase the very themes of wordless identity conflict and technological concerns that Lyra and her foremothers have projected.

the limitless highs of Sigur Ros and the steady pulse of The Knife. KMRU cloaks Lyra in a hazy film, soundtracking the depths of space embedded within the ghosts of jungle past. Gabber Modus Operandi expose the realities of artificial nature in a multicoloured rave dystopia. Eris Drew’s double opus takes the tenets of her philosophies into both ambient and peaktime expressions of the trip, the things that lead to the decision before, and the portals that can open up after.
Ben Frost dissolves Cradle’s deep and tremulous hymn in analogue warble, distressed tape spooling out of control and breaking up over the heavens, while remaining oddly serene. Heaven In Stereo conjures up post-rock with trap drums out of Gossip, buried in bass weight and dub space. Nailah Hunter and Tygapaw transform New Moon into an earthbound ode to nature and a pounding trance state induction, while Caterina Barbieri and Hudson Mohawke extract and amplify Tendril’s mind and soul. Vessel takes what feels like the entire album and builds it up to a frantic climax before subsuming into Enoesque pastoralia.
Alongside Delta, Lyra has collaborated with Spitfire Audio to develop Siren Songs, a free plug-in for their LABS series made from playable samples from Fountain, able to work across DAWs in multiple formats. By removing barriers to access, the listener can craft their own responses to the album’s themes, or use its language to express their innermost feelings in their own works.
Life and society emerge where water tessellates over land and provides fertile soil. The chances of evolution that made them interact as they did could have had meaningful environmental consequences had things developed differently. For Lyra Pramuk, that fertile geology provides the ground for her albums. Fountain was that burst of water and swell of energy that propelled her to critical acclaim. Delta is a new take on a traditional remix album, centred on transgenerational dialogue and global storytelling, and will be released again via Iceland’s Bedroom Community label. Projecting Fountain through prisms, wordless songs fractalize into lush creations that blossom with new life.
The ability to have such sheer diversity of material in one place is thanks to the global increase in accessible technologies, fueling an explosion of creativity and genre exploration that was thought of as unthinkable in our lifetimes. Like its namesake, Delta is a point where creative flows meet and triangulate, where global and personal folk histories are presented in novel ways, where transcultural collaboration is celebrated, where many worlds emerge from the depths below.
RIYL: The Knife, Spacetime Continuum, Lorenzo Senni, the soundtrack to Planete Sauvage, 3:45 AM by the front left speaker, 7:45 AM as light pours in and everything winds down.

Suburban Base and Marvellous Cain assemble once again to bring a huge 4 track EP of Original Jungle material.
Marvellous Cain, a producer synonymous with Jungle/DnB and best known for the massive tunes 'The Hitman' and 'Dub Plate Style' has remained a staple in every Junglist DJ's box for over 25 years. His legendary guest appearances on Kool London and his live shows at Boomtown Festival and the Kingston Carnival brought him enough attention to warrant a remix of Bob Marley's 'Jammin' alongside General Levy.

Now Suburban Base is proud to present 'The Dubplate EP', which brings four of the most requested and rarest unreleased Marvellous Cain ‘dubplate only’ tracks together in a single release.

Opening with the never before released VIP remix of 'Dubplate Style' which has only appeared in certain A-List DJ's sets, the EP brings absolute heat from start to finish.

The super rare unreleased gem 'Snapper' brings more fire, with chopped Amen's and deep subs. Only ever promo’d and withdrawn means that its one of the most sought after tracks in Drum & Bass and Jungle, and where those handful of copies have resurfaced they’ve traded for up to £150 on discogs

'Killer' with its familiar ragga influences was again never given a full release only appearing as an album exclusive on the 1995 Telepathy Dub Plate Special project.
And completing the package is 'Giness Punch' which only appeared as bonus tracks of the CD version of Marvellous Cains 1994 album and never got released on the vinyl format of that album.

All of these tracks remained on dubplate and despite the huge demand for a full release remained exclusive to their project usages. None of these mythical tracks have ever had a digital release or full vinyl release… until now… from the vaults of Suburban Base we bring them all together on this killer EP from Marvellous Cain

Marvellous Cain's 'Dubplate EP' will be released on vinyl & digital formats on the 21st May 21 .

4-Track Guitar Music is the unassuming title of a cassette by Swedish composer Mats Erlandsson, which was originally released on Kali Maloneʼs and Maria W. Hornʼs XKatedral label in 2018. Composed using only, as the album title implies, a 4-track tape deck and an electric guitar, the music was later modified on the computer and re-amplified in the machine hall of Ställbergs Gruva, a disbanded Swedish iron mine.

The music is primarily composed using melodic motifs and canonical structures in which a set of pitches are transposed in octaves and delayed, creating an ever-evolving cyclical polyphony. Contrary to the albumʼs modest title, the music is a tour-de-force of exuberance and stoic catharsis, continuously bordering on a sense of ecstatic serenity, sincere contemplation and restraint.

Now Vaagner is proud to present the work on vinyl for the first time via a fully remastered reissue of 4-Track Guitar Music, with the Double LP including a bonus track titled "Cellar" by Mats Erlandsson which was not included on the original release.

As a composer, musician and sound artist, Mats Erlandsson is part of the vibrantly reemerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound.Erlandsson has undergone studies in composition in Stockholm, where he received a Masterʼs degree in Composition of Electronic Music. In addition to his own artistic practice, Erlandsson holds a position as studio assistant at the world-renowned Elektronmusikstudion (EMS) in Stockholm. He presents his work both as a solo artist and in collaborations, most notably together with Yair Elazar Glotman.Recent releases include Minnesmärke on Hallow Ground (2020), the collaboration Emmanatemade with Yair Elazar Glotman on 130701 (2020), Hypodermic Letters on Portals Editions (2018), Selective Miracles and Valentina Tereshkova on Posh Isolation (2016), and again together with Glotman, Negative Chambers on Miasmah (2017). Erlandsson has performed his work extensively, most recently at Présences Électronique hosted by the GRM in Paris, CTM 2019 and The Long Now in Berlin, Norbergfestival in Norberg, Sonica Festival in Ljubljana and in various music and arts venues around the world.

Grey Marbled Vinyl

Neighborhood Watch Patrol is back, already.Another four track EP blending breaks, minimal and tech house. Continue protecting your Neighborhood with this delicious little white label. Limited to 50 copies. Be Quick!

Grey Marbled Vinyl

Neighborhood Watch Patrol is back, already.Another four track EP blending breaks, minimal and tech house. Continue protecting your Neighborhood with this delicious little white label. Limited to 50 copies. Be Quick!

SUBURBAN BASE 30th ANNIVERSARY - THE LEGACY

THE SUBURBAN BASE 30th ANNIVERSARY BOX SET IS HERE! The ultimate collectible must have item for every dance music fan from Rave to DnB.
Suburban Base Records as a label played an integral part in the evolution of Hardcore and Rave through to Jungle and Drum & Bass, this is just a small snapshot of that unique role and journey in genres.

An incredibly high quality package with 6 VINYL EPs cut for DJ quality and levels of volume, with over two thirds being unreleased and exclusive VIP versions! Alongside remastered in-demand classics restored from their original source DAT tape pre-masters recorded directly from Subbase Studios.

The cover sleeve artwork takes inspiration from the very first ever Suburban Base album - the 1992 release 'Subbase For Your Face', with a stunning brand new hand drawn illustration from our original in-house artist the legendary Nodz, with echoes of previous Suburban Base artwork designs. This time the title fonts being highlighted in gold for this celebratory box set in contrast to the original albums silver. The attention to detail is second to none.

This unique collectible is In stock now and ready to ship, we do ask that you limit your purchase to 2 copies max per person so as to make it fair to everyone to get a chance to get a copy. We have a 500 allocation of these and will be doing them as two timed drops, again to spread the sales in a sense of fairness.
This album will not be released digitally separately from the box set purchase. And this pressing run will NEVER be repeated.

A truly incredible collectible and investment. Sometimes something comes along that you never knew you needed in your life until you see it, and you instantly know that this is something you cannot live without. The Suburban Base Anniversary Box Set is that must have album!

'Unfailing Love' is a deeply personal and intimate project by zake & marine eyes. These tracks will take you on a journey of grief, resiliency and the power of the human spirit; a consistent path to learn compassion and empathy deeper. It is a testament of unfailing love. Forever floating together.

London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind.

London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind.

Two years after his hypnotic debut album Periodic Perciotic, wanderer of the worlds Kundan Lal returns with new outernational downbeats! Three of the tracks on "مجلس | Majlis" are based on Pakistani dance classics by Muhammad Ashraf (PAKY LIFE), Khalil Ahmed (OVO RHAPS), Sohail Rana & the Five Caps (VULGAR DRAGONS), and one on turkish psychedelia by Moğollar (TUDAMUS).

Selected micro-sequences of these old recordings are tangled up in a dubby soup of Dr. John-esque swamp percussion, off-beat bass lines, droney organs, a creaking synthesizer assembly and the trademark oriental field recordings by Kunsaf Halil, which are spread all over the record. "مجلس | Majlis" can perhaps be seen as the missing link between Débruit and the Contact Field Orchestra.

The Mecánica Clásica project combines modified elements of early electronics, krautrock, ambient, minimalism & fourth world music, generating an interplanetary space where enterprising guitar tones, lush synth sequencing & off-kilter percussion coalesce.
‘Mar Interior’ the new album by Mecánica Clásica is a fusion of kosmische & fourth world music inspired by ancient Mediterranean culture. Loosely translated as ‘Inland Sea’, ‘Mar Interior’ is thematically centred on the history & legacy of the ancient civilizations that proliferated around the Mediterranean Sea.
Augmented by environmental recordings, Mecánica Clásica renew the extensive topographies opened up by early pioneers like Craig Leon, Jon Hassell, Brian Eno & Cluster, in an immense vision of Spanish space ambient. On ‘Mar Interior’ their work expands upon these influences, moving into a shimmering, hypnotic sound world which finds common ground with the likes of O Yuki Conjugate, K. Leimer, Roberto Musci & X.Y.R.
Mastered by Colin Potter (Nurse With Wound)

Taking inspiration from the open spaces, noise, and density of his adopted city Copenhagen, Perko follows up the acclaimed ‘NV Auto’ EP with new music that yields maximum impact via minimalist principles.

Across the record’s eight tracks, rhythms are reduced to their most essential components. There is no wastage, just pure precision and skeletal funk juxtaposed with microscopic melodies. Embedded across the entirety of the release are the sounds of the city. Listen carefully and you’ll hear recordings of his friends and their local neighbourhoods, with the city becoming a bed of sound.

‘Stutter’ melts these influences into quick-footed vaporous electro. On ‘The Reason’ Perko strips away the CSI synced excesses of drum n bass and synthesises percussion from samples of Stevie Williams skating at Love Park.

‘Grounds’ is a collaboration with Australian DJ / Producer Lia T, and stems from an exchange of field recordings between the two. These recordings became the core of the track, before Lia laid down additional synths. This all bleeds away into ‘Luna’, which connects gently cascading melodies to the urban landscape.

The record closes with ‘Pippin’, which comes in two versions. The grime concrète of the ‘Version’ oozes feelings of creeping dread and nightmarish bass stabs. The original takes the stabs and merges them with his take on the steppers’ riddim.

In Perko’s world, introspective and breakneck electronic music share the same space, mirroring the complexities of the city around him.

The Three Lives are a duo from Glasgow/Dublin where a shared love for dub music is strong. Here we have 5 tracks channeling pure dancefloor energy directly inspired by the 90's Steppers sound, with ambient moods and mystical vibrations

4 Irish producers go incognito on a Garage/Bass/UK Funky/Tech House tip for volume 1 of the inaugural COVID-19 Pandemic Unemployment Payment (PUP) series.

An’archives are proud to present a reissue of the self-titled first album by the trio of Akiko Hotaka, Takuya Nishimura and Ikuro Takahashi. Originally released in 2020 as a limited CD-R on the Uramado label, those who had the chance to hear this collection of live recordings, documenting a brief window of exploratory activity for Hotaka during the mid-2010s, were knocked out by its elemental force, Hotaka’s minimal, carefully sculpted pop songs spirited away to other planes of where by Nishimura and Takahashi’s improvisatory tactics, with Hotaka’s guitar now tender, now furiously overloaded.

Hotaka first came to attention as a member of Tori Kudo’s Maher Shalal Hash Baz. She’s been playing and recording her own songs for almost two decades now, though, releasing a string of CD-Rs across the 2000s that documented live performances at Enban, some with Masanori Hattori and Yuki Yoshida; this trio subsequently released several lovely folk-like albums on F.M.N. Sound Factory. More recently, Hotaka has formed a new trio, Hotarutachi, with Shohei Matsuo and Kenji Yoshikawa (their debut album, Hikari, was released by Hayabusa Landings in 2018).

Playing with Nishimura and Takahashi, though, freed Hotaka’s playing immensely. There was always something expansive about her approach to the song, but this freedom was implicit in earlier music; on this album, which draws from performances undertaken across 2015 and 2016 at Hikari No Uma, Okubo, Hotaka wrings great intensities from the simplest of two-chord levitations, allowing her melodies to follow lines of deeply personal logic. There are still skeletal pop songs here, but with Nishimura and Takahashi as Hotaka’s backing group, there’s something very open about the music; it’s wild yet courteous, gallant yet refined.

Throughout, both Nishimura and Takahashi draw on the double-language they’ve developed over the years, through performing in groups who are dedicated to the wide open spaces between song form and freedom – Nishimura has played with Ché-SHIZU, Miminokoto and Suishou No Fune, among others; Takahashi’s history is deeper still, with time spent with Ché-SHIZU, Maher Shalal Hash Baz, LSD March, Kousokuya, Nagisa Ni Te, High Rise, and Keiji Haino’s Fushitsusha and Aihiyo, and on. They are ideal foils for the slow breathing, simply structured songs that Hotaka writes, sourcing great depth of feeling from the most fundamental of gestures.

REPRESS!

After a short break from releasing music's finest format, Total Science's CIA imprint is back with four tracks from arguably drum and bass' premier producer.
It's always an exciting moment when new Calibre music becomes available to us all, and we're delighted to be able to bring you four of his newest creations not just digitally, but also beautifully mastered, packaged up in a brand new CIA label sleeve, and pressed onto pristine black 140g vinyl.
Calibre showcases not only his versatility on the Dream Dubz EP, but also that sound that he's known and loved for.
'Another' conveys his trademark sound albeit with a 2015 twist, whilst 'Posh Boy' sounds like it was made in anger, bringing forth a harder edged feel. 'Dreamz Dub' is one for the soundsystem crew, deep as you like but with serious weight to it. And rounding up the package is 'Believe It', which Calibre does in his truly inimitable style, a sublime roller packed with musicality and depth, everything he is known and loved for.
We're extremely proud to release four tracks from a producer of his quality and reputation, and whether you decide to add this beautiful record to your collection, or the digital files to your hard drive, this music will stand the test of time regardless.

Charlemagne Palestine's performance on the organ of the Friedenskirche, Eupen for the reihe-M showcase at the Meakusma Festival 2019 was one of the many highlights of that year's festival edition. This record features the full live performance as Palestine conjures up his dense definition of maximized minimalism, introducing the performance with a minimalist drone and himself singing on top. His voice touches upon melancholy and the absurd and gives the piece context and direction. From there on, anything goes.

DJ Haus wraps up a busy 2020 with 2 glitch-house bombs created on his recent "Data Dump Generator" sample bank plug in. Backed with a tekkers-houz-deeper-tech remix from house music’s hottest property Subb-an. TIP!

Artwork by Tina Frank. Cut at Dubplates & Mastering, Berlin September 2010 Contains "Ohne Sonne" and "47 Blues" previously only available on the Japenese CD versions. As well as an new extended version of "Happy Audio" exclusive to this release.


Contains previously unreleased material.

180g

Council Work returns with the next installment of their journey, this time with the Militant EP. Two original tracks from the label bosses Frankel & Harper, and keeping in theme with the previous releases, obtaining remixes from their favourite artists in the scene, they've enlisted 2 big remixers, this time from Salty Nuts boss and Cocoon regular Fabe, and Orbital London head honcho and rising UK star Jack Michael. The EP sticks to the signature Council Work sound, showcasing underground UK flavours with lots of garage and jungle influences, whilst showcasing more minimal and breaks textures and vibes

With 3 releases under their belt Council Work return with the 4th installment on the label, the 'Crouching Tiger EP'. Sticking with the formula of the last EP, there are 2 originals from the label owners themselves Frankel & Harper, coming in the form of stripped back UKG number 'Crouching Tiger' as the A1, and then bringing heavyweight moodiness on the A2 with 'Conquering Lion'. First up on remix duties on the B1 is Italian producer, DJ and Music On regular LEON with a dubby, rolling take on the title track. Hotly tipped UKG producer ZeroFG steps up to remix the B2 and brings some serious dub reggae vibes mixed with some rude garage flavours to round off the EP and give a great contrast to the original.

"In Vivo" is the result of the photographic work of Klavdij Sluban at the Fleury-Mérogis Young Offender Institution (France) from 1995 to 2016 Beds in addition to his work from Izalco prison, located in El Salvador, from 2008 [visiting rooms] connected to the music of Gareth Davis.

Gareth Davis is an artist, composer and musician living in Amsterdam. He plays clarinet(s), the result of a somewhat impulsive purchase whilst window shopping in Covent Garden, London, around ten years before the turn of the century. The serendipitous location of a rather wonderful (and equally important, rather cheap) second hand record shop less than 10m from the bus stop required for seven years of schooling, combined with delivering newspapers on a daily basis, lead to a somewhat eclectic, dusty and generally unclassified taste in music.

The result. Activity covering sonic art and contemporary classical music through rock, improvisation and noise with collaborations that have included the premiering of new written pieces by composers such as Bernhard Lang, Peter Ablinger, Toshio Hosokawa and Jonathan Harvey, soloist with orchestras including the SWR Symphonieorchester, Warsaw Philharmonic and Orquesta de la Comunidad de Madrid, performances with groups and performers ranging from the Neue Vocalsolisten and Arditti Quartet through to improvisers Elliott Sharp and Frances Marie Uitti, electronic artists Robin Rimbaud and Merzbow and multimedia work with artists including Christian Marclay and Peter Greenaway.

"In Vivo" is his second solo release after to have recorded a bunch of collaborative albums with artists such as Scanner, Machinefabriek, Steven R. Smith, Kleefstra Brothers, Frances-Marie Uitti, Merzbow, Adain Baker, Duane Pitre and more...

Klavdij Sluban, winner of the European Publishers Award for Photography 2009, of the Leica Prize (2004) and of the Niépce Prize (2000), main French prize in photography, is a French photographer of Slovenian origin born in Paris in 1963.

He develops a rigorous and coherent body of work, nourished by literature, never inspired by immediate and sensational current affairs, making him one of the most interesting photographers of his generation. The Balkans, the Black Sea, the Baltic Sea, the Caribbean, Central America, Russia, China and the Antarctic (first artistic mission in the Kerguelen islands) can be read as many successive steps of an in-depth study of a patient proximity to the encountered real.

His images have been shown in such leading institutions as the Metropolitan Museum of Photography of Tokyo, the Maison Européenne de la Photographie in Paris, the Rencontres d’Arles, the Museum of Photography in Helsinki, the Fine Arts Museum in Canton, the Musée Beaubourg, the Museum of Texas Tech University. His many books include East to East (published simultaneously by Actes Sud, Dewi Lewis, Petliti, Braus, Apeiron & Lunwerg with a text by Erri de Luca), Entre Parenthèses, (Photo Poche, Actes Sud), Transverses, (Maison Européenne de la Photographie) and Balkans -Transit, with a text by François Maspero (Seuil). Since 1995, Sluban has been photographing teenagers in jails. In each prison he organizes workshops with the young offenders to share his passion. First originated in France, in the prison of Fleury-Mérogis with support of Henri Cartier-Bresson during 7 years, as well as Marc Riboud and William Klein punctually. This commitment was pursued in the disciplinary camps of Eastern Europe –Serbia, Slovenia, Ukraine, Georgia, Moldavia, Latvia – and in the disciplinary centres of Moscow and St Petersburg as well as in Ireland. From 2007 to 2012, Sluban has been working in Central America with imprisoned youngsters belonging to maras (gangs) in Guatemala and Salvador. In 2015, he started photographing imprisoned teenagers in Brazil. In 2013, the musée Niépce showed a retrospective of K.Sluban’s work, After Darkness, 1995-2012. In 2015/16, he was awarded the Villa Kujoyama Residence in Kyoto, Japan. K.Sluban is member of national and international jurys, such as prix Niépce, prix de la Jeune Photographie de Niort, prix Leica, All About Photo…

Jenkem Magazine and Steel City Dance Discs unite for a high-energy compilation – each team bringing forth two artists of their choosing for a heavyweight bout across 4 tracks.

Kompakt welcomes veteran contemporary experimental producer Marcus Schmickler with the release of his spectacular noise/techno fused medallion entitled “Particle/Matter-Wave/Energy”. Marcus Schmickler’s fifty plus release discography is one of the most fascinating in his field. From his studies under Cologne based Stockhausen collaborator Johannes Fritsch to his releases through legendary imprints a-Musik, editionsMego and Mille Plateaux, over the years Schmickler has been behind innumerable collaborations and sonic explorations. Be it through his ground-breaking indie/electronic band Pluramon or through his releases that have included collaborations with musicians such as John Tilbury, Thomas Lehn, Julee Cruise or MIMEO he has even had his works being performed by ensemble recherche, musikFabrik or Paragon Ensemble. Beyond continuing to perform on the world stages, he authors theatre and film and currently teaches at Institut für Musik und Medien in Dusseldorf. This brings us to the release of "Particle/Matter-Wave/Energy" - a 37 minute long piece (split into 2 parts on the LP version) that explores the borders of a scientific universality of sonification towards something that becomes a singular experience – sound. The pieces’ foundational aim was to create an acoustic rendering of what it sounds like when two galaxies collide by gravitational forces. To avoid this one sheet getting lost in theory, the audible result of “Particle/Matter-Wave/Energy” is an incredibly, immersive work that is required listening from start to end. Contemporary experimental music and modern techno collide as waves of synths caress the listener through intense waves of frequency variables. The orchestral enormity of the piece is both discomforting yet embracing as the listener feels engulfed with it’s robotic caress.

This edition was produced and finalized in a particular context, Mika Vainio having left us on 12.04.2017

This material is the last concert he has gave. It took place at Cave12 on 02.02.2017.

We needed time to listen to this archive again, which we did in situ in June 2020 with Cindy Van Acker.

fter this listening, we felt invested in having to make this archive public.

Recorded 02.02.2017 at Cave12, Geneva by Benjamin Ephise

Edit by Stephen O'Malley & Carl Michael von Hausswolff at EMS, Stockholm.

Mastered by Denis Blackham

Vinyl cut by Andreas Kauffelt ar Schnittstelle, Berlin

Artworks by Franz Graf, Mika Vainio Archive, Oslo and Cm von Hausswolff collection,

Cave12 / Editions Mego co-release

Following their recent Difference and Repetition, A Musical Evocation Of Gilles Deleuze 2LP/CD this limited 7'' edition features The Tears of Nietszche on side A with Richard Pinhas as guest musician and Vecteur d'abolition on side B with the voice of Gilles Deleuze.

Formed in Paris in 1989, Palo Alto released his first album (a cassette) on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore an opportunity to celebrate the 30th anniversary of this first stone, the founder of a discography rich with 10 albums. The band is now composed of Jacques Barbéri (also a science fiction author), Laurent Pernice (ex-member of the French industrial band Nox) and Philippe Perreaudin (also coordinator of several compilations and reissues: Legendary Pink Dots, Un Département, Nino Ferrer Revisited, Ptôse, Hardy FoxŠ). Literature, and particularly science fiction, is a leitmotiv in the band's work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll or J. G. Ballard have been invoked many times. In recent years, Palo Alto has multiplied musical collaborations with, among others, The Residents, Ptôse, Klimperei, Tuxedomoon... From industrial music to inextricable electronic ramifications, by making a detour through improvisation, the musical universe of Palo Alto is multifaceted.

Rob Smith aka RSD is a man that should need no introduction - from pioneering trip hop and the foundations of the Bristol sound in the late 80s with Smith & Mighty to writing some of the biggest dubstep tracks of all time under his RSD alias - not to mention killing it to this day with his impeccable DJ sets and fire dubplates - Rob is nothing short of a certified legend. It is a great honour to welcome the man himself to Foundation Audio with 2 classic cuts for the next in our 10” series. A side ‘Dr Woh’ is a heavy stepper version of the Dr Who theme tune originally written for a Redbull soundclash with subloaded in 2014 as a friendly lighthearted sound clash style dis to a certain Bristol producer whose dad played one of the doctors.

On the flip side we have ‘Look’ a 2019 production produced in a friends studio in the Philippines. RSDs unmistakable trademark sound is stamped firmly all over this one - rolling drum breaks, big basslines and catchy synth hooks all work in perfect harmony while staying truly dubwise throughout.

Big up Bristol’s finest for providing us with another killer plate. We trust you’ll enjoy this one as much as us!

Hardy and Stephan began their musical careers separately in the early 2000's. They randomly met in the clubs in Berlin and started the Survey project back in 2013. Sharing one common direction to produce DNB with a deep, refined and hypnotic edge. Their minimal sounds, paired with systematic DJ skills have seen them perform in some of the top dance venues in Germany and across Europe.

Fast forward to 2015 and we are presented with a 4 track EP on DSCI4. Manufactured on crystal clear vinyl for a crafted, futuristic look. A release that stimulates the mind, body and soul with their signature trademark vision.

//Time EP//
A.Twisting, rolling bass flows with pure techno adrenalin in 'Move in Time'
B. Deep future-sub pairs rolling warehouse vibes in 'Warp Resistant'
C.Warming party atmosphere and dance floor perfection in 'As You Want'
D.Final thoughts with the creeping, haunting electronic precision of 'Both Sides'

This is classic DSCI4....with momentum geared to the future of drum and bass. Pushing and showcasing the finest producers of the moment. Survey leads us into the ever evolving blueprint of Drum & Bass.
There are no rules.

Limited pressing.

As PB headmaster Ajukaja before them for the first chapter of “Sunda School”, Tapes & Nikolaienko get comfortable behind an organ. These two manage to sneak along some shit of their own though – a bag of sharp rocks to cut perfect tape loops & round ones to play the keys with.

The four vignettes on this 7” paint a picture both blissful & threatening. Take “Countryside Emergency” with its loosely galloping rhythm-loop & alarming arpeggiated keys. All this might end with someone getting thrown into a fire. If it wasn't for “Jaaksoni Tamm” to smooth the situation with an inviting dreamy atmosphere. Bright & fluttery. Might be a trap though.

Dub informed free flowing goods, as you'd expect from sonic explorer Jackson Bailey & the boss of beautiful Muscut label Dmytro Nikolaienko.

“Sunda School” is a series now. Part three sooner than later!

Mastered by The Bastard.

Thomas Brinkmann takes his seductive reductionism to the next level. »A 1000 KEYS« is a harsh meditation on the expressive qualities of digital sound production. In translating the timbre of a grande piano into binary codes, thus rebuilding its corpus with 0 and 1s, Brinkmann subverts the sensual qualities of this proto-romantic instrument in a sardonic way. Replacing the musician with a mathematically precise series of frenetic repetition and intriguingly dissonant difference, the result sounds at times like a violent ride through the brains of Schönberg or Webern, drained in amphetamines, at others like Feldman's ephemeral sketches or Russolo's futurist outburst.

Brinkmann's conceptual framework is resonating in the tracktitles. Using shortcuts of international airports, he refers to non-places that establish their own space-and-time continuum, while lacking individual identity and history. These functional scenarios are steril passages for anonymous, objectified masses, at the same time there's hardly a better place to grasp the very subjective character of time.

»A 1000 KEYS« is a fatal hommage to minimalism and a consequent denial of virtuosity and the idea of creative genius. Paraphrasing the romantic idea of human perfection, Brinkmann found a way to create sonic algorithms of tenderness and brutality, establishing dramatic expressiveness in his constructivist analytics. The result is of radical beauty.

The triple threat production force of Holland-Dozier-Holland put their special touch on Freda Payne - The Unhooked Generation for Invictus back in 1969. Much loved in the sampling world for its killer guitar hook intro, most famously used in JVC Force - Strong Island, this Tom Moulton remix has never been pressed as a single before.

Two new tracks from this ongoing project featuring members of Coil, Wire and Tomaga. The flirtation with a head expanding motorik music as hinted at on their debut self-titled double album is given the space requiredto unfold on this new EP. Electric Blanket chugs along with perpetual percussion, blankets of feedback and state of the art electronics all embedded with a spectral melody that encircles proceedings as all sonic proceedings veer out further into more mystical ambient planes. On the flip Nice Setting places a strange short spoken narrative at the centre of a shifting sonic landscape of skittering electronic debris and a deep shifting sea of sound. A vibraphone holds proceedings together before once again we head out into the glorious cosmic ether. UUUU are an outfit unashamedly embracing the fantastic - audio as a tool for an unlimited imagination.

*repress*

Let’s go out! A suggestion that might sound like an absurdity in current times, but feels like the true promise of Bella Boo’s debut EP on Running Back. The Studio Barnhus affiliate refines and elevates her bright, genial and dissenting take on deep house into something greater than its parts.
What was supposed to be an album with features and collaborations was turned into an introspective solo-practice by Covid-19 and subsequently into this rich 8-track-EP. A writer’s block and the pitfalls of the aforementioned deep house genre were overcome with the help of Axel Boman’s knowledge of football philosophy and a 140bpm tempo advice. So, everything fell in its right place.
„Let’s Go Out“ is like the gateway into a wonderful coherent musical universe and an entertaining listening experience. Imaginative and sparkling, tender-hearted as well as bouncing when it needs to be. Bella’s EP is as much of a tribute to the UK scene that inspired her over the years as it’s entirely her own and distinctive thing. Like a perfect mixtape, it ebbs and flows, and once you reached its finish, it makes you want to start again – or to go out.


Short version: Bella Boo’s bright and genial debut EP on Running Back. Eight tender-hearted, imaginative and bouncing tracks that are as much of a tribute to the UK Scene that inspired her over the years, as they are the gateway into a wonderful coherent musical universe that is Bella’s own entirely.

Aeons ago, mysterious cryptic transmissions were sent from Alpha Cutauri. A team of subversive cyantists from Leipzig were finally able to decipher a new chapter onto polyvinyl chloride.

Where does the memory of a melody reside? Lucid phrases and half-remembered intonations buried somewhere, folded into times and places. 9 Airs took shape during an unconscious reconnection with music long since forgotten; an instinctive recall for melodies played out on guitar, low whistle and voice. Recordings of these revived melodies became the starting point for new pieces, the audio manipulated, processed and folded back into the fabric.

Does returning to a place have a sound? Can the ear have a memory? And what if places which we return to are just empty shells? Choreographed rooms which we need to play, fill from scratch each time with fragments from the past and present, layer upon layer, familiar and still somehow always new and differently assembled. Paula Schopf’s Espacios en Soledad are acoustic walks around present day Santiago de Chile, the city where she was born - which she always left, had to leave and to which she always returns - but more than anything also through her own memories which resonate throughout the public places, squares, streets though still in their own way remain strange.

„Every immigrant in the world has a piece like this - a kind of missing link, something which is incomplete. And every time one returns to the home country you are looking for it. For me it was a matter of sound.“ (Paula 2019).

In the mid 70s leaving Santiago was a flight of exile as a child with her family. Leaving in 1990 was an autonomous decision to head for Europe, Berlin, where the wall fell, where the heavens opened up all at once and electronic music became a kind of new home to so many. Paula Schopf belonged there. For her the Ocean Club at Tresor club was a central place where friends and mentors like Gudrun Gut and Thomas Fehlmann made it possible for her to get really into it. Dancing, being and feeling your body, forgetting oneself in the bass and beats, who one is and where one’s from, to becoming the DJ Chica Paula. Chile was very far away during this time, Latin America was more just a code, a musical and habitual cliche to be cautious of. This was especially true for the culture of the Chilean exile, the pathos of the “Canto Nuevo”, the sound and ideologically charged instruments of the „música andina“, for example the Zampoña, Quena or Charango. Techno was the greatest thinkable alternative to this even if or perhaps because so many kids exiled from Chile became key figures in the German and European scene: Ricardo Villalobos, Dandy Jack, Cristian Vogel, Matias Aguayo and many more.

How does returning to a place sound? Does the ear have its own memory? The field recordings which were recorded in Santiago de Chile in 2016 and form the central sonic material for Espacios en Soledad represent the paradox for Schopf’s return to her home country after emigrating: the inevitable drifting apart of her own lived time from that of her former home. Already the Venezuelan and Colombian hawkers are unmistakable signs of the deep change in Chilean society which has happened in recent years due to immigration. Which is in contrast to the old lady who sits on the floor in a pedestrian zone and without break sings the same three songs by Violeta Parra and then keeps falling asleep while doing so. The fragile presence of her voice is joined with a repertoire which is almost mythologically timeless in Chile in a particularly moving way.

By layering, ordering and conjoining such found sounds from modern day Santiago this piece become about the urban sound of Chile’s present. But more than anything by doing this Paula Schopf becomes an arranger of her own sonic memory or sound-triggered memories of returning to this city. Just as techno and Berlin helped her for such a long time to get away from too strong of an identification as a Chilean in exil, now with Espacios en Soledad she has found a way to bring these two seemingly disparate lives and remembered worlds together.

Matthias Pasdzierny

Prince Madonna. Techno not Techno. Electronic experiments from a non-binary-sound-nerd-artsy-pop-sphere. A concept putting the works of art into focus: Every release is first published vinyl only under the alias "Prince Madonna". A few weeks later, only with the digital release, the artist behind "Prince Madonna" will be announced.

As Madonna herself once told Prince: "It’s about the music, not the hype.“

On PM001, "Prince Madonna I." mixes smoke, sweat and ecstatic bodies and embeds this poisonous mixture with techno and groove. 'Nuff said, just tune in and find out who is behind "Prince Madonna I." with the digital release soon.

Twenty years ago, somewhere in Scotland, an album that was the missing link between The Black Dog, Chain Reaction and Irdial was released by an enigmatic Glasgow producer called Pub, on his equally mysterious label Ampoule.

The album ‘Do You Ever Regret Pantomime?’ (2000) has become the stuff of local folklore, a key work in the UK’s rich history of IDM and ambient, and one of the most celebrated albums of the early noughties. Bizarrely, it even infiltrated the Billboard Top 100.

‘Do You Ever Regret Pantomime?’ is also very much a key statement from a producer who has chosen to stay in their own space, where everyone is welcome. Records like these are about losing yourself in the sound and creating your own universe to explore.

Over the record's 70 minutes or so you’re instantly wrapped in a deep matrix of spacious chords, abstract textures and gently shifting rhythms.

The 2020 reissue has been re-mastered and cut at Berlin’s Dubplates & Mastering, pressed as a 2x12” and features new artwork and a bonus track.

This release also heralds the return of Ampoule, the Glasgow label which released music from the likes of Lucky & Easy, Omens Jot and Moped Endo among others. Forthcoming releases will be a mixture of new music and re-issues from the archives.

"We don't want to conquer space at all, we want to expand Earth endlessly. We don't want other worlds, we want a mirror" these words uttered by Dr Snaut from the masterpiece of Science Fiction novel "Solaris" couldn't better outline this tripped-out 6 tracks ep. RTR crafted a hypnotic pull, drawing the listener deeper into its enigmatic journey by joining the dots between colorful, moody and very melodic electro all way long. It rolls out as much structures as Solaris planet can carve out on his ocean surface, intertwining acid-tinged bass, crisp techno, break edits, jungle. Fans of electronic music's 90s golden age will find plenty to love about Splash of a drop.

Motus is more (to me) than just music made with analogue synthesizers, it is about attitude, a way of relating to sound and the (e)motion it affects. A lifestyle, where movement, being moved and moving become one. My practice is vibrational, about the skin, touch and surfaces and the gaseous medium in between. I dream of a dance floor where Motus would be enjoyed. What kind of world, or rather, what kind of society would allow that? And when? Is this futuristic? A situation-to-come, where the understanding of music expands greatly, when blissful moments are independent of simple melodies, where harmony appears beyond I-V-vi-IV chord progressions, when the techniques of social alienation, which determine the use of all the drugs that accompany recreational music, are reversed into creative tools of exploration. ‘Motus’ is part of this exploration: to find dance, free of clock, and groove, free of rhythm. There is pulsation, and the downbeat connects to the downward beings as in stones and minerals, the upbeat connects to the upward beings as in grasses, flowers, trees and stars. Binding both together, connecting sky and earth, is the dancer. The moves / the movement is pure. It is the kiss of spirit and matter.” (Thomas Köner)

‘Shapes: Sideways’ is the latest in Tru Thoughts’ series of essential label compilations, compiled and curated by A&R, label co-founder, and renowned DJ Robert Luis.

After 21 years of independently releasing music, the ‘Shapes’ series continues to encompass the best of the Brighton-based imprint’s wide-ranging, eclectic, and international roster. ‘Shapes: Sideways’ features the finest Tru Thoughts classic cuts, recent releases from the new generation of the roster, stirring remixes and world exclusive tracks; released digitally and on limited edition, hand-numbered run of 500 vinyl (that includes a download card with all 32 tracks) on the 4th September.

500 limited, hand-numbered. Compiled and curated by A&R, label co-founder, and renowned DJ Robert Luis. Includes 32 track download card.

Warehouse Find

* New from Innerground Records (co-founded by DJ Marky), also the home of Calibre, BassBrothers, Random Movement and Blade, comes the highly anticipated double vinyl LP from DJ Marky & others, ‘100’. Drawing inspiration from the past 18 years of Innerground’s vast history and impact on the Drum & Bass movement, and the signature latin influences of DJ Marky that have brought excitement and vitality to stages around the globe. This special collaboration between one of the most important figures in the genre, and a collection of some of the most highly respected producers and artists in the scene, creates a ground-breaking LP that marks the 100th release from Innerground Records.

* It should come as no surprise that the double LP packs a punch, when looking at the combined experience of its contributors. ‘100’ begins as a bold statement from the main man DJ Marky, laying down the foundations of what’s yet to come from this veteran D’nB lineup. We’re taken on a ride through morphing tempos and enchanting vocals that hammer home what this immense centennial is all about - a special milestone in the genre that will be remembered in years to come.

TRACKLIST:

A1 : DJ Marky Feat. Lorna King – Changing Moods (LEAD SINGLE (SPECIALIST RADIO PLUGGING BY LISTEN UP)
The album launches with the warm Brazilian sunshine D&B that Innerground’s main man Marky is known for. Lorna King’s uplifting harmonies intertwine with playful melodies to shape not only a guaranteed party starter, but a track that will put a smile on your face. Shades of his legendary ‘LK’??!

A2 : Data 3 – String Theory
After the Brazilian sunshine comes the rain… We’re taken on a detour through a dark valley as spiralling synths ascend to a glitch filled break. Ominous chords reverberate around the onslaught of rattling hats and deep choral vocals.

B1 : Random Movement – Patty Melt
The American D&B veteran returns to Innerground, bringing a funky fast guitar filled banger. Rapid drums and airy synths balance over happy vocals and undulating groovy bass guitar to create a track you can’t help but move to. Potential (slow-burner) track of, ’Innerground : 100’, the album?

B2 : Melinki & D'Cypher - Listen To Everything
A dark bopper with swaying hats chiming over aggressive basslines. Vocal samples provide a short-lived breather from this menacing track’s all-consuming energy. This isn’t the first time Melinki & D’Cypher have linked up and we look forward to many more from these two!

C1 : Saikon - Guilty Pleasures
Anticipative strings and a steady break lead to snappy vocal chops, crescendos at a break that unfolds in to house-led bouncey stabs. You wouldn’t expect anything less from Saikon!

C2 : Carlito - About You
Fans know that this is far from Carlito’s first Innerground rodeo – he’s back with a track that balances male and female vocals over enchanting pads. Synths twinkle amongst racing breaks to make for a certified club heater.





D1: Collette Warren, DJ Marky & Tyler Daley - One Exception (Pola & Bryson Remix)
As the album draws towards its close, cinematic piano and vocals to make your hair stand on end craft a beautiful contemplation between Tyler Daley and Collette Warren. D&B household names Pola & Bryson show their take on the track originally produced by DJ Marky. If this song doesn’t move you, you’re made of stone!


D2: Fluidity & Loz Contreras - Back To You
The LP finishes with a bang. Fluidity & Loz Contreras pair up to transport us back to the sunshine that Marky initiated. Oceanic pads and wispy vocals merge seamlessly to craft a warm and groovy finale that will leave you craving more Innerground energy, as this incredible centennial LP boldly forges its place.

Calgary, AB's Boneless is back again following a pair of releases on Gourmet Beats and most recently Off-Switch Audio, featuring that low slung, classic era yet forward thinking production we all know from the great many appearances his tunes have made out live on dub and on mixes from the sort-of aformentioned Joe Nice, J;Kenzo and a boatload of others.

Martinou lands on Nous'klaer Audio with his debut album RIFT. Emerging from a waking forest entranced by sun-rays reflected in the morning dew and the sound of rustling leaves in the rising wind. RIFT is a captivating road through the riddles of an imaginary landscape, full of noisy and organic textures bound by hypnotic and soothing melodies. From the calm opener of Absorption (Citywide) to the breathtaking Cirrus Apparition, and from the piercing tones of Velvet back to the closing act ...in all it's splendor. An album consisting of twelve tracks for every moment, a triple vinyl suited for warming up and tearing down a dancefloor, but best listened to from start to finish. Artwork by Romee van Oers. Including download code.

Vilnius based Moisk turns to the new Belgian imprint ‘Pleasure Express’. Their Melancholic Raver EP combines deep tribal rhythms with out-of-this world voices and soundscapes. Acidic goodness elegantly draped over slowed down breakbeat patterns and percussions. Dusseldörf based AKI AKI did his magic on the remix. Let’s take a ride on the Pleasure Express!

Emak Bakia – a long out of print Muslimgauze masterpiece from 1994. Even in the huge Bryn Jones discography Emak Bakia really stands out of albums from that period due its rather unique (house-music related) sound and short, by the standards of Bryn Jones, tracks. Like a cross mix between Psychic TV (circa Towards Thee Infinite Beat) and Muslimgauze’s trademark percussion and eastern vibes.

Om Unit steps up with yet another self-released adventure into uptempo sonics. This time slowing the pace slightly, exploring the 150+ realm, taking in influences from Broken Beat, Garage, Electro, Dub Techno and other signature ingredients.

The next chapter in a lengthy career-spanning narrative of exploring cross-pollinated grooves and picks up from the much celebrated 'Submerged' and 'Violet' EP's, both of a similar ilk and quite sought after by vinyl collectors to date.

LTD 3x12" DUPLOC Bundle !
of
DUPLOCv003, DUPLOC040, ROYALS002

anthéne, one of ambient drone’s most recognised names, presents ‘maritime’. A shift from his usual expansive, time-stretching soundscapes, maritime is something altogether more grounded, more present. It signals the call of the open ocean, of its vast possibilities and terrors, as a similitude for the night.

In both, one faces the peace, the limitlessness, the reverence, and the promise, while at the same time the uncertain, the uncontrollable, the danger and the fear of the unknown. In such a way, maritime is presented in two parts: Side A demonstrates the beauty and inspiration of ocean views and night time explorations, while Side B addresses the vulnerable nature of vast, boundless experience.
An artist with an astounding workrate, Brad Deschamps has worked with such artists as Ian Hawgood, James McDermid, Andrew Tasselmyer and Fossil Hunting Collective (as Still Harbours), and releases the likes of Hakobune, Moss Covered Technology and Forest Management on his own Polar Seas Recordings.
His patient style is clear throughout the album, shimmering guitar tones overlaying with warmth and stability, yet the addition of more troubled melodies and subtle vocal parts make for something far more poignant. The duality of awe and terror, of the two primary elements of the sublime, channel through as one in one of anthéne’s most thoughtful offerings to date.

Der in LA ansässige Produzent Bonobo (alias Simon Green) veröffentlicht mit ‘Linked’ einen atmosphärischen Dancefloor Hit für den perfekten Festivalsommer. Die one-sided 12” enthält den bisher unveröffentlichten Song und das Cover Artwork wurden von Green selbst gestaltet.

Released to coincide with Kraftwerk's forthcoming June 2017 tour - their first UK dates since the breathtaking shows witnessed at the Tate Modern in 2013 - Parlophone are proud to announce the release of Kraftwerk 3-D The Catalogue on 26th May. This is the ground-breaking 3-D Kraftwerk Concert brought thrillingly to life, developed using high definition 3-D visuals, with Dolby Atmos surround sound and presented to the technological and audio standards one would associate and indeed come to expect from the pioneering Germans led by founder Ralf Hütter. For the very first time, every Kraftwerk fan can now experience a "Gesamtkunstwerk - a total work of art' in the comfort of their own home. Kraftwerk 3-D The Catalogue is released across a number of formats including: Blu-Ray, Vinyl, CD, DVD and Download
3-D The Catalogue features new recordings of Kraftwerk's 8 classic albums performed / filmed at various locations around the world between 2012-2016 and mixed at the band's own state-of-the-art, Kling Klang Studio, Düsseldorf

77 mins (abridged) version of full-length release containing music from all 8 albums on double heavyweight vinyl + download card

Piero Umiliani's Africa was released in January 1972, a years-ahead record that includes the prog-tinged black rhythm of "Africa To-Day", the 'fourth world' inspiration coming from Jon Hassell's "Green Dawn", the 'exotic' references in Martin Denny's style ("Lonely Village", "Echos"), the electronic new wave (hearing is believing!) of "Sortilège", the folk music ("Rite", "Folk-Tune"). An incredible album summarizes sounds and styles that will make the fortune of much more celebrated and popular musicians and artists.

Repressed in Clear Vinyl!!
Another small limited run of one of the most succesfull Fokuzlp's. This time only Disc 1 & 2. This disc Features a very nice & Deep music roller from Zyonbase, still one of the fokuz Fav;s.. On the A side you can find the killer colab between Mathematics & Fx 909... The A side tune of this album

White Vinyl

For Intervals, Arndt's chose the family piano to begin the creative process. By placing less importance on the skittering rhythms, which propelled previous Near the Parenthesis collections, Arndt was able to focus more on the instant gratification of sitting down and just playing. These ideas became the back- bone in which he then composed eight tidal tracks, mostly in the early morning hours in his East San Franciso Bay creekside home.
In these sessions, Arndt utilized various synths, and percussion to provide additional depth and atmosphere to the tracks' original skeletal structures. Arndt says of Intervals, "The title has a dual meaning as there has been a decent period of time between my previous album Helical and the release of Intervals, Four years to be exact. This concept of time and the spaces between gives the title its other connotation, which is a nod to musical intervals and the spaces between notes. I think this becomes evident in my use of arpeggiation, which I feel is a grounding motif across the album."
As with many Arndt's Near The Parenthesis works, there is a gentile hopefulness sewn through Intervals forty-minute runtime that provides much-needed solace in such unsettling times.

Up next on Club Qu is UK producer Otik, delivering a highly detailed EP melting techno, jungle, ambient and just about any type of bass music down to his own creation. Munich Duo Zenker Brothers add a rowdy signature remix of theirs to the pack and it's done - a heavy 12 suited for many different record bags.

Der einzigartige Sound der beiden irischstämmigen Zwillingsschwestern Georgina & Una McGeough aka Song Sung aus New York klingt hypnotisch, mysteriös und hymnisch, wie von einer Girlgroup aus dem Weltraumzeitalter. Was kein Wunder ist, entstand doch ihr Debütalbum "The Ascension Is Ours" in Kooperation mit dem irischen Top-Produzenten David Holmes (Noel Gallagher, Killing Eve OST) und seinem Unloved-Duo-Partner, dem US-Filmkomponisten Keefus Ciancia (True Detectives OST), die zu Lyrics und Vocalmelodien von Song Sung die Arrangements beisteuerten.

Breakbeat Paradise Recording has no plan on slowing down the steady flow of hot 7-inch vinyls in the epic Toxic Funk-series. On the 7th installment of the series we seeing a new crew called Suckaside taking on the scene of funky street edits by storm.
Suckaside consists of BBP/Ghetto Funk superstar B-Side who has teamed up with long time funky DJ Sucka Timmywho specialize in DJ friendly funky edits and original productions. Together their styles blend into a rather Toxic cocktail of the funky street beats of DJ B-Side and the trained ear and skill for blending music from Sucka Timmy.

Toxic Funk Vol. 7 gives us a perfect example of what the Suckaside crew is all about with 2 state-of-the-art toxic funk bangers on this double A-sided instant classic funky 7 inch.
Stating off with the street funky Put Your Catz Up joint that can guarantee to rock just about any block party to its core. That is being followed up with the even funkier and smooth Hot Jumpin' on the flipside taking on some classic hip hop royalty - wrapped into a smooth funky arrangement.

This is only the beginning of what to expect from this production team and we're excited to be the first to release their funky jams on vinyls. Look out for more music coming soon from the team Suckaside.

Once again Breakbeat Paradise Recordings is on point to deliver you the funkiest soul and breaks available anywhere out there…

Technimatic present Everlasting EP a beautiful blue marble 12" featuring 6 highly sought tracks. This is the first vinyl release on their own imprint - Technimatic Music and is an introspective, string-laden journey into the deeper waters of drum & bass.

Technimatic Music is the new label from Peter Rogers and Andy Powell, who have been forging their musically rich, emotionally charged drum & bass for over 10 years. Previously releasing on the likes of Shogun Audio, Hospital, Ram, Viper and Spearhead, Technimatic Music was the obvious next step for the duo, and it promises to be the most exciting chapter yet for two of D&B’s favourite producers.

Textural sound reflections, communicating our enthusiastic, diverse relationship with nature, The Earth, woven from improvised patterns, forming the fabric of composition . . . Among each others closest friends, Jesse Peterson and Carlos Niño sonically painted land, sea and skyscapes, for Pablo Calogero to tell impressionist stories a top, full of questions and answers about the many experiences and adventures in life. Drives To The Beach is an eager companion for you, on your own unique journey.

Repress

Terrestrial Funk's sixth release explores over a decade of Armenian disco, funk, and soul. Compiled by Darone Sassounian who spent three years tracking down the records and artists; fulfilling a calling to lift his people's voice, a people that have always faced the threat of erasure. The music was made a generation after the Armenian Genocide, a testament to perseverance. The seven tracks featured are incredibly inventive and unique in their interpretations of Western seventies sounds. This compilation comes at an urgent time as 2020 set the stage for Azerbaijan and Turkey to perpetuate genocidal rhetoric as they invaded Armenian borders and bombed civilian cities eventually resulting in the loss of lives and land stewarded for millennia. All while the western world paid little notice. It is with great gratitude and purpose that Terrestrial Funk rebirths this music and uplifts the voice of the Armenian Diaspora.

'car nous sommes poussiere, et a la poussiere nous retournerons.'

Two heavy, forward thinking Jungle tracks from Disdained for the first release form Racked Records

Listeners who know much of anything about Bryn Jones’ work as Muslimgauze know that he was prolific in both his work and in the way he sent out his work to labels and other interested parties (it’s one of the reasons some of that body of work is still being sorted through and released 20+ years after his passing). Fittingly enough for an artist that feverishly productive and often taciturn to the point of frustration, he didn’t tend to give much more information than handwritten track titles on the sleeve of a DAT.

Why he would submit multiple copies of the same or similar tracks to those he worked with, often in totally different configurations, is now a permanent mystery, but it does lead to Jackal the Invizible, essentially a compilation of material from multiple other releases* that Jones had also submitted at the time on its own DAT. All of the songs here were released at least 20 years ago (a few over 30!) and as with practically all Muslimgauze releases they were limited and/or hard to get ahold of now. Jackal the Invizible is both a way to issue those tracks on vinyl as the Archive Series has been consistently doing, and in interesting look into how Jones would organize and sequence his albums.

The track listing here was faithfully reproduced from the way Jones titled these tracks on this submission, which is how you get Fedayeen’s “Bharboo of Pakistan Railways” here called “Fedayeen Bharboo of Pakistan Railways 2001” (although that album came out in 1998 and Jones sadly was not making anything by 2001, only leading to more questions). This compilation as with most of his work was submitted without comment, so it can be asked, was it intended to be a compilation? Had he at some point decided he preferred these tracks in this arrangement rather than on their other tapes? Did he produce so much work and/ or was so disorganized he simply forgot this batch had been mailed off before? Did he have a standing arrangement with his postal worker and just handed him whatever was closest to the door each week? (Well, probably not that last one.)

One thing we don’t have to question is the quality of the tracks here, regardless of familiarity. The new juxtapositions can be quite striking; shifting suddenly from the harshly distorted blurts of “Resume and Shaduf Fatah Guerrilla 1999” to the cooly nocturnal atmosphere of “Abu Nidal 1987” and then to the dubby bass pulses and rattling hand percussion of “Hand of Fatima 1999” (possibly the most misleading to longtime listeners - it has indeed been heard on it’s almost-namesake album, but there it’s known as “Mint Tea With Gadaffi”) is an experience unlike much else in Jones’ oeuvre, even though all three modes are ones he has worked in before. The result doesn’t touch on every single mode explored throughout the vast body of Jones’ work (you’d need a box set for that), but does prove to be a multifaceted experience that also serves as an excellent introduction to or refresher on Muslimgauze as a whole.

Tape

SectorSept’s ‘954’ is a boldly original record, one which announces the arrival of a singular musical mind. Its creator states that he crafted this EP by trying to make tracks that were ‘a representation of how I believe music would sound in some distant land in the future’. On ‘954’ this vision takes flight in the form of eight multifaceted, genre-defying electronic productions.

To unpack this record one must first understand the myriad influences which feed into SectorSept’s style. The producer grew up between the UK and Florida - indeed, the record’s title references the area code he had while in the USA. His formative years were spent soaking in the dancehall sounds he heard around him in his Jamaican household as well as techno, jazz, Miami bass and the city’s ‘Love 94 Smooth Jazz’ radio station.

All of this and more can be heard in the fabric of ‘954’. The drum programming alone reveals SectorSept to be someone with extremely wide-ranging musical tastes. Cuts such as ‘Get Ready For The Programme’ and ‘Be There’ are powered by deft beats that have Miami bass, Jersey Club, juke and more in their make-up. Drexciya-adjacent machine-funk creeps into the mix in ‘954’s mid-section, ‘Golden Third Eye’ touches on trap, and closing duo ‘Tropic Universe’ and ‘Prize’ bring dancehall dembows to the fore.

The productions of ‘954’ are simultaneously driving and chilled, coasting nicely yet still plumbed with enough bite to do damage on the dancefloor. It’s a feeling which is heightened by SectorSept’s gorgeous textural work. Several of the tracks here soften up collages of vocal clips with wistful, dreamy synths - see the way that club-caller snippets orbit Boards Of Canada-esque keys on ‘Get Ready For The Programme’ or how closing cut ‘Prize’ works both the classic Warp/Planet Mu sound and the pitched-down stylings of DJ Screw. It’s a rich and fully-formed artistic aesthetic, something which is all the more impressive when you consider that ‘954’ is SectorSept’s first official release.

That said, while the overall flavour of ‘954’ is SectorSept’s and SectorSept’s alone, one also finds links to Gobstopper’s previous output here. Those dancehall influences on ‘Tropic Universe’ and ‘Prize’ line the record up with Gobstopper drops like Otik’s ‘Thousand Year Stare’ while the emotive, soulful synth work that has long been a Gobstopper calling card is also in evidence here. Perhaps the thing about ‘954’ which makes it feel most at home on Mr. Mitch’s label is SectorSept’s imaginative futurism. SectorSept is a keen scholar of anime composers Kenji Kawai and Joe Hisaishi, and as such it is no surprise that there is a slightly fantastical quality to ‘954’. This is most boldly expressed on ‘Intuition Segment’, a magic-realist vignette which looks to Oneohtrix Point Never.

Blending ethereal textures with hybrid electronic grooves, SectorSept’s ‘954’ EP uses the sounds, influences and cultural experiences that have shaped its creator in order to build a vibrant vision of the future.