Beats Новости

From London, UK, the multifaced and talented artist Bram Droulers presents a work of perfect classical minimal synth. Simple, direct, elegant and very cold compositions that captivate from the very first listen. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios.

DJ Marcelle/Another Nice Mess is that rare combination of things: fearless, innovative, playful, independent, unpredictable and with a great sense of humour. The singular producer and dj from Amsterdam lives in that rare league of artists who are out there, doing their own thing, continually pushing the boundaries of electronic music and having a great time in doing so as well.
Her third album in just over two years is as versatile as ever. Steelpan (!) dancehall goes hand in hand with off the wall techno and weird avant garde. The album contains a surprising collaboration with Michael Vincent Waller, a modern classical composer/pianist from New York: 'The Orphan Serenade' is Marcelle's most personal, sensitive track to date.

As always, her track titles are a joy in themselves ('The Vegans Are Backstage', 'Hum Hum Hum', Technicians Leaving The Club').

The album is covid-19 proof: Marcelle wears a face mask on the sleeve. Join Marcelle in her unique musical universe. And try to explain her the food, please.

Sincere, sarcastic and unassumingly seminal: Glasgow's answer to Basic Channel, Southside's answer to Pub and Sandy's answer to those endless afters. 2s on the balcony and runs to the shop. An ode to the skyline; a symphony for the local legends; a tapestry of downtempo dreamscapes - from Shawlands to Neukölln and the world beyond. A warm dose of future-proof emotion. Strap in, this is one for heads, the lovers and all those along the way. Welcome to the layer cake son. Forever yours, Dream_E.

We're a sucker for a supervillain/hero here at 7th Storey Projects (please see Globex Corp & Peter Darker if you want to try and dispute this claim) - so it made sense to join forces with the mighty Flex Luthor for an EP of wonderously lo-fi jungly crunchiness...just how we like it!

Four tracks of dread bass, complex and crunchy breaks and generalised jungle naughtiness that should offer something for everyone, and if not, then you might need to consider the possibility that maybe you don't like jungle that much in the first place.

Heavy minimal wave 7" limited edition of 100 Copies.

Game-changing multi-instrumentalist Kamaal Williams has put together the
latest DJ-Kicks mix. Due for release on November 8th, it features four of his
own brand new and exclusive tracks and hints at the wide world of influences
that have made him one of the most prominent artists of the last few years.
Williams has taken his long standing love of seventies jazz fusion and mixed
it up with the contemporary sound of the London underground to devastating effect. House, broken beat, grime, soul, funk, hip hop and jazz all
permeate his work, which has seen him evolve from producer Henry Wu to
acclaimed live band Kamaal Williams, backed by talented drummers and
bassists. His pioneering work in the studio and live arena has influenced a
whole new generation of like-minded musicians that have helped make the
capital one of the most musically exciting and quickly evolving cities in the
world, with Williams' own virtuoso drumming and percussion right at the
heart of it all.
Kamaal Williams was one half of the duo who wrote the breakthrough
Yussef Kamaal album 'Black Focus’, one of the most talked about records
of 2016. Vinyl pressings kept selling out, it received rave reviews, earned
the band the Breakthrough Act award at the 2017 Jazz FM awards and led
to spellbinding live shows all over Europe. His follow up , The Return, came
on Williams' own new Black Focus label and took his band global, all while
picking up nominations for best independent album at the AIM Music
Awards.
Improvised rhythm and spirituality are at the heart of everything Williams
does, as is London life, with its diverse people, cultures and musical
customs all feeding into his work. That is also true when making more
electronic sounds as Henry Wu, who appears here after standout EPs on
labels like Rhythm Section International. Williams' music is so individual it is
more than deserving of its own tag: the artist himself calls it Wu Funk, and
some of the many sounds that feed into it are all showcased on this adventurous new mix.
Exclusives include a live take of 'Snitches Brew,' new Kamaal Williams
tracks 'Shinjuku' and 'Strings ATL', as well as 'Wivout U' from Henry Wu.
Those vital highlights sit next to classic jams from Southern Freeze, a strong
contingent of London innovators from K15 to Dego and Tenderlonius to
Kaidi Tatham, with funk driven house from Peven Everett, raw stuff from
Steve Julien, lush synth grooves from Lone and feel good grooves from Phil
Asher all making this is an honest and uplifting collection that, when necessary, is happy to eschew blends, fades and mixing in favour of red hot
selections and sequencing. Kamaal Williams DJ-Kicks is a fascinating
insight into the record collection of a true musical alchemist

DRP (Dom & Roland Productions) was started in 2006 for Dom to collaborate with like-minded artists. Now 15 years in with an enviable roster from “Noisia” to “Amon Tobin” it is now the main home of Dom’s work.

Mando is one of Doms closest friends. He has been writing music for over 25 years. A gardener by day, he shuns the limelight and has always maintained writing music is his secret hobby! He had a studio in the room next to No-U-Turn in the 90s which was eventually taken over by Optical and Edrush.
Until fairly recently he never released anything! He has an amazing ability to create sick grooves, his style is raw and refreshing and not over produced like a lot of modern music. If i had to pigeonhole his style I would say 90s neurofunk.

Both these tracks play to his strengths. This is his first release on vinyl, so will become collectable!

DJ PLAY: What? In their bedrooms? These people regularly play DRP tracks… Rene Lavice, Laurent Garnier, Giles Peterson, Jerome Hill, Digital, DJ Bailey, DJ Lee, Bryan G, Fabio, Grooverider, Loxi, Andy C, Break, Kasra, Doc Scott, Dbridge, Goldie, Ant TC1, Gridlok, Ulterior Motive, Noisia + More.

Dreadwise Music is proud to present: Massive Dub Corporation, “Time Collapse” & “Vent Solaires” with 2 heavyweight remixes from Digid and Dubbing Sun. Taken from the second studio album (The Event Horizon) by French Dub sensation Massive Dub Corporation. Both feature tracks on this 12” breath new life into the realms of dub and jazz with MDC's unique blend of electronic squelch and soundscapes, coupled with a musicianship un-matched and un-paralled within the current Dub landscape.

After his first adventure in the endless universe of instrumental music where he made known “Man With a Plan” in 2018, Minus & MRDolly now presents the new EP Broken Hearts Make Broken Beats. This new work is the result of a recording session at the Groove-Wood studios promoted by João André - who mixes two of the three originals of the EP - to which Hugo Danin joined on drums and Sérgio Alves on keyboards and electric piano. In trio, Minus, Hugo and Sérgio rearranged and explored the original sketches, previously composed by Minus & MRDolly.

Floating, or as if to say, with one “foot inside and the other outside” of his so familiar home that is Hip Hop, “BHMBB” is the reflection of some musical references previous to that house, where “Britfunk” or “Broken Beat” serves as an example. This EP intends to marry the acoustic character of the interpretation with the aesthetic and electronic universe of dance music.

“Salame”, “The Break” and “A Thousand Miles”, the three originals that make up the EP Broken Hearts Make Broken Beats, also count on the participation of percussionists Manu Idhra and Rui Ferreira, the voice of Mary Raisekings, and the Pardal saxophone. The theme "The Break" has remixes by Pedro and Max Graef.

The first ever release of Ed Banger records, this is ED001
To celebrate its 18th anniversary, we're happy to announce a limited edition re-press of this 12''.
I'm not going to repeat the story of how I ended up launching a record label while Napster was scaring the whole music industry…
Now I realize Radar Rider sounds like the perfect soundtrack of a disaster movie, in which record stores are closing, distributors are disappearing, a world without music, without life!
We didn't want this! Of course we'll release music from French producers, newcomers and put all our hearts into this new adventure. By accident Ed Banger records was born, 18 years ago. Mr Flash stopped by the office to play me some his beats. He was the French El-P to me, an MPC 3000 genius! I was blow away immediately, his music was talking to me.
I wanted this sound to be the beginning of something I will create with my friends.

Relentless and elusive french producer NairLess reveals his first solo EP released on the first vinyl of the label he co-founded, Aurore 404.

Two breakbeat-y groovers, a cosmic, fast-paced remix by Sichuan, and a slice of acido-disco to finish it off.. Looks like this piece of wax is ready to spin on your turntables!

oracle and audioMER. are honoured to announce the release of a new LP; Reading the City with music by oracle, Laszlo Umbreit & Mira Sanders.

In 2019 oracle invited artist Mira Sanders to interact with their practice through her writing. Due to the corona crisis, their shared working time couldn’t happen in the planned way:

“The writing project was originally planned as an exchange while travelling together one week on the Buratinas boat, navigating on the canals and rivers starting from Brussels. Due to the sanitary conditions with the Covid19, the trip together could not be realised or at least was complicated.

Instead of seeing the situation as an obstacle, I saw it as an opportunity to travel with them from afar. Me, living outside the city and them, inside. My question was ‘how, through their voices echoing with the urban spaces, will I imagine the city’s everyday life?’. Because one of the things that oracle’s practice does is to offer ways to perceive and encounter the city and its inhabitants.

For the texts I was inspired by the recordings oracle sent me every day during one week. Besides that, the book Invisible Cities written by Italo Calvino gave me a way of structuring my imagination.” – Mira Sanders

Following this artistic exchange and during a collaboration with sound artist Laszlo Umbreit, the idea of the record Reading the City was born. The existing recordings and the written sci-fi episodes by Mira Sanders functioned as a source of inspiration for the electronic sound composition Places, infiltrated by the original voices and city soundscapes. The recordings of the texts From Afar reflect oracle’s playful and spontaneous way of interacting with their given environment. From Afar is an invitation for the reader to immerse in the city while being in movement. Each track on this side has its own identity or colour, often in relation to what Mira’s text evoked, but this also happened in an empirical way, by trial and error.

Places is a composition in movement, following the idea of interaction with imaginary cities but regularly coming back to a presence of the workshop’s raw documentary sound. While being a carefully edited piece, it tries to keep a certain sense of immediacy and improvisation through semi-random dropping of heterogeneous sound materials in the timeline. Accidents are welcome. The arc drawn by the journey through different “places” is an interpretation of what can happen inside (and outside) when experiencing the oracle practice: being around them, imagining what was felt at different moments in the street, from a distance, preparing the itinerary in the city beforehand, talking about what oracle could be as a record and if it can exist outside the moment it happens.

*Clear Vinyl Repress*

After being summoned from Ohio to London by Adrian Sherwood, Nick Riggio and Rebecca Magnetic have brought their Midwest musical experience to the South London electronic music scene with a unique creative vision. Fusing elements of techno, post-punk and psychedelic rock they explore spiritual connections and transcendence while Rebecca Magnetic's introspective vocals set against a tough backdrop of Detroit influenced rhythms and vibrations leave you in awe.

Their superb single 'My Future' is a brilliantly cosmic exploration of spaced out and spacious grooves. Crashing hits bring an edgy mood, while lurching drums drag you forwards.
Molten acid synths and the strained and pained vocals from Rebecca add further layers of intrigue to this most adventurous electronic trip.

First to remix is Oosh! man Dan Wainwright, and his version is laced up with sci-fi chords and echoing vocal sounds. The downtempo drum rotations are superbly heavy and trap you in a trance.
Next up, Retroforward is Al Mackenzie's solo remix/music project named after his successful Birmingham night.
Al is one half of Field Of Dreams. His 'No Future' remix is an airy and atmospheric remix that takes the track to the farthest edges of space on smooth, hypnotic grooves and beautifully astral melodies.

Lastly, Richard Sen has already been getting support for his remix from ALFOS man Sean Johnston, and he goes for a superbly rugged yet slow motion chugger that is dubbed out and expansive thanks to the arching guitar riffs that ring out to the heavens above fat-bottomed drums.

Whether experienced on the dance floor or in metaphysical states, this music is medicine for the mind and body.

Ushering in an exciting new era for the label, nightclub and mix series, Bonobo opens the 'Fabric Presents' series that pledges CD and vinyl releases on a quarterly basis. His highly textural aesthetic translates into an ethos that looks to introduce a more open musical palette without losing sight of its past. His mix supports 10 exclusives or unreleased tracks, including 2 from himself and another from his rare pop-up alias Barakas. Employing the multi-instrumental arrangements of his own work in this 74 minutes of house, techno, electronica and breakbeat, each track exudes character and allows animated melodies to wander and develop, all the while grounded by an acute sense of harmonic progression and rhythmic precision.

The first Brazilian Grime release available on vinyl. Between São Paulo and London, Grime and Baile Funk, there is an underlying synergy, a collective beat that speaks to both cities. CESRV, Febem and Fleezus spent months holed up in a Bela Vista studio exploring the sonic and cultural similarities between the two urban monoliths. Their experimentation lead to the creation of BRIME!, a unique reinterpretation of Baile Funk rhythms through traditional and contemporaryGrime, Drill and Garage sounds, with features from internationally recognized artists. In the wake of this release, a scene was born, now percolating through all of Brazil’s urban strongholds at 140 beats per minute. Welcome to BRIME!

Way nding is Christopher Bissonnette’s sixth solo studio release and his rst, of hopefully many, for 12k. The album embodies an evolution of Bissonnette’s work, moving from an exclusively synth-based series of explorations to an amalgam of electronics and acoustic methods. Each track seeks to nd grandeur on a diminutive scale. Bissonnette’s focus has shifted from sweeping pastoral drones to introspective passages with delicate melody and elusive harmonies interlaced with studio and eld recordings. This minute scale is also re ected in a photographic series that studies the domestic landscape of home. The sequence of images transforms the banality and insigni cance of the familial interior into expansive vistas and bucolic panoramas. Way nding is Bissonnette’s most intimate and gauzy work to date and executed with beautiful restraint.

3 nasty electro trax from DJ Frankie with a banging remix from Gian. 1714 is an ode to Frankie's old neighborhood, Castelar in Buenos Aires.

This New Collection Is Released To Celebrate The Electronic Music Pioneer Being At The Forefront Of His Genre For Over 50 Years. This Extensive Double Album Comprises 41 Tracks That Has Jmj Hand Picked Himself. All Songs Have Been Digitally Remastered. Formats Include A Limited Quadruple Deluxe Lp Set, Deluxe Double Cd And A Super Deluxe Limited Fan Box Set. Press Ads, Features And Reviews. Online/social Media Activity. Poster Campaign And Database Mailout.

KINK GONG — ZOMIANSCAPE I - II

"When asked what were my early influences in music, I get reminded of my teenage years in Parisian suburbs, simultaneously discovering from public libraries two important French record labels: OCORA and GRM.
Then the roots of my interest in traditional music and electro-acoustic experiments grew into doing it myself, recording ethnic minorities of the zomian plateau of south-east Asia and composing a soundscape around it. This is what is happening here."
Laurent Jeanneau aka KINK GONG

Mastered by Raschad Becker, Berlin.
Cut by Frederic Alstadt, ANGSTROM STUDIO, Brussels

Artwork by João Basto,
The edition of 300 copies are silkscreened and individually hand numbered on the back

Silkscreened at Atelier Ice Screen, Brussels.
Inside A4 risographed at Frau Steiner Studio, Brussels.

LTD 100 copies / Printed Sleeve

A real brain destruction, so hard that it turns mental.
A side begins with a long bugcore electric spiking electro... A fakir track !

The second tune is experimental as well, destruction of jungle, of breakcore, of noises... Spiky too ! Fakir too !

The flip opens with a speedcore destructured tunee, keep your breath and drown into this mental distrurbance !

The finish, Zenkout... is a crunchy speedcore tune, shaking your body with a non-stop fatal kick.

A superb EP again from Les Neiges Noires De Laponie !

Kit Records founder and NTS resident host Richard Greenan returns with his first solo record in six years. "Rehearsing Heat" paints layers of ornamental pop, rumblingly playful hip-hop, widescreen swathes of drone and beyond - with a wide cast of friends and collaborators taken along for the ride.

Recommended if you like Rachel's, Susumu Yokota, Colleen.

We welcome another newcomer to the label, UK-badman Cartridge, who steps up with a smashing debut EP showing the world he’s not messing about. Big Things!

Stone Cold:
The aptly titled EP opener hits hard like a boulder, painting a post-apocalyptic super-metroidesque landscape, building upon the glorious ‘Flummox’ from SUBALT010. Gritty synth lines stating a simple yet catchy and evolving melody, all rounded by a fat bass exactly how we like it. A glittery rain paves the way to the breakdown and the second drop, which tells the final part of this majestic romance.

Choker:
Time to get stealthy with this one… a sinister intro erupts into a refined yet powerful barrage of bass. Solid groove, heavily panned percussion, clever wobs and synth hits, masterful reverb and delay interplays, Cartridge’s sound design really sets to impress with this superb number.

Sweet Doughs:
If the concept of ‘sinister’ was established on the previous track, ‘Sweet Doughs’ definitely takes it to the next level. Menacing car-tyre-screeching-like synths and an amusing yet slightly uncanny vocal sample set up the pace for this weighty dance-floor rattler. A saturated 808-like bass propels the track, which reveals itself as a master-class on how to blend power, bass, crafty sound design and an incredible attention to details.

Part one of two EP release on Transmat. New artist from Detroit!

Splatter Vinyl

K Records is a place for the innovative and unusual, but in this case, it’s the place for one of the most interesting and exciting releases this year. Knuckels a relatively new artist, takes the old skool formula, pulls it to pieces, rebuilds it and gives it a brand new shine with this incredible EP. Full to the brim of new ideas and styles but maintaining the old skool ethic and sound, this is an unmissable slice of wax. Hence the unmissable artwork and splatter vinyl!
Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

the second release of the brightest hope in modern deep house scene.

the title track is something like a nice mixture of four tet and dj koze. it will be lovely dj tool for all of house dj.

the track on b1 is more uk style jazzy broken beats stuff and the track on b2 is his trade mark elegant deep house tune.

Industrial Complexx opens its vinyl releases with a first EP that brings toge- ther a historical part of the industrial scene with contemporary music projects. Both Esplendor Geométrico and Max Durante represent two different musical currents, with different situations in space-time but, with a similarity in terms of great contributions to future movements.

Little remains to be told about Esplendor Geométrico, pioneers of the most transgressive industrial music who have been active for 40 years and who have influenced countless bands and artists with their harsh and hypnotic sound. Necrosis En La Poya was their first single, released in 1981, the track we pu- blish is recorded live at a concert in Tokyo in 2010.

Max Durante is also another essential artist in the European electronic music scene, his most primitive work was to provide Italy with its first raves and to im- port the underground culture and sound to his country. His style is mainly cha- racterized by the harshness and combination of techno with industrial sounds.

To complete this great list of artists there are 3 projects that are currently on the rise, all of which have their own very particular sound. The British L/F/D/M is one of the great references in terms of elaborate sound taken to the limit, a specialist in combining extreme textures that fit perfectly with the dance floor.

Group is a project that wo-rks from anonymity and also has a very personal and very identifying Lo-Fi sound.

SOJ is the maximum responsible of Soil Re- cords, a label that faithfully reflects its so penetrating sound and always linked to a mix of EBM, techno and industrial.

Gold Vinyl

Dope Plates is back with the second volume of its 'Dope On Plastic' various artist EP series.

Volume 2 sees debut appearances from London's Effra, Code 906 from Russia and Scale, Rainforest and Dreadmaul all representing Germany. Label boss Soul Intent also appears on the EP with his classic Good Looking Records tribute remix of Scape's hugely popular track 'Spirit World' which featured on DOPE005 back in 2018.

Apparel Wax is back with the 9th gem of its catalogue, a stunning six track EP out worldwide on the 7th of June 2021. The vinyl faced hero always wants to grow, therefore is on a constant quest for the evolution of its music and this record proves it once again being it a superb array of assorted sounds. A1 kicks it off in style with its Chicagoan touch taking over after a smooth intro: the mellow pad chords laying down the foundation of the arrangement, the soft strings and the melodious piano notes make it a perfect start. A2 opens with a steady kick and a silky bassline murmuring throughout the whole track while some more keys create a Deep dynamic beat. To end side A here's A3 with its far-out, spacey atmosphere and its Deep chords backed by an energetic rhythm section. Side B of our vinyl is about class: B1 is a nothing short of chic with its sampled vocals and its elegant pads. B2 is more Deep with its evolving piano melody, its balanced and groovy drums and some masterly crafted tiny vocal samples. B3 wraps up the record with a Jungle beat sprinkled with Jazz, R&B and Soul. APLWAX009 is a tenacious and cohesive work, yet disseminated by inspirational and diverse sounds which will be Wax's touch forevermore. A perfect EP to start the warmest season with the hope of being able to enjoy the outdoors without restrictions.

Top draw Junglist producer Dub-Liner represents for Concrete Castle Dubs and delivers two massive lickshotz, one of which drafts in legendary dancehall don General T.K. live an' direct. Nah miss

10" vinyl cut and mastered by Shane @ Finyl Tweek.

Tracklist details printed on the a-side, logo handstamp on the b-side.

Dunk is well known for his productions as ½ of the renowned Jam Thieves Playaz. Now the Sao Paolo based artist is fully focused on his solo career and has provided Liondub with a 4 track EP, specifically made for vinyl, that pushes the boundaries of his experience in DnB. This is deep, hard hitting, rolling drum and bass guided by new ideas from an artist exploring music outside of his comfort zone. With recent releases on Sofa Sounds, Subliminal and Chronic, Dunk is thriving as a producer on his own, and it can be heard clearly on the “True Funk” EP.

Japanese pipe-organ builder and sound artist Yosuke Fujita provided us with one of the prettiest, weirdest records that passed over our desk last year, essentially a custom-built organ duet with a bat colony, recorded in a cave beneath Mt. Fuji. It’s now been remastsred by Rashad Becker (with whom Fujita will be collaborating on a performance for Issue Project Room next month) and captures a sound somewhere between Sarah Davachi, Eleh, Pauline Oliveros and Kali Malone’s long-form organ dirges, with the bat calls sounding almost like a synthesizer piped thru an echo chamber.

Since 2009, Fujita has been recording almost exclusively with his custom-built pipe organ: a unique instrument made from 11 pipes and a blacksmith’s air pump. All of his recordings are worth hearing, but “KŌMORI” is among the most unusual and rewarding - 40 minutes of alien, pensive organ drone that echoes around the repeating, reverberating squeaks of a colony of bats.

Inspired by the fact that bats were the source of many recent viruses - like Ebola, Nipah and Hendra - Fujita grabbed a Sunken CO-100K microphone that was capable of picking up their ultrasonic echolocation. These sounds, captured in a cave beneath Mt. Fuji, are totally alien, like chattering sine waves or wobbling modular business. It’s the perfect foil for Fujita’s well-worn courtly organ variations that mirror traditional Japanese 7th century gagaku forms.

The rhythmic click of the air pump guides Fujita’s bellowing drones, drowning out the cave’s uneven spaces. Sometimes the bat sounds are reduced to a whisper, at others - such as on the crushing third part - they’re almost deafening. Fujita processes these sounds expertly, occasionally mirroring their fluttering tonalities, at others simply allowing the unusual frequencies to cascade through the empty caverns.

This is properly vital new music - sonically adjacent to Medieval church music, but also austere early electronics, spiked with a brilliantly asymmetric streak all of its own.

From a stylistic perspective, all bets are off as modernist bass music bowls forward with its sights on the dance. Over the past three years, J-Shadow has embodied that ethic more than most with a hybridised flex snapping fluidly between lurid grime waveforms, rave-indebted structures and hi-tech sound design. A perfect fit for Sneaker Social Club’s own omnivorous tendencies, then.

Very few albums manage to unveil their roots so honestly and at the same time succeed in creating something utterly distinct. "Of All The Things" from Jazzanova is one of these albums.
Originally released in 2008 on Universal, it now gets a luxurious reissue on Sonar Kollektiv as a 3LP with pop-up gatefold cover including previously unreleased instrumentals.
This format corresponds perfectly with the elegant opulence of the music that shines even brighter eleven years after its initial release. At no time is it unclear that this album is a deep bow to soul from the 1960s and 70s as well as genres like jazz, brazil and pop music in the vein of the early Beatles.
Along these lines, "Of All The Things" is meant to be perceived as a tribute to the music that Jazzanova has been honoring affectionately in their DJ sets and which has always had a decisive influence on their own productions.
At the same time, the Jazzanova guys have been successful in casually creating elaborate musical pieces which convey a deeply contemporary vibe - not least because of the multifarious references to electronic productions.
The path to this sophomore long player, which features the contribution of over 50 studio musicians, had been laid out beginning with Jazzanova's first album "In Between" from 2002.

Long awaited Lenta tunes are hitting wax on TAPE HISS 007. The EP delivers well composed rhythms and odd sounds for your dancing and listening pleasure alike. Some brilliant tribal vibes here and some bittersweet moments there. It's all about intuition and diversity.

*Repress*

SUNANDBASS Recordings eighth release is on the horizon, an EP from none other than Marcus Intalex.

Tkać means ’to weave’ in Polish. On this album, Swedish–Polish composer and musician Marta Forsberg delivers two compositions that capture her unique ability to transmit visions of light into glimmering sonic landscapes. To weave: crossing threads of dreams and light under and over each other.

LED AND LOVE SOUNDS is a live recording of a piece based on frozen and processed violin sounds. Weave and Dream was composed on an OP-1 synthesizer, and Forsberg’s use of LED light strips played a crucial role in the composition process.

This is tactile drone music, enriched by Nikos Veliotis' mixing work (MMMΔ) and the mastering by Mell Dettmer (collaborator of Eyvind Kang, SunnO))), Earth, Tim Hecker).

"The composer and sound artist now lives in Berlin, but is closely associated with the so-called Stockholm Drone Society around artists such as Kali Malone, Mats Erlandsson and Ellen Arkbro.

Having recently presented a composition for an installation with LED lights with her album New Love Music, now combines older material from very similar contexts: »LED AND LOVE SOUNDS« was performed in an art gallery and consists of processed violin sounds that Forsberg layers into haunting drones in front of the clearly audible soundscape of the room. »Weave and Dream« has been written for synthesiser and was part of an installation style that combined LED lights and fabrics with music.

More insistent in style and more intense in sound, the effect of »Weave and Dream« is similar to that of the first piece: Forsberg’s music enters into a dialogue with space and time that unfolds its full power even without the originally associated visual and physical experiences – very slowly and carefully, of course." (field notes)

Continuing our ambitious People Like Us vinyl reissue program with Welcome Aboard – a strangely relevant 10-year-old album (originally released in May 2011) when People Like Us aka Vicki Bennett became stranded in the US after the Icelandic Eyjafjallajökull volcano eruption closed much of northern Europe’s airspace.

Volcanically marooned in Baltimore and NYC, Bennett utilized some of her “free” time to work on the album and even gained audio contributions from fellow experimental musicians Jason Willett (of Half Japanese) and M.C. Schmidt (of Matmos) via her extended stay

Bennett derived thematic material of displacement, travel, and a longing for elsewhere from the natural disaster that caused her own predicament. Now strangely echoed by the Covid-19 outbreak and the various grounding of planes and stay at home policies worldwide.

While the general mashup culture often centres on the instant gratification of seamlessly juxtaposing hooks, People Like Us tracks transform the source material into collages that are equal parts dissonance and pleasure, making artful commentaries on our culture and Bennett’s own existential amusement within such a wondrous world. No one could have predicted how relevant this album would have been 10 years later.

Volcanoes or Viruses, Welcome Abroad is what happens when you’re stranded due to a freak natural occurrence trapping people all over the world and causing mass plane cancellations.

In 2018, way before we established our quirky little label & our ears were still young and unspent, in the deep sound forrest that is soundcloud we discovered an unpolished gem of a track, courtesy of Rebecca B, upcoming scottish born and berlin based banger producer.

Some years and life changing times later we are holding in our hand Rebecca’s first vinyl, dubbed „Murphy’s Law“, in accordance with the previously mentioned times.

Step right in with the A1 „Militant Margaret“ which rolls you off straight into Rebecca’s world, followed by A2 „Bionic Butterfly“, that certain gem we talked about earlier. On the B side you can follow Rebecca on a journey back to her roots. B1 „Odd World“ is a downtempo anthem with an infamous influence and B2 „Old Rapper“ its upbeat twin sibling. Welcome, Rebecca

Cobwebbed keys and dust mite spectres perfuse the dimensions of rooms 14-19 in the third and final volume of the Tape Loop Orchestra’s ongoing ‘Interiors’ investigations, subtly refining the Tape Loop Orchestra sound from vast and moor-like to minimalist and economic. Big tip if you’re into Tim Hecker, Basinski, A Winged Victory for the Sullen, Richard Skelton.

Again accompanied by a booklet of evocative “found” images, TLO vicariously probes our relationship to space and time thru the prism of domestic life, and more specifically, thru the spaces once inhabited by others. His music is a metaphor for the plasmic, entropic energy of human spirits, and their referential ephemera, using the glimpses of other peoples lives - as found in the booklet - as cues for haunting strokes of dilapidated piano coupled with cosmic sighs that strafe the soundfield like the timelapse of midwinter sun dialling an empty bedroom. The LP features two related pieces, while the CD revolves one long, immersive track formed of outtakes.

“Rooms are an incarnation of the people who inhabit them.
The selection of items are signs of status, emblems of their aspirations and signatures of private lives. Even when empty the omnipotence of the inhabitants is on display through the soft furnishings, artworks and trinkets.

Empty Time is the third volume of Tape Loop Orchestra’s Interiors series. Across the series TLO adopts a restrained minimal approach, focusing on the spatial aspects of sound TLO offers up a soundtrack to interiors bereft of inhabitants. Offering his own collection of found photos as a visual guide the listener is invited to meditate on the spaces we inhabit and what ephemeral energy is left behind when they are not in use.”

Once you enter the field of unity
You will feel the infinite source

Once you enter the field of unity
You will serve in presence

Once you enter the field of unity
I promise
you will meet yourself

Artilect's third EP for Samurai steps up the brute force and reflects the current global climate of frustration and constricted energy poised to explode. The title track steps with creeping malice, packing taut combustion with nods to the best of 90's era Dillinja. 'Spiral' is the highlight track here - pure futurism, a frenetic unravelling fireball punctuated with searing amen slices and sub punches. 'FK' is a rugged collab with Quartz that perfectly references and updates the golden era of DnB with tear-out amens and dive-bombing sonics. Final track 'Turmoil' is the 'Spiral' companion track, slicing up the clenched sections with rapid fire break hits that unknot themselves in focused propulsion only to be reeled back in tight for the next release. An EP for our times, Artilect continues to establish himself as one of the DnB scenes most promising names advancing the art form.

An Exact Science is a fantasy of long time ASC fans have had for many years (ourselves included) come to life with results that surpass our imagined results.

The new sub-label from WNCL Recordings features 12 short “tools” per release, for use on discotheque sound systems and home stereos alike. Released on 10” vinyl with digital to follow at a later date.

Denham Audio – the next generation of breakbeat scientists from the land of bleep and clonk – take some time out from their world domination plans to grace the Library Tool Kit series with an essential collection of heavy duty miniatures.

This is the new 2LP Best Of assembling the biggest hits and remixes produced by Fatboy Slim aka Norman Cook. Spanning nearly two decades of his career, Fatboy Slim still dominates the dancefloor as his international touring schedule demonstrates.
This collection includes multiple top 10 hits along with the most successful remix productions of his career. An extended digital version offers more of Norman's fruitful career history including Gangster Trippin', Sunset (Bird of Prey) and Everybody Needs A 303. This is the definitive release documenting the original superstar DJ.

Fresh from a release on the legendary Metalheadz imprint, Friske returns to his very own Requisite Music label for release number three and a brand new two track single.

The four Scottish-Irish musicians Conor Dalton, David Donaldson, Greame Reedie and Ian Maclennan are Island People. After their highly acclaimed debut from 2017, they have now finished their second album with the simple and consistent title »II«. Compared to their debut, »II« sounds more mature and complex. The arrangements unfold like the long tracking shots of an early Antonioni film - time seems to stand still, circling the moment. Impressionistically, one feels transported into the Scottish island landscape with its contrasting lights and harsh elements. Gloomy, darker, richer textures have conquered their space on »II« as much as the more present acoustic components. As much as its predecessor, also this record was skilfully produced, the musicians’ entire experience is audible (Conor Dalton is a sought-after mastering engineer; David Donaldson a Grammy Award-winning producer) – but anything fashionable or sensationalist has been intentionally waived. The musical serenity, holding up a craft that neither has to show itself off every minute nor wants to respond to the latest trends impressed us the most. The cover photo was contributed by the Scottish artist Helena Ohman. She also provided the video for the track »Crash«. Furthermore, singer Alice Hill-Woods was invited to contribute the lyrics and vocals to »Stalling«. Island People »II« will be released as gatefold double LP as well as on CD and digitally. In advance we asked Island People about the creative process behind the album and quote as follows: This album reflects on the destination we have in common before us, and celebrates the longer road while also considering paths not taken and journeys that ended too soon. It has been said that »art is how we decorate space; music is how we decorate time.« For us the writing of this album has been a great journey through both, shared with friends. While our first album acknowledged our own spaces and borders as individuals, the new album seemed to grow very quickly from our travels together as a band. Periods spent on the road playing live afforded extra time together and while we didn’t feel constrained to a concept at the start, more and more of the tracks evolved to reflect these journeys and experiences together.

This is the 16th release on RIOT Radio Records, an independent techno label based in Scotland.

Jerome Hill lives and breathes music with his productions, sets and record labels being educational and hedonistic in equal measures. He’s a label owner, party organiser, scratcher, dot joiner and arguably the best proper pumpin’ party DJ in the world. He’s the founder of “Don’t” recordings, “Fat Hop” records, “Super Rhythm Trax” and 1992 rave themed “Hornsey Hardcore” with his own releases, all of which are absolute honkin’ belters, featuring prominently on labels that are lucky enough to have his work printed with them.
This release sees the welcome return of Jerome to RIOT Radio Records for a second outing with three original tracks and a blustering ‘Bar Room Rumble’ of a remix by those Swedish lunatics TSR. The Don’t master is once again on top form with his own unique style of funkin’ and bumpin’ and wonk to make you stomp. It’ll even shake your body’s as yet undiscovered Cuban hip movements to bust a move or two from the over indulgent rhumba mayhem it’ll stir up within.
WARNING: THESE BAR ROOM RUMBLINGS ARE SURE TO CAUSE THE TORMENTOR TO AWAKEN

The third part of the 25 Years of Metalheadz series sees us revisit the industrious sounds of 'Drum Trip' by Kaotic Chemistry aka 2 Bad Mice. Originally released on Moving Shadow an astonishing 29 years ago 'Drum Trip' has remained a DJ's favourite to this day, a testament to the foundation work laid down by the pioneering trio.

The revival wasprompted by a heavy-hitting remix by Metalheadz's own Detboi and was followed with an elegant, rolled-out interpretation from Madcap. The frustration caused by the loss of the original ‘Drum Trip’ recording was quickly forgotten as Wheeler went in and ultimately produced an outstanding full-scale rebuild. A second 'Low Ends & Amens' version by Detboi retains the original tempo and features as a digital bonus alongside a previously unreleased Kaotic Chemistry track in 'Jupiter' which was brought back to life with the astuteskills of Steve Kielty (SCAR).

It’s an unquestionable truth that we’re delighted to present this classic era of electronic music restored and rejuvenated as part of the 25 Years of Metalheadz project.

'MESSAGE FROM THE PARAZONE' is a various artist compilation album that marks the 10th release of Parallax Recordings.

Precursor to DJ Die Soon's upcoming monster of an album on Morphine, this 7inch introduces the legendary beatmaker from Berlin with a more stripped down, clashy dancefloor killer on one side, and a 'deep doped' heavy roller on the B side. TIP!

When South-Americans gather, many things can arise, but one will be certain: it
will be intense. It could be it a party, a conflict, a work of art or an EP such as this
one that involves a Brasilian label releasing a collection of eclectic, dark and deep
electro-boogie and post-punk by a Colombian artist. Gladkazuka is the guitarist
on Matías Aguayo’s pan-american ensemble The Desdemonas and here he offers
us four slices of synthetic trunk funk on Gop Tun’s label. Each one of them are
guaranteed not only to entice sensations of all types and provoke emotions of all
kinds but also with the intensity expected from such a combination and required
for maximum fun.

Hiroshi Watanabe does not hold back on Threshold of Eternity EP. The Leonids Strings is a deeply emotional and delicate string arrangement that leaves the listener beauty struck and in awe. Into the Memory is a dance floor banger which holds true to Watanabe's exquisite skill as a techno producer. The release contains a beautiful balance between groove and beauty which is rarely present in a techno record. The cover photography is a photo by Watanabe himself of his hometown Tokyo.

Taking you back to the sounds of Underground Garage with the bumping 2-Step flex of Jodo Kast.

Jon Hopkins knüpft mit neuer Single, in Zusammenarbeit mit Kelly Lee Owens, an das 2018er Meisterwerk „Singularity“ an und kommt 2020 auf Tour nach Europa.

The New Yorker feiert Jon Hopkins nach seinem 2018er Meisterwerk „Singularity“ als “one of the most celebrated electronic musicians of his generation” und auch wir kriegen gar nicht genug Multitalent aus London.
Zum Glück gibt es tolle Neuigkeiten für alle Jon Hopkins Fans für 2020. Zuerst veröffentlicht er zusammen mit Kelly Lee Owens eine neue 12‘‘ namens „Luminous Spaces“, ein herrlicher Track der Hopkins‘ elektronische Klänge perfekt mit der spirituellen Stimme von Owens verbindet. Dann geht es auf große Europatour im Frühjahr mit zwei Konzerten in Deutschland

- Schwarzes Vinyl inkl. MP3 Downloadkarte

Clear Vinyl

Mark Leckey finally presents the soundtrack to his autobiographical allegory ‘O’ Magic Power of Bleakness’, a mind sluicing fantasy/autobiographical narrative inspired by folklore and half-remembered tales of teenage life growing up in the Wirral, a personal history woven into screwed 808s, ringtones, sacred chimes, smudged
synths, sirens and levitating ambience that sounds like nowt else.
Following his seminal, hauntological trips ‘Fiorucci Made me Hardcore’ (2012) and ‘Dream English Kid 1964 - 1999AD’ (2016); the 3-part accompaniment to ‘O’ Magic Power Of Bleakness’ captures the Turner Prizewinning artist moving beyond signature collage tekkers to create an entirely original arrangement for his latest audio-visual installation at Tate Britain in 2019 - a life-size replica of a motorway bridge on the M53 on the Wirral, Merseyside. In situ, the soundtrack is a vital component of the installation, livicating its liminal space with a narrative arc that magically turns familiar, popular and folkwise tropes into an occultural tale about provenance and a reminder of the supernatural in the modern world.
Leckey approaches the piece as “an autobiographical allegory” in an attempt to locate the enduring enigma of sub/urban British life with uncanny insight. Alongside his own narration, a plethora of Scouse-kids play out the story of an aspirational kid who escapes the Wirral not to London, but to the faerie realm spoken of in Northern European folklore. When he crashes down to earth, his friends don’t understand who, or what, he’s become. It ultimately concludes in a symphonic supernatural riot, culminating a sort of metaphysical transformation common to Traditional Ballads and reminding us of the angel/redemption sequence at the end of Lynch’s ‘Fire Walk With Me’.
‘O’ Magic Power Of Bleakness’ is a well-worn story that’s brutally familiar to anyone who’s escaped the clutches of one of Britain’s forgotten, Tory-scoured battlefields. But Leckey’s treatment is transformative; he offsets observed reality with the surreal verve of folklore like a theme park ride thru a Britain the country prefers not to remember, decorated with themes that have been looped around our collective consciousness for thousands of years. Leckey’s art has essentially come to reflect the psyche of a generation, divining the
poetic and occult from the seeming banality of British life by tapping into leylines that riddle the concrete landscape to the imagination. Specifically (if allegorically) it’s Leckey’s life in focus but, on the broadest level, the work speaks to the politics of big town parochiality vs. the elusive lure of big city glitter, in a way that’s bound to resonate with many listeners who’ve made that same transition and questioned their place inbetween worlds in the process

Ahead of the release of his new album Book Of Life, Erased Tapes will re-issue Stories, the first in a trilogy of vibraphone solo albums by Berlin-based composer Masayoshi Fujita. This quietly exquisite album is like a book of illustrations, evoking scenes of natural beauty and poetic poignancy that combines climactic crescendos laced with electronic detail and luxurious melody. Stories is the beginning of Masayoshi's mission in bringing the vibraphone — a relatively new invention in the history of instruments often kept in the background in orchestras and jazz outfits — into the spotlight. Having trained as a drummer, Masayoshi began experimenting with the vibraphone, preparing its bars with kitchen foil or beads, playing it with the cello bow or using the other end of the mallets to create a more ambient texture of sound. Focussing on the vibraphone in this way sets Masayoshi apart, dedicating his artistic life to celebrating this fascinating and often under appreciated instrument and making his take on ambient and modern compositional styles a unique one.

Odysee Recordings is proud to present the 4th in the series of digital re-masters and remixes of selected classics from the back catalogue. Originally released in 1996 (ODY06), this was widely regarded as the pinnacle of the initial Odysee catalogue with support from Goldie, Kemistry & Storm, Fabio, Peshay and many others.

Misha Sultan is a professional musician multi-instumentalist and sound engineer with a wide background. He started making music over 20 years ago with his brother and neighbors in the heart of Siberia. Misha’s hometown Novosibirsk is located between Europe and Asia where lots of his inspiration came from.

«The Red Fern Road» is a trip for years and for less than an hour at the same time. While listening to the album you’re going into the void of time and place. But the world that opens up to you when you listen to the music is such a beautiful universe that you want to stay there forever.

The Vinyl Debut Of Microm Records Is A New Era For Negocius Man And Microm Records N.e.g.o. They Are Very Special Songs With Different Styles Of High Quality Electro. It's My Cover Letter Around The World Hard, Raw, Dark, Robotic Vocoders, Detroit Sounds And Drexciyan Moments, Galactic Funk, Minimalist Atmosphere With Effects. They Are My Different Facets Making Electro But Not All, I Have A New Sound For 2019, Stay Alert And Enjoy!!! For Me Is A Timeless Disc, I Like It And I Always Will, All The Tracks Are Me: N.e.g.o.

Limitierte 12" mit drei der vier "Sonic Buds" Tracks, die der "Smokers Delight (Ltd. 25th Anniversary Edition)" LP als MP3-Bonustracks beilagen. Darunter die Neukompositionen "Let's Ascend" und "Aquaself" sowie der alternative "Funk Mix" des NOW-Klassikers "Dreadoverboard". Sämtliche Tracks erschienen erstmals mit der LP-Jubiläumsausgabe und werden hier zum ersten Mal auf Vinyl erhältlich.

Not Waving renders his pop soul on a definitive album opus ‘How To Leave Your Body’, starcrossed with guest appearances by Jim O’Rourke, Jonnine Standish, Marie Davidson, Spivak and Mark
Lanegan
An escapist parable for the times, Alessio Natalizia marks a career high with his most sensitive production and songwriting illuminated by a coterie of notable collaborators. Its 11 songs deal with the necessity of friendship, the fragility of loss and spiritual transcendence via a spectrum of strategies that ultimately arrive at a mutual conclusion: love is the message. It packs sample amounts of nostalgia into a fantasy sequence of elegiac pop, skewed rave and midnight lullabies that fine-tune over 20 years of devotion to his craft, perfectly matching experimental restlessness with enduring pop appeal.
Perhaps unavoidably, circumstances had a hand in the creation of ‘How To Leave Your Body’, forcing Natalizia to work with collaborators remotely. Yet the strength of his bonds bleeds through in the album’s handful of poignant vocal pieces, none more so than the hushed intimacy of Marie Davidson on the bewitching downbeat trance hymn ‘Hold On’, but also in the bruised blush of ‘My Sway’ featuring Jonnine’s spine-tracing lilt over hovering organ and dembow bumps, while the hook-up with Mark Lanegan once again yields bittersweet fruit on ‘Last Time Leaving Home Part 2’, with gravelly blues vox diffused into detuned, miasmic cello that really tugs.
Effortless and made for rinsing, the whole album is testament to the humility and pathos of Natalizia’s oeuvre, which has gotten better with age. It plays out like a lovingly crafted mixtape, decanting all original material with a classic cadence and fleeting play of styles, from aerial jazz notes in ‘You Are Always Younger Than The Future’, to the gnawing club grind of ‘Define Normal’, a noisily gurning ‘Self-Portrait’, and the lushly resolved admittance of ‘My Best Is Good Enough.’
Comparisons don’t really work with this one, it’s just Not Waving.

From Norway via Berlin, O.M.Theorem debuts with an EP rooted in 160BPM sub-heavy atmospheric soundscapes, that explores connections between different tempos and time signatures. Side A presents two percussive driven polyrhytmic explorations while side B steps into slightly more familiar dubstep / UK Garage territory.

Seekersinternational sends dub into another dimension, a place where the laws of physics appear irrelevant. Formerly solid structures are made improbable and surreal; songs become dizzying, recursive mazes. But for all this weirdness, the Canadian producer has generally hung onto dub's loved-up feel.

Dauw welcomes Taylor Deupree to the label with his new record 'Mur'. With this release Dauw also introduces Jelle Martens, a Belgian graphic designer and painter, for the artwork of this release.

Deupree describes the album title “as if there’s always something about my music that’s like a murmur”, resulting in a murmuring effect when pronouncing the names of each track. Mur is a personal journey through the challenging year that 2020 has been. The fifth and last track on the album, Mar, contributes as a catharsis to this turbulent period in Deupree’s personal life, which is defined by the interaction between the loud sounds and the soft keys of the piano. As if the storm has died down and the waters have found their peace.

Taylor Deupree is an American musician and mastering engineer based just outside of New York. As a former member of the American electronic band Prototype 909, Deupree has had numerous collaborations with artists such as Ryuichi Sakamoto, Stephen Vitiello, Alva Noto and Marcus Fischer. Curating 12k, a New-York based music label, is another aspect of Deupree’s career and brought together over one hundred releases since its beginnings in 1997. Having some similar artists in our catalog (Federico Durand, Will Samson and Steinbüchel for example), it’s safe to say that Deupree’s new release through Dauw will be in good company.

A message from the unknown.. limited to 200 copies

The Pianism EP was originally produced by Rob Haigh in 1993 under the alias ‘Splice’ on PM Recordings (Parliament Music) PMT 015 - Pianism E.P (Enter The Light). This original vinyl cut in 1993 had seven original piano breaks, as Rob described these were meant to be for DJ use. Strangely no one ever sampled these and made a new tune !? (Or at least we can’t find one!). Last year in 2020 we remixed these 3 tunes and added one unreleased tune with Syko and Rob on BSBR003 as VOL.1.

Nach drei hochgelobten Alben “Oracle” (2017), “Dance Of The Demons” (2018) und “Worshippers” (2020) gibt es tolle Remixes einiger Top-Produzenten:
Ein uplifting Disco House Groover vom legendären Mousse T., den Louie Vega bereits 3 x bei seiner Worldwide Radio Show gespielt hat. Dann ein Tribal Afro House Re-work der New Yorker Legenden Hector Romero & Ayala, ferner Avantgarde Broken Beats und eine gediegene slowmotion Version von “Land Of The Arum Flowers” von Italiens Khalab, der mit Fresetyle, Trap und jazzy beats bereits enormes Aufsehen erregt hat, und ein episches Downbeat Monster vom Wiener Beatbastler URBS, und ein chilliger Dub Remix von München’s Beat-Wunderkind L One. Eine Allzweck-12”, die ein wunderbar breites musikalisches Spektrum bietet.

With a string of sought after releases since launching last year, London label 'OPIA' are set to debut their sub label, Euphoric State. The London based label have built a solid reputation in a short space of time with 6 releases since 2018, releasing many respected names that position themselves firmly in the underground.

'EuphoricState001' is a certain nod to sounds of the past as they call on A² and Stopouts for the inaugural release, known best for their adventures on Alien Recordings in the late 90’s. The ‘Go With the Flo’ EP is the outcome of several studio sessions between 1998 and 2002 at Penthouse Studios (positioned at the top of their parents house).

Opener ‘You Gotta’ picks up the pace from the off, swooshing pads create a dream like state, opposed to the slick drum work involved. Keeping it driving on the A side is ‘Bliss’ pushing tribal drums but elements from the title exist through out. On the B side ‘Techfest’ comes in more sub heavy, with trance like keys progressing the track, more broken and building compared to the other tracks. Rounding off the Euphoric State launch is ’Suits You’ killer highs, and wavy elastic synths are the flavour here.

The debut from OPIA Records sub label, Euphoric State.

Another exploratory and bulletproof data delivery by Das Ding, returning for his second record in the Mechatronica White series following "I Am Not A Robot" from last year - this time assisted by Heap's radiant interpretation on the flip. Hand numbered, hand stamped, no repress.

Classic and sought after quick fire Hardcore Jungle Techno 4 tracker, remastered and pressed to both Ltd Edition Colour and Black vinyl by The Music Preservation Society

It’s been a long time since we released a track from the long haired CIA joint label owner under his solo guise; the dance music legend and all round pretty damn special man, Q Project. And after not such a long time, we welcome back a young upstart, a man kicking in the back door of the D&B scene, the recently rig smashing Myth.

In life everything is cyclic. It’s said, the wave is the most essential form of creation existing in nature. People, moments, come and go…it’s the law of life. But, in reality, the cycles of our life are all linked together, while one is closing another is opening. 012 (twelve) is a new cycle, a new space dedicated to sounds and art.

Smoove is a pleasant guest of Oonops' show on Brooklyn Radio. He joined his series with one of his most popular edits in a reworked and remastered version for this glorious 7" single. on the flip you'll find the bonus dub version.

FORMAT - 7" LIMITED EDITION - 300 COPIES

The cirle is now complete. Well.. maybe because Never Say The Last One. Troniq left the Prague city life and now he's exploring ambient journeys under his real name Martin Kuška while for the dance stuff he reserved the new Goobye Mirage nick.

Two melancholic tracks were left behind unreleased and here they come as a first release on COLUMBO RECORDS. Polished and glamorised for the hazy dance floors, boosted by stunning remixes of Etbonz and Imre Kiss.

DIGITAL BONUS: Two more mixes from Imre Kiss!

The sound of one of the most recognisable Metalheadz anthems makes up the 2nd part of our 25 Years series.

Asylum aka L Double's 'Da Base II Dark' was originally released in 1995 and retains its status as a certified classic, still appearing in sets almost 3 decades later. Remastered for this mammoth project the single is accompanied by a Stealth remix on the B side, a remix that grew into Stealth's own personal homage to the Metalheadz sound. The outcome is a ravenous twist constructed entirely with the late night dancefloor in mind.


a A. Da Base II Dark Remastered

Since nearly a decade now, Italian born artist Antonio Marini is going through a sonic adventure known as Healing Force Project. Discreetly building up his musical blueprint, he slowly reached a cult status
as a visionary who is blending electronic music with free-jazz in an atypical, anarchic, spontaneous and original way. On „Sideral Escape“ the artist shows himself in his different facets ranging from ambient to jazz to techno.

RECORD STORE DAY 2021 TITLE!!!
THE FAMOUS CONCERT… THE ICONIC LINE UP! NEVER RELEASED ON VINYL BEFORE!
LIVE IN REIMS CATHEDRAL - DECEMBER 13TH 1974
STRICTLY LIMITED EDITION: ONLY 3,000 COPIES WORLDWIDE WITH EXCLUSIVE PACKAGE: 16
PAGE BOOKLET & 2 PICTURE-DISCS
STUNNING DOUBLE 'STAINED GLASS WINDOW' PICTURE DISC VINYL PRESENTED IN A
GATEFOLD SLEEVE WITH AN EXCLUSIVE 16 PAGE BOOKLET!
ONE TIME ONLY PRESSING

The third release of ninih is by none other than Australia-based electronic producer Andy Rantzen. Bringing his most dancefloor friendly EP as of yet. A-side for trancing ~ B-side for dancing. All tracks stem from the late 90’s/early noughties giving this EP it’s ravey vibe in typical dubby Rantzen fashion.

Next in the compiler hotseat for seminal mix series ‘Back to Mine’ is the legendary DJ and producer Fatboy Slim. Having sold over 10 million records and embarked on a number of sold out arena tours, the esteemed record collector and all round great selector delves deep into his weighty collection at his home to create a heady journey of funk and soul. The collection opens with Dave Barker & Ansell Collins ‘Monkey Spanner’ – a reggae single released in 1971 from the Kingston based duo working for the infamous producer Lee “Scratch” Perry.

There are a few rare finds, Donal Leace ‘Today Won’t Come Again’, Wind ‘Grooving With Mr Bloe’ and George Rene ‘Smokey Joe’s La La’. And the most recognisable for many no doubt is Betty Chung’s 1968 classic ‘Bang Bang’ thanks to the vocals of the Nancy Sinatra cover being sampled in the Audio Bullys rework in 2005.

Jamie xx releases a remastered version of his debut album ‘In Colour’ on Young Turks.

Jamie’s definitive ‘In Colour’ is a bold, celebratory and emotional artistic statement that received critical acclaim across the board as well achieving huge commercial success.

The eleven track LP was widely regarded as one of the best albums of 2015 and was voted in the top 25 of Pitchfork’s Best Records Of The Decade. ‘In Colour’ went on to receive Grammy, Brit and Mercury Award nominations, reaching Gold status in the UK Official Charts, and its lead single ‘I Know There’s Gonna Be (Good Times)’ featuring Young Thug and Popcaan is certified Gold in the USA.

As well as continued success with The xx (whose third album ‘I See You’ was released in 2017), Jamie released a new single ‘Idontknow’ in April this year, which has sold out on 12”.

Zur Feier des zehnten Geburtstags von "In Colour", dem 2015er Debüt von Jamie xx, kündigt der Londoner Produzent und DJ eine limitierte Picture Disc Version der LP an. Das ikonische Cover Artwork des ursprünglich am 29. Mai 2015 erschienenen Albums befindet sich bei der 10th Anniversary Edition direkt auf der LP. "In Colour" hat sich über die Jahre zu einem modernen Klassiker entwickelt und wird gemeinhin als eines der prägenden elektronischen Alben der 2010er Jahre betrachtet. Der kaleidoskophafte Trip durch die UK-Dance-Kultur landete bereits im Jahr seines Erscheinens in zahllosen Bestenlisten. Mit Tracks wir "Loud Places" (mit Romy), "Gosh" oder "I Know There"s Gonna Be (Good Times)" (mit Young Thug und Popcaan) wahrt das Album die Balance zwischen Crossover Appeal und Underground Credibility. Es war für den Grammy und die Brit Awards nominiert und landete auf der Short List für den Mercury Music Prize. Auch ein Jahrzehnt später brilliert "In Colour" nicht nur durch seine Produktion, sondern auch durch die emotionale Dimension, die es auf den Dancefloor gebracht hat. Es ist ein Album, das einen persönlichen Liebesbrief an die britische Clubkultur in ein globales Statement verwandelt hat.

Mark System's first solo release on Metalheadz comes in the form of two exceptional pieces of drum and bass for the 4th instalment of the 25 Years series.



Based in Ibiza, Mark's only past contribution to the label is a singular remix but it's always seemed inevitable he would one day have his own Metalheadz release. He has been described as somebody who has "impeccably honed his sound", a sound that is distinctively mature, naturally unique and highly emotive, all of which are as recognisable as ever across these two tracks.

Over the last two decades, 20syl has crafted a unique, hip-hop infused, electro musical universe. He inherited a rich musical knowledge and a genuine understanding of analog and vintage sounds form years of classic beat making. He first got his start with Hocus Pocus, a band he founded in 1995. As the mastermind behind the band’s five LPs, including their Gold Record Place 54, 20syl has proved himself to be a visionary artist. A member of C2C - a turntablist quartet with whom he has won 4 DMC world titles – he took the genre mainstream with the groundbreaking album Tetra (2012). This successful opus was rewarded with 4 French Grammys and a Double Platinium Record.

In 2014, 20syl launched his solo career while still working with a few hand picked underground artists such as Grems, Raashan Ahmad and Blitz the Ambassador. In the recent years the prolific producer has taken his trademark overseas with popular remixes of ScHoolboy Q, Rihanna, and King Krule – setting up a booming environment for the 2014 release of his anticipated first solo EP, Motifs.

Co-founder of On And On Records, 20Syl has imposed himself as a flagship of the expanding new scene. Passionate about visual arts, 20Syl designs his artwork and direct his music videos.

A free electron, he seduces the public with his sharp identity and his ability to turn his own original creations into major musical trends.

What is the utility of pain? Can it do anything but fester? In Ferneaux explores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave Blanck Mass an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment. An encounter with a prophetic figure on the streets of San Francisco presented the question of "how to handle the misery on the way to the blessing." This is the quandary of the impasse we now all find ourselves in, trapped in our little caves, grappling with the unease of the self at rest - without movement, without the consumerist agenda of "new experiences." The possibility of growth, always defined by our connections with others, held in limbo. Sartre said that "Hell is other people," but perhaps this is the Inferno of the present: the space of sitting with the self. A blessing is often thought of as a future reward, above and beyond the material plane. With In Ferneaux, Blanck Mass wrangles the immanent materials of the here-and-now to build a sense of transcendence. Here, the uncanny angelic hymn sits comfortably beside the dirge. The misery and blessing are one.

Repress der 2014er Reissue von Brian Enos Album "Nerve Net" (1992). Auf "Nerve Net" kehrte Eno zum mehr rockorientierten Sound zurück. An dem Album wirkten Robert Fripp, Robert Quine und John Paul Jones mit. Der beiliegende Downloadcode enthält das legendäre 'lost' Album "My Squelchy Life", das für September 1991 geplant war, dann aber zurückgezogen und zum Mythos wurde.

Tape

Life through the computer. We all have had to grapple with it over the past year, as we attempt to wring as much meaning, intimacy, experience and variety as we can from our shiny boxes of electronics. Concerts, plays, ballet, meetings, dates, dinners, coffees and conferences all became just a click away. Some of us cocooned ourselves in soundscapes lost, from old streams from noisy bars, to recordings of natural locations we could no longer get to. It was by turns revelatory, empty, full, sad and comforting. In Schism’s title track Cheryl E. Leonard treats us to her own imaginings of the world within her laptop; a pulsating, flickering, stuttering morass of coil pick up recordings, set amid the co-mingling of crickets, squirrels, birds, bats, and sounds played on natural-object instruments. She asks: “What does it mean when our mediating technologies have both the power to connect us to and distance us from the ecosystems we are part of?” Certainly this is a question which predates the pandemic, but it is one which we grapple with now with a set of new knowledges which speak to both the possibilities, and the shortcomings of a life lived digitally.

In addition to her laptop recordings Leonard also turns to mics placed inside bottles to render the second piece on this release, Eremozoic. In the context this simple gesture takes on new resonances; a separation, enclosure, limitation which captures and reverberates particular tones, while missing others entirely. When I think of the computer in this era, I think of it like this, it exists as both echo chamber and conversation; alienation and hope. I think many of us have felt the last year, a little like life was lived inside a bottle. With this release Leonard reminds us of what we lost during the pandemic, but more profoundly what we might lose more permanently as we continue into the climate crisis. - Kate Carr

"Stumbling into the Age of Loneliness

Purple Vinyl

Even if you're well-acquainted with composer and multi-instrumentalist Colin Fisher's richly varied output, his gentle fifth solo album, Refections of the Invisible World may come as a surprise. Psychedelic lyricism has always been a fundamental aspect of his sonic signature, but his second collaboration with producer Jeremy Greenspan (Junior Boys, Jessy Lanza, Morgan Geist) finds the Toronto native luxuriating in expansive atmospherics for its full duration.
That's not to downplay the eclecticism he finds within this ethereal landscape. Each track tills its own discrete sonic acreage, and while every one emanates from a clear focal point, the spontaneous impulse that drives Fisher's more audibly improvisational music always remains close at hand. Some pieces unfold rippling aquatic vistas or delight in prismatic guitar arpeggiation, elsewhere his plaintive, blues- infected tenor saxophone wafts like some strange jazz apparition, or becomes a chorus of cosmic murmurs. The presence of electronics is undeniable, but equally irrefutable is the organic instrumental sources of these disparate hues. In fact he's discovered a rare balance: no matter how effects-saturated, every gesture on the record feels palpably sculpted by Fisher's hands and breath. As such, Refections of the Invisible World carries a sense of intimacy at the heart of its diffuse, dream-like sonics.
Fisher has a been a major presence in Canada's music community for more than twenty years—particularly in more experimental and improvisational circles. Nothing short of a guitar virtuoso, he also wields saxophone, drums, and various other instruments with similarly refined musicality, vivid textural imagination, and sometimes feral abandon. His one-man-band tape Garden of Unknowning for Manchester's Tombed Visions, showcase all of this as he spars with different iterations of himself. The Quietus' cassette critic Tristan Bath extolled it as "miraculous," adding that "it’s a visceral experience soaking up this record, and it’s all down to Fisher’s utterly innate sense of musicality." He subsequently cited it in his 2018 contributor's year-end chart for the Wire.
In 2014 his partnership with Nick Millevoi's trio Many Arms on Suspended Defnition (Tzadik) prompted Spin's Brad Cohan to remark "Many Arms have dug even deeper into math-metal wizardry, bolstering their already imposing lineup with gale-force blowing guest saxophonist Colin Fisher, thus blasting their outré sonic blitz into a fire-breathing free jazz otherworld." Fisher later engaged the band's bassist, Johnny DeBlase, to team up with him and Kid Millions (Oneida, Man Forever) as Monas. As an ongoing collaborator to introspective dance music auteur Caribou, Fisher frst appeared in offshoot project Caribou Vibration Ensemble, and subsequently on acclaimed albums Swim and Suddenly. He's also made two duo albums with celebrated Nova Scotian jaw harp innovator chik white for Dylan and Lisa Nyoukis' Chocolate Monk label. In addition to performing alongside the likes of Jaime Branch, Joe McPhee, William Parker, Laraaji, Gerry Hemmingway, and Fred Frith, he has contributed to recordings by the Constantines (Sub Pop), Bernice (Arts & Crafts), Rhys Chatham (Table of the Elements), Born Ruffans (Warp), Anthony Braxton and AIMToronto Orchestra (Spool), and many more.

Rising/Falling marks multi faceted artist Daze Maxim aka Markus Manowki's second full length LP since 2000's Same Place The Bot Got Smashed. The album's title refers to the breathing exercises of meditation; something that by chance Daze begun at the same time as the LP's conception. This additional balance and clarity allowed the album to develop harmoniously, and paved the way for completion. There is also a nod to reflexivity as although this discipline provided necessary solace, it also demanded greater engagement. The overall aesthetic is unquestionably true to the minimal framework Daze has meticulously crafted over the past 15 years. A playground of intermittent tempo and hybrid organic electronica, harmony builds whilst dissonance prevails. There is maturity and guts in the selection and delivery of each part's piece in the puzzle, and a true viral beauty as it gains momentum. What is immediately striking about the album in full is its brooding space and progression. From ambient tones and warped classic synths, to rigorous live instrumentation, the sonic palette enriches as the odyssey continues. Much akin to a camera lens drifting in and out of focus, Daze toys with periodic collapse and elongated movements, but always pulls the listener back through percussive punctuation. The collaborations featured on the record occurred naturally, however the sessions played out differently. Sloth's unique trumpet work on the opener is a entirely improvised workout without specific key or time signatures. In contrast Yonatan, a classically trained jazz musician from Tel Aviv now residing in NYC, added bowed and fingered double bass to an already arranged work.

Cosmic library dub album by disrupt on the new Zonedog imprint, soaked in swirling synths, mind-altering loops and lushly textured polygons.

"The Recreation Room" follows up on the old SciFi idea of The Holodeck, a computer generated reality where space ship crews can get a break from the daily grind – a place where your mind can travel while your arse stays firmly on the couch. Disrupt is taking a closer look at the mechanics behind it, then messes with its deeper controls to optimize the simulation for an intense horizontal experience.

The VR-ready sequel to "Omega Station" (2018 on Jahtari) is a dubbed out piece of Sonic Fiction with a washed out nineties digitality, as seen through layers of tape all the way back to Black Ark – music from a future that already happened.