Beats Новости

Following on from his brilliant Point of View album, INSTINCT shows another beautiful side to his alias. The new LP 'Happening' offers some stunning ambient works. Over the course of the 13 tracks there are a variety of moods and melody's which really encapsulates the imagination upon listening.

Cinematic sounds mixed with electronica brings some of his best work yet. Many field and forest recordings used background noise really brings the music to life here complementing the lush musical elements.

'Happening' will be his third LP in just one year, showing an artist completely dedicated to his craft.

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout the year batches of 5 new vinyls will be released.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series: Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Shiva Feshareki, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

Leoparden dive into the summer with the warm, lovely space anthem "hoyt oppe" and the dancing synth-disco groove "Lopebass" on the B side.

Tape
GUILT TRIPPING is the first physical release of New York-based improvisation duo LOPEZ LOPEZ, consisting of Cecilia Lopez on synthesizer and Brandon Lopez on double bass. The recordings took place somewhere in/between the chaotic lockdowns of 2020 in New York City. „Guilt Tripping“ is as angry and confrontational as it is an intimate dialogue between two well-versed artists.

Cecilia Lopez is a composer, musician and multimedia artist from Buenos Aires, Argentina, currently based in New York. She works across the media of performance, sound, installation and the creation of electronic sound devices and systems. Her work has been performed and exhibited at Museo de Arte Moderno de Buenos Aires (AR), Center for Contemporary Arts (Vilnius, Lithuania), Roulette Intermedium, ISSUE Project Room, Ostrava Days Festival 2011 (Ostrava, Czech Republic), MATA Festival 2012, Experimental Intermedia, Fridman Gallery (NY), Kunstnernes Hus (Oslo, Norway) and the XIV Cuenca Biennial, among others. She was a Civitella Ranieri fellow in 2015 and has participated in various international residency programs. In 2019, Lopez curated the intermedia festival Folly Systems coproduced by Roulette Intermedium and Outpost Artists Resources that featured 11 international artists. Collaborators include Carmen Baliero, Aki Onda, Brandon Lopez, Carrie Schneider and Lars Laumann among others.

Brandon Lopez is a New York-based composer and bassist working at the fringes of jazz, free improvisation, noise, and new music. His music has been praised as “brutal” (Chicago Reader) and “relentless” (The New York Times). From the New York Philharmonic’s David Geffen Hall to the DIY basements of Brooklyn, Lopez has worked beside many luminaries of jazz, classical, poetry, and experimental music, including Fred Moten, John Zorn, Okkyung Lee, Ingrid Laubrock, Tony Malaby, Tyshawn Sorey, Bill Nace, Chris Potter, Edwin Torres, Tom Rainey, Cecilia Lopez, Sun Ra Arkestra, Susan Alcorn, Mette Rasmussen, and many others. His most recent highlight performances include opening the 2018–2019 season of the New York Philharmonic as a featured soloist in Ashley Fure’s Filament and a number of works with John Zorn, including the Zorn’s 35th anniversary of Cobra. Lopez has been a 2018 Roulette Van Lier Fellow, 2018 Artist-in-Residence at Issue Project Room, and is currently a 2020 Roulette Resident Artist.

Cinematic Vintage Synth and live drums project by Lance Ferguson (The Bamboos, Menagerie, Rare Groove Spectrum, Lanu). Turquoise coloured double LP incl. download card, limited to 300 copies worldwide.Imagine drummer Bernard Purdie playing with Ryuichi Sakamoto, or perhaps Clyde Stubblefield joining Cocteau Twins. An immersive album that recalls Boards Of Canada, Four Tet, Air, and Tycho.

Marcus Schmickler's music is designed for multi-channel sound projections and references German electronic music tradition, spectral music, experimentalism as well as 1990s club music. His artistic practice explores avant-garde trajectories in electronic music composition, formal systems, sonification and psychoacoustics. EMEGO 296 features two new major works from this audacious sound explorer.

Sky Dice / Mapping the Studio premiered at Donaueschinger Tage fur Neue Musik 10.20.2018 having being commissioned by SWR and realized at the Experimentalstudio (EXP) in Freiburg. This is a work for ARP 2500, Publison DHM89B, Publison Infernal Machine and Computer. Taking cues from Bruce Nauman's Mapping the Studio I (Fat Chance John Cage) (2001) the piece draws a fragmented acoustic map of the SWR facility itself; the studio serves as a source-model for the sonic display of historical signal flow graphs. Various acoustic and psychoacoustic effects come into play including the Larsen effect, as well as Style Transfer and Topological Sonification. The result is a daring and dizzying display of disorientating audio. Sound moves in most unusual ways, rising and falling simultaneously, appearing and disappearing like apparitions, nothing here behaves in expected ways. To paraphrase Albert Einstein's now famous quote regarding quantum mechanics, this is spooky audio at a distance.

Fortuna Ribbon is a selection of sonic material that emerged from a research based on how DPOAEs (Distortion Product Otoacoustic Emission) can be designed in the context of musical frameworks, augmenting the compositional pallets in regard to spatial hearing. In this manifestation, the materials are presented without context. The resulting emissions from the ear that are excited in varying ways from the 6 examples on display here. Playback in undisturbed acoustic environments is recommended at >82 dB/A.

Schmickler's ongoing investigation of sound matter conjures impossible audio that delight's in the extremity of form and resulting effects on the listener. Schmickler's audio invocations explore the capabilities of contemporary technology resulting in dizzying new worlds of sound.

Thanks to the Experimentalstudio crew, Detlef Heusinger, Björn Gottstein, Julian Rohrhuber and Peter Rehberg.

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout the year batches of 5 new vinyls will be released.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series: Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Shiva Feshareki, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

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.

Pomassl's Seismik Krew gathers and expands more than 3 decades sonic search and processing. This double album follows the rhythmical side of Pomassl's work, inhering elements of the Skeleton series (est. 1996), heavy syncopated leftfiled, and always psychoactive chains of industrial techno. Consistanty keeping the world of sound brim filled in a masterly manner the narration consists of solo tracks, remixes and collaborations with the late Randy Barracuda, as well as DJ Sotofett and Alessandro Cortini.

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout the year batches of 5 new vinyls will be released.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series: Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Shiva Feshareki, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

(180gr) Melbourne-based Vohkinne joins Kynant with the 'Wind Shadows' EP. Its title track is a grinding techno trip with stop-start drums to switch up the rhythm in a room. The two B-side cuts are straighter dancefloor fare.

Melbourne-based Vohkinne joins Kynant with the 'Wind Shadows' EP. Its title track is a grinding techno trip with stop-start drums to switch up the rhythm in a room. The two B-side cuts are straighter dancefloor fare. The first, 'Watching Over Us', is a thick and heavy, hypnotising 4x4 track, 'The Heretic' more dynamic and unpredictable.

Mastered by Neel (EnissLab Studio, Rome). Pressed on 180g, 12' vinyl at Optimal Media, Germany. Packaged in a house sleeve. All artwork designed by Christopher Honeywell

One third of the drone trio France and part of the La Novia collective, Yann Gourdon's practice focuses on acoustic phenomena and dynamic relationships with the environment. Having learned to play traditional music from Auvergne by listening to field recordings, Gourdon re-orientates tradition via minimalism, honing in on a place or location's unique vibratory fields, volumes and surfaces.

A bouquet of rigid electronic and electro-acoustic mouvements by Uli Rehberg, also known for his label "Walter Ulbricht Schallfolien", his former record store "Unterm Durchschnitt" & (probably) his work with "Werkbund". Printed as red vinyl in an edition of 300 numbered copies

Take a Deep, Dark & Dangerous interstellar voyage far into the Cosmos with ENiGMA Dubz, the newest signing to Truth’s burgeoning label.

With this EP, ENiGMA DUbz transports the listener to the far flung reaches of the universe with his otherworldly sound design and top notch production. Beginning our travels at “Area 51”, you can hear the alien experiments, top secret technological research and conspiricys being hatched. From there, we’re taken deep “Into The Ground” where everything becomes very etherial, beautiful synthwork, vocal layering and crispy breakbeats.

Guava returns to Control Freak for his second full length EP ‘The Dolphins are Back in Venice’ - a collection of 4 playful dancefloor bangers, precision engineered for the club.

Since his Control Freak debut with the ‘Lift’ EP in 2019, Guava has been hard at work in the studio. Following a move to Berlin (and a series of releases on the likes of Banoffee Pies and Holding Hands) he’s back on the label with a new and refined style, retaining the melodic flourishes of his earlier releases whilst turning his focus squarely towards the dancefloor - a perfect fit for our white label series. As an accomplished session musician, Guava continues to explore the synthesis between digital and analog production and songwriting techniques, innovatively self-sampling his own guitar playing across the record to add a human touch to his airtight productions.

On new 4-tracker ‘The Dolphins are Back in Venice’, which includes collaborations with rising UK artists Breaka & LUXE, Guava draws influence from a broad range of dance music styles in true CF fashion - combining rising, trance-influenced melodies with the syncopated rhythms and bassweight of the UK scene. Strictly limited vinyl release, hand stamped in London at CFHQ - first come first served!

‘A ceremony that invokes ancient spirits like the Dom & Roland productions, the early raw sound of RZA and the bleakness of the Birmingham techno scene in the 90's.

A cinematic trip of film noir aesthetics mixed with an eastern european sci fi sensibility.

Touch Of Evil meets Zulawski's On The Silver Globe.

Pessimist runs the voodoo down for the first time on Berceuse heroique and we are proud to release some of his most honest work.’

TRW “33”

Tommie Robin Wiese (1988 – 2020) was a composer and a producer from Rotterdam, Netherlands. He was a great guy, a nice man, a perfect friend.

From an early age, Tommie was engaged with spirituality, art and music. Throughout his life, he sought to deepen his knowledge and awareness. His music is a manifestation of his daily research of the musical, spiritual and human plane.

He was able to find beauty and meaning in any kind of music genre. Collaborating with different people on different projects, he touched upon various styles and genres such as rock/pop – playing a bass guitar in a rock band – as well as he was an avid listener of hip hop, house, techno, experimental electronic and ambient music.

In his own music, he found it difficult to choose one style to express himself through. Constantly thirsty for more and in search of perfection, he was looking for a way to consolidate his knowledge of life, music and spirituality into his music pieces.

Tommie had a passion for modular synthesizers which he loved to collect and experiment with and was continuously busy studying a topic or improving his skills on new instruments and gear. He’d be creating music all night till early morning which didn’t always make it easy for him to finish a track to his own satisfaction.
However, with his most recent productions, he started to get more in touch with himself and with what he wanted to express. He found that the depth and healing properties of music, especially hypnotic electronic music, deeply resonated with his soul.

As a person, Tommie was an excellent listener and could discuss any topic you could think of with an open mind, an ability that reflected on his approach to music too. One of his biggest artistic inspirations was the visual artist Alex Grey. What Grey did with painting, Tommie was trying to do in his life and music, showing us there is more than one layer in everything.

Sadly, Tommie left us very early and very unexpectedly in March 2020…

Thanks to his family and close friends, Mai Lei Bel is able to deliver Tommie’s posthumous EP titled “33” releasing under the moniker TRW (Tommie Robin Wiese).
A six tracks collection of melancholic IDM & electronica in combination with atmospheric techno & experimental.

'Verzamelen II' is the second volume in a retrospective series in which we look back at the work of Wouter van Veldhoven (Netherlands). Throughout the past decade, the Dutch composer built an impressive catalogue of music in which tape loop and modular synthesis experiments hold a central place. Both collaborations and solo-work saw the light through some distinctive labels such as Slaapwel, The Tapeworm, Umor Rex and Digitalis among others.

With this series we want to dive into some work which slightly went under the radar. The pieces are collected from several releases and are re-mastered for the occasion. Some of them were never physically released before.

Peter Broderick and Hainbach kindly joined this trip by offering two new reworks which close this second volume.

Songs taken from ‘A head stuck in tapes’, ‘Een paar schetjes en optredens 2005-2006’ & other found unreleased tracks.

The first release in what will be an ongoing three-part series, Part I features nine tracks for bass guitar and tenor saxophone. Part II, an exploration of a slightly larger, more sonically diverse musical world will feature string quartet and voice. Finally, Part III will collaborate with choreographer Siobhan McKenna, who alongside Nick will develop a percussive movement work that seamlessly intertwines with the musical work.

“My aim is to create music that is sonically and musically atypical whilst still belonging to an accessible contemporary scene. Each project, album or ‘part’ will set out to explore a single ensemble or group of instruments. In the case of Part I, that ensemble is hollow body bass guitar and tenor saxophone. “ - Indigo (Nick Roder)

The Indigo project itself was inspired by Saxophone & Bass Guitar by Sam Gendel and Sam Wilkes, which prompted Nick to write an album of music for the same type of ensemble. Having only just purchased a bass guitar for a different project, the instrument was still very new to him.

“I was curious to see what I would write with my self-imposed rule of not being able to overdub material, and further, how my limitations as a relatively green bass guitarist would influence the writing of the material. A strong focus on harmonic movement and melodic material was where I eventually found my happy place.”

The result is a phenomenal debut. Burrowing into the space between it’s sparse instrumentation and dulcet tones, Part I is the realisation of a minimalist and concise vision of what a symbiotic relationship between two instruments can yield.

About Indigo
Indigo is the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder. The Indigo project was conceptualised in 2020 and focuses on deep sonic exploration of little-heard ensembles in a contemporary space.

Since 2018, Nick has been composing soundtracks for video games including The Invisible Hand, Roadwarden, N1NE: Splintered Mind, This Dead Winter and Miska. Nick has also played in art-rock ensemble, Tulalah, exploring sonic textures, combining contemporary jazz/rock with chamber sounds. The modular ensemble released The Flood (Equinox Recordings, 2015) and The Question (Independent, 2017).

Coco Bryce has carved out a big legacy in a short time, with his epic jungle workouts, varied styles and multiple releases over the last few years smashing every style out of the park. A combination of Coco and Kniteforce was a no brainer, and this EP is guaranteed to bend what brains you have left into shape…or out of shape. Who can say?

GREEN VINYL

The long-awaited 3rd and final part of Data 3’s ’Matter’ series is here. ‘Atomic’ contains four incredible tracks from the dynamic trio based in Manchester and it comes after the global success of their remix of arguably the biggest drum and bass tune of all time ‘Up All Night’ by John B on Metalheadz earlier this year.

“In a recent interview David Toop described the studio to be “a concept of the mind, a place where you can create other worlds”. The very same perceptual methodology appears be at the heart of the studio processes of Deep Nalström whose latest EP offers a sonic cornucopia overflowing with food for the mind perfect for the journey into outer space via your own inner space.

Opener ‘Low Gravity Ride’ sets you away atop a propulsive fizz of acid bubbles, lustrous synth wash and a lithe percussive groove. Listeners are pleasantly bumped at the mid-point by ‘Astral Variations’- a mid-tempo vacuum jacker reinforced with a fractalised p-funk bassline. A personal highlight is ‘Rainbow Gardens’ - akin to sitting in the exotic grounds of an alien temple in the midst of an afro-cosmic drum circle whilst being laced with extravagant strokes of emotive synth cream.

The tempo increases towards the end of the EP, a rush to oblivion that ends with ‘Underworld Jaunt’ – glorious arcs of arpeggio riding freely above a determined techno canter that gradually peels away as you reach your mind’s eye.

In turbulent times, it’s comforting to commune with the esoteric fantasies of Deep Nalström; richly detailed and beautifully described sonic renderings of a world conceived in his mind and reimagined in yours.”

Here is a portal to a vast and relatively unknown world, the Japanese cyber-occult underground media scene of the early 1990s; our guide is the late Henry Kawahara, a media artist and electronic music producer whose expansive and visionary conception of digital technology merged with a desire to break free of the constraints of mere rationality.

This collection, the first-ever archival release of his work, is drawn from recordings released during the period 1991-1996, an exceptionally fertile time for Kawahara. Originally released on CD by a few Japanese independent labels including Hachiman Publishing, a cyber-occult / new-age / old shinto book specialist, the releases were available mainly in book stores, so this sumptuous and prescient music has remained relatively unknown. The original titles and tag lines of the CDs give clues about Kawahara’s interests and the music itself: Digital Mushroom, Subtropical Illusion, Never-ending Asia, and so on. This 15-track gateway compilation is available on double 12” vinyl and CD; the CD version has two extra discs featuring sound from two art installations entitled Dysteleology - α and Dysteleolog - β from the 1990s. All formats feature extensive English liner notes. Cover art by 2yang, with liner notes by Keisuke Oki and Koki Emura, with an interview of Sūgen Takeda (Hachiman Publishings)

"Henry Kawahara has been called “the Jon Hassell of Japan”, but upon closer inspection one finds that his work operates on very different terms. Like Hosono's forays into computerized Ryukyu folk “sightseeing music” or Tsutomu Ōhashi's Ecophony trilogy, Kawahara's world projected ancient musical traditions and notions of cultural identity onto the modern digital plane through a fusion of cybernetic thinking and pan-asian cultural introspection that makes Western attempts to do the same seem quaint in comparison. Kawahara's omnidirectional sound “illusions” were constructed not as albums but psychological experiences, billowing with a then-nascent notion of early 90s cybernetic spirituality that was proliferating on both sides of the Pacific as the hyperlinked state of global connectivity we know today was just beginning to crystalize. Through digital representations of folk instruments, shifting MIDI sequencing and custom binaural recording technology he aimed for psychoacoustic effect as much as artistic, all via a countercultural form of distribution untethered from the commercial expectations of post-bubble modes of artistic production. This EM collection draws out the best of his fruitful early-mid 90s period into a revelatory sequence, generously opening Kawahara's world to all." — Spencer Doran (Visible Cloaks)








h 08. java dance #2. “RELAXED”

Legendary artist Isotonik steps back to the front with this HUGE ep of classic rave sounds. Hitting the slower, piano led and summery vibe had always been his strong point, and it remains so with these three future classics, each containing more soul and style than the majority of rave releases from then or now.

NRGs return to the scene has been phenomenal, and this EP only serves to underscore why his mighty talent for incredible music deserves the legendary status it inevitably gets. Inside is 4 thunderous rave tracks, with the lead tune, Inside, destined to be a classic. Meanwhile NRG takes things forward with “Ive Been Waiting” and lets the beats speak for themselves in Dancefloor Rockin, leaving only “Yeah” to make you agree you just listened to both the future and the past…


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

It was already a reference among the diggers’ community, and one day, our friend from
Chouf made us listen to the record before Dizonord. We found Uli, one of the musicians, who still
had a fair number of copies of this 1990 LP, a tricky year for vinyl. This record is a mix between
jazz, funk and ambient but with a very special pop touch to it.

Pangaea returns to his Hessle Audio label for the first time since his debut LP 'In Drum Play', with two club tracks exploring different textures and designed for impact.

After closing the first part of Fundamental Records' experiment called Music for The Other People Place, the second part begins. Music for The Other People Place. Experiment 2. A special and highly limited electro / electronics project (tributed to James Stinson), produced by different artists that will remain anonymous, if they choose to...

clear green vinyl

Influential was a Kniteforce owned jungle / d’n’b label that ran for nearly 20 releases back in the late 90’s, before coming to a halt as KFA took off. But now it is returning, revamped into an old skool styled jungle label, complete with irreverent samples and deep jungle bass and dancehall vibes. All four tracks on this EP lean in slightly different directions, but all are forwards in reverse, proper jungle for those who know the original sound…

The duo XPRESSION steps up for the next Cosmic Rhythm release, delivering 4 absolute astonishing cuts deeply rooted into 90's raves' era.

The historic label from Frankfurt will re-issue some of the best records from the catalogue! Starting with Atom Heart - Pure Function from 1995. Essential record!

Repress

Blendits Audio brings us a special 12'' that combines cuts from both BLAU028 and 029 digital releases.

Miles Sagnia has a deep-rooted backstory in the UK underground techno scene. Under his own name and as Miles Atmospheric he's produced consistently compelling techno for labels like Finale Sessions, FireScope, Aesthetic Audio and Applied Rhythmic Technology. Such associations point to the soundworld Sagnia inhabits - a harmonically balanced strain of deep-diving brain food that favours expressive musicality and inventive programming over rigid functionality.

Having previously appeared as Miles Sagnia on Ornate back in 2010, he returns to the label as Miles Atmospheric with three cuts that explore melancholic moods through artful interplay between beautifully rendered synth tones and intricate drum machine excursions. These tracks still move with purpose and presence, but the end goal is more cerebral than physical - a perfect fit for the immersive experiences Ornate has always strived to promote.

‘A ceremony that invokes ancient spirits like the Dom & Roland productions, the early raw sound of RZA and the bleakness of the Birmingham techno scene in the 90's.

A cinematic trip of film noir aesthetics mixed with an eastern european sci fi sensibility.

Touch Of Evil meets Zulawski's On The Silver Globe.

Pessimist runs the voodoo down for the first time on Berceuse heroique and we are proud to release some of his most honest work.’

“The word ‘Isolation’ undoubtedly has a new weight to it. For any person, within communities, it has the ability to starve us of something essential OR positively recalibrate an individual whose introspection can lead to creation. The title & concept of this release is simply an acknowledgement of a creative process in which going inwards can lead to the discovery of something unique.

We as people move alongside technological advancements & this has the power to ‘connect & isolate’. Our personal relationships with one another also take on new forms as our tools for communication change. This inspires creative action. The human response to modern devices can result in surreal and unfamiliar expressions. In terms of music, our instant access to information from the past & engrained intuitions lead us to revisit atavistic rhythms of the past & reinterpret them with new sensibilities. We create music from the ‘Now’ that traverses the ‘Past’ with sights set on the future!

Bonds created from this expression can withstand and even strengthen when inter-continental physical distance is imposed - forcing us to look inward to investigate the true depth of relationships forged out of creative expression. Rhythm has been used for millennia to locate the deepest parts of the soul & to re/connect spirits - this is true also in the modern age. Certain feelings cannot be expressed via digital text-communications nor with words alone; Music is the answer. Connection through disconnection.

The Artwork on the B-side of this record is a symbol of the individual, isolated & pinned down by the spindle, falling, spiralling, a metaphor for whatever turns you inward. The needle on the record emanates the rhythm”

orange marbled vinyl

Steven Rutter, one half of B12, returns to De:tuned with a staggering ode to the 90s UK bleep techno era. Opener "O.L.F. ResPekt" sets the bar with a respectful flashback to the trademark sound. "Rewind 273" follows the path with a pitched down composition that strengthens the rather mellow and floaty vibe. On the flip "Incredible" combines the best of both worlds, a real gem for all bleep and bass fiends in signature B12 style.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Following on from 2019's 'The Blue Hour' collaborative LP from LSB and DRS, LSB and Footnotes enlist the services of some of hottest talents in D&B to remix tracks from the project. Stepping up are Calibre, Lenzman, Workforce, Technimatic, Tokyo Prose, FD, Bcee, Anile, Break & GLXY.

The past few years have seen UKG come right back around with a host of new producers and legendary heads alike, laying down 2 step heaters and 4x4 rollers to satisfy the appetite of the garage crew out there. Certified royalty, Tru Faith and About 2 are no exception, back in the studio and taking either side of this 12 inch for a double dose of sweet swung, US tinged garage gold, that will be sure to cause back to back wheel ups in the dance.

Already getting heavy plays on Kiss, Rinse, Flex, Centreforce alongside a bunch of the other pirate and underground stations, you know this ones gonna be good.

It's the third chapter in our 'Moonshine Recordings meets...' series where we focus on various talented vocalists from the UK sound system scene. In this session we have met the inimitable Rider Shafique straight out of Bristol. Riddims and versions built by the Moonshine family members - Baodub, Bukkha, Dubbing Sun, Inner Echo and our fresh signing Joyful Lion. Vocals mixed by Sam Binga and the whole project was mastered from stems by Studio As One.

BlackMix mini album is the result of one year of work at Pit Spector’s studio where ten musicians brought their touch to sublime the songs of Seyba Sissoko. Guitar, trombone, goni, n’tama or djembe were recorded in the studio, where they mix with drum machines and other synthesizers, in a great jubilant mix.

Six tracks with a specific subject with texts in Bambara, French and English.

Songs description:

Immigration, with a very happy instrumental, this song gives advices to lift the mask of illusions and tell the whole reality of immigration:

Maloyako (The Shame): A punchy call to action and work, for emancipation and sharing. Shame is here inspired by the inequalities that are tearing apart Africa.

Saraka (Sacrifice) Evokes a visit to the marabout and rituals of sacrifice, like life and difficulties that mark it.

Identité: One country: music. One pride: to bring joy around you. One rule: live with passion the present moment.

Diarabi (Forbidden Love) Denounces the weight of tradition that, locked by the caste system, still prevents today to love freely.

Fanga (the force) Evokes strength from common values, which unite the people in all their diversity. This title is a direct reference to the civil war that has been tearing Mali apart since 2012.

After his debut last year, The Eskapist re-appears from the shadows for another double-episode of the story...

In The Senses' is a soundtrack concept album from Fernando Pulichino based around the premise of music for film. Melody, ambience and mood are central to these pieces influenced by the likes of Angelo Badalamenti, John Carpenter and Johnny Jewel. The result is timeless electronic music infused with bittersweet synth chords & melodies, beat less atmospherics, bubbling electronics and synthesizer minimalism.

Some say that 13 is an unlucky number, but the 13th dnb vinyl release in our catalogue is here to prove the theory completely false. After all, how can you go wrong with Harland, who has shown to be not only a seasoned DJ but also a talented producer, and Mark System, who has been around for long enough to leave you absolutely certain that he's able to always deliver the goods.

The release is actually a kind of extended single because the vinyl comes with three tracks, and the digital bonus includes two additional tracks. But first things first.

Side A opens with "Leo" - named after Harland's recently born son (whose sampled voice you can hear right at the beginning of the track - followed by some sampled toys later on as well); a pleasantly progressing, summer-vibed roller with an emphasis on the low end.

A2 is "Simon Lake" - another deep, warmly "purring" roller, but offering a more late-afternoon mood, perfect for a twilight cruise through the city.

Side B is all about Mark System's remix of "Moon", which is a balladic, slightly nostalgic quicker-paced liquid tune, rich with melody, vocal bits, piano samples, and feel-good vibes.

Clear Vinyl

Kara-Lis Coverdale’s sublime sophomore side of post-sacred music becomes the first vinyl edition on her new label Gate, following its keenly sought-after 2015 tape release with a vital reminder of the Canadian composer’s early and enduring genius.
Iridescent with optimistic melody and holographic harmony, ‘Aftertouches’ was Coverdale’s first release to gain widespread recognition, placing her elusive music firmly in the upper echelons
of contemporary composition. It was duly hailed as a masterwork of postmodern musical craft, building on the low-key but leading examples of her tentative ‘A 480’ (2014) tape with a flourishing
development of an intrepid, dream-weaving and world building style.
Using readily available samples and filigree production techniques, Coverdale gives voice to her machines’ memory banks in nine perceptively absorbing explorations of the “uncanny valley” located between known and simulated worlds. She beautifully transfigures virtual choirs into coded realism, drawing upon a fine-honed balance of discipline and intuition, learned from years of playing church organ, to create a bridge between medieval, classical and 20th century
formalism, and 21st century soundspheres.
The album’s heady array of shatterproof choral vocals and dematerialised strings remains among the lushest, most intangible and thizzing explorations of the space between classical and
experimental realms released during the 2010s. And, most remarkably, done in a way that had simply not been realised so fully in this sphere prior to Coverdale’s emergence as a notable, often subversive, figure within her field; lighting the path ahead in a manner comparable to the likes of James Ferraro or Arca, but gifted with a truly singular spirit

Carefully navigating her way along the shifting horizon line of our present condition, Istanbul-based composer Ekin Fil never fails to find new pathways with the seemingly eternal nature of her reverb-saturated guitar sceneries. Aquarius/Pisces, her latest creation on Possible Motive, uncovers two tracks of carefully alluring and ambient sonics. The release is available globally on selected digital outlets and as a strictly limited hand engraved 7" lathe-cut vinyl disc.

Lotus Wash drops his debut album on LBD Sounds, bringing a whole load of fresh material which came out from his experience as a session musician, and performing his experimental live sets around the Czech Republic. He connects the dots between classically trained musician and modular synth-head, working in Prague's DIY shop and creative community Noise Kitchen. The album spans across 6 original tracks of pure analogue bliss and live ideas, alongside three remixes from his closest allies, local producers Oliver Torr, Vision of 1994, and Hrtl.

The Field Theory was created during a period of deep fascination with quantum physics, with the tracks being conceptually and aesthetically inspired by some of its phenomena. Acoustically, it's mostly a slow and dark affair, with Lotus Wash only letting the light in very briefly when the sun is young (Magnetic Moment), keeping the shutter firmly closed for the rest of the record. His music does not rely on banging beats to drive it, instead letting intense grooves do the job from deep underground, just like on earth-shattering album opener Vacuum Fluctuation. He masters his craft of building atmosphere, a skill learnt during multiple collaborations with various Czech theatres. Of course, he lets the steam out occasionally, and always with devastating effect (Higgs Field, Casimir Force), but mostly choses to keep it capped, humming and hissing. When the sky clears, he opts for a minimalistic and hypnotic approach, only to disturb this peace with a killer bassline in one of the album's highlights – Spooky Action in A Distance – later re-imagined and re-electrified by Oliver Torr. Standard Model is anything but your standard techno, while Hrtl's remix of Magic Moment flirts with techno too, but on a dubbier and brighter side. Bringing the album to a close is Vision of 1994's downtempo take on the same track, finally letting you breathe out.

0.9999...//READ THAT SEQUENCE LIKE A MANTRA After their successful collaboration on “<3”, AtomTM and X1N are back, this time presenting the 4 track EP “0.9”. It contains both the opening and closing tracks of “<3” as well as their corresponding mutations. While “0.9 (Almost a Unit)” was remixed by Esplendor Geométrico, “Almost a Unit (0.9)” got reworked by Peter van Hoesen. “Both renditions contribute amplified iterations of inherent attributes of <3” as X1N eloquently states. On a side note it may be mentioned that in mathematics, the expression “0.999..” is considered being identical to 1. Meditating over that very fact may tell you a lot about our current reality. #HardCodePop //////////////////////////////////////////////////////////////////// PROXIMITY IS DESTINY DREAMS AS SEARCH ENGINES X

“Blank Mind founder Sam Purcell returns to Blank Mind following a production mix for Blowing Up the Workshop and SMX collaborations.

'Studio Pads' thumps through at a bossy 117bpm, a sound system march that takes cues from early Chicago house as much as contemporary UK bass. Built on a gnarly two-note main riff, peppered with horn blares, it's minimal and primed for strutting and skanking.

On the B-side, 'Murmur' provides a sweet, pastoral contrast, the warmth of sun on skin. Dropping the tempo, birdsong recordings play back sidechained to a sub bass groove, Detroit chords refract through tight delays, and everything is kept in the pocket by syncopated hi-hats.”

Rua Sound's sought after "Foxy Jangle" series returns for its seventh installment with a double-A side from Law & Wheeler and Mister Shifter, backed as always with hand-drawn artwork by Dublin graffiti artist CISTO.

Law & Wheeler roll out the hypnotic jungle vibes on Visions of Apparitions on one side, while Mister Shifter revisits his Dreada track on the other, raining down a peak time amen apocalypse in fine style.

Premeried in DJ Mag, print and online.

Clear Vinyl

Post-minimalist American composer Rafael Anton Irisarri makes his Umor Rex debut with his new album, The Shameless Years. Inspired by a troubled socio-political climate, buried melodies punch their way through a bleak cover of noisy drones, periodically veering into some of Irisarri's most eerily pertinent music to date.

One of Rafael Anton Irisarri's most thematically and sonically cohesive records to date The Shameless Years came together in a relatively short burst of creativity starting at the end of 2016. Rediscovering some relatively older tools - namely Native Instruments' Reaktor, Absynth, and Kontakt software - Irisarri combined them with his collection of guitars, pedals, amps, and analogue processing gear, turning his Black Knoll Studio north of NYC into a powerful writing tool. Completed quickly by Irisarri's standards, let alone during a period of social upheaval in American society, the record faces down several key personal themes. The title, suggests Irisarri, could in fact be seen as a reflection of the era of shamelessness we're currently living in, a time of fake news and alternative facts.

Two tracks were completely remotely between Irisarri in New York and Umor Rex veteran Siavash Amini from his home in Tehran, Iran. This music came together at the peak of all the anti-Muslim and anti-immigrant rhetoric happening in the USA, not to mention the banning of Iranians from entering the country, explains Irisarri. The diptych with Amini, 'Karma Krama' and 'The Faithless', seems bathed in additional waves of sorrow and dread. The wash of symphonic stormclouds of synth drones and processed notes on the latter gradually appears and disappears over the course of thirteen mournful minutes.

'Rh Negative' marches gigantic guitars through towering valleys of scarred ambient noise dealing with Irisarri's own heritage, many of his ancestors having come to America to escape poverty and oppression. The refusal of modern America to extend similar sanctuary to refugees escaping turmoil weighs heavily on the composer. Elsewhere an emotional onslaught of notes buried in mounds of greyscale noise on 'Sky Burial' aims to deal with Irisarri's very own mortality - something he was recently confronted with following health scares, an accident, and a near-death experience in 2016. Pushing 40 as this album was being made, the composer is constantly aware that he's already outlived his own father, who died at the age of 32. Facing down both intolerance and the void, the epic soundscapes of The Shameless Years are a vast cry of emotion from Irisarri. The clock is ticking - gotta make the most out of it while you still can.

All songs written and performed by Rafael Anton Irisarri, except #5 & #6 written and performed with Siavash Amini. Design by Daniel Castrejón, photos by Camilo Christen. Mastered by James Plotkin.

Brand new EP from Tokyo Prose released via LSB's Footnotes label.

Denver has long been a nexus point for the ley lines of global bass music. Home to a wealth of talent and an essential stop for artists both homegrown and international, now it’s the turn of nomadic label DNO Records to touchdown in the Mile High City, as rising stars Trisicloplox & Sectra join the roster.

786 Recordings launch a new series called MORTAL KOMBO. 786MK is a collection of 4 spicy collaborations, cooked by some of the most dangerous dubstep producers in the scene.

Turn of Phrase is rooted in place and bound by time, yet is simultaneously unstuck in both of these things. The record spans a range of locales; the remote coastal town of Morecambe and its harshly beautiful surroundings, the technicolour glamour of the heart of LA, and London - a city whose maze of contrasting environments and tunnel-visioned bustle offers a totally blank slate.

The music however is anachronistic, technically guided by a strict set of rules based in time, the record’s memories and environments are allowed to wander and overlap. The familiar and the personal swirl and collide within an unfamiliar soundscape. The result acts something like a decaying memory, brief shining moments of clarity fighting against something unclear and untethered.

White Vinyl

* The first EP of a 3-part series called ‘Matter’ by Northern Powerhouse Data 3 is here. ‘Cellular’ contains four incredible tracks from the dynamic trio based in Manchester and it comes after the global success of their remix of arguably the biggest drum and bass tune of all time ‘Up All Night’ by John B on Metalheadz earlier this year.

DJ Dem’s new 12”, called I Videre, translates into I See in English. Continuing the sonic explorations of timbre and rhythm, the three tracks that comprise the new EP are an envisioning mix of the artificial and the natural acoustic environment. Streets, ambulances, laughter, air; hints of Berlin techno intertwined with the cymbals of an acoustic drums set and Berlin itself; synthetic and human voices creating mazy soundscapes. A blend of house tempos, techno’s futuristic take on sound synthesis, ambientesque stillness/movement and musique concrète’s intertemporal idea of montage music. Rather than going for the usual tropes of dance music’s canon, the music on the EP folds and unfolds on an axis of her own, giving DJs a multi-purpose sonic twister.

Jaki Liebezeit, der Masterdrummer, hatte seine Freude an der Tatsache, dass der Trommelbau seit Menschengedenken sich nicht wesentlich verändert hat. Ob ein Fell jetzt mit Schnüren oder mit Schrauben auf dem Kessel gespannt wird, ob es ein Natur- oder Plastikfell ist - das Prinzip bleibt dasselbe: beide umschließen einen Hohlraum, ohne den es keinen Klang gäbe (man stelle sich eine Trommel vor, die innen drin mit Lehm gefüllt wäre.)

So ähnlich ist auch die Rhythmus-Auffassung.
Das Überflüssige fällt weg. Dir leere Mitte erscheint.
Das Unsichtbare ist das Entscheidende.

Alle Stücke auf der zweiten EP von DRUMS OFF CHAOS kreisen um diese leere Mitte.
Im Zentrum ist - nichts.

Hier geht es um abstrakte, groovende Trommel-Musik.
Die Rhythmen sind so weit auf ihren elementaren Kern reduziert, dass sie zwar eindeutig singulär, aber auch allgemeingütig verstanden werden können.
Es kommt etwas zum Vorschein, das allgemeinen Gesetzen wie Gravitation, Ergonomik und Akustik folgt.
- Spiel, was die Trommel will, war einer von Jakis Sätzen.
Das hat DRUMS OFF CHAOS sich mit ihm zusammen zu Herzen genommen.
Im Zentrum stehen Rhythmen, die auf einfachen Zahlenverhälnissen gründen, um ihren Reichtum aus sich selbst heraus zu entfalten.

“Some of the most extraordinary songs I’ve heard in years.” Brian Eno

Les Disques du Crepuscule presents The Salt Garden (Landscaped), an album of extended pieces by acclaimed quiet music ensemble Fovea Hex, featuring longform remixes by British songwriter and producer Steven Wilson and Serbian soundscape artist Abul Mogard, as well as a previously unreleased mix by Peter Chilvers.

Formed in 2005 by Irish musician Clodagh Simonds, Fovea Hex have since released 3 albums (Neither Speak Nor Remain Silent, Here Is Where We Used to Sing and The Salt Garden), drawing favourable comparisons with Nico, This Mortal Coil, Ligeti and even Schubert.

The Salt Garden (Landscaped) is pressed on crystal clear vinyl, and comes packaged with a CD version featuring 4 tracks in total. The outer sleeve is printed in white reverse board and features an image taken by Crepuscule designer Joel Van Audenhaege during a recent trip to Greenland. The inner bag offers detailed liner notes as well as an interview with Clodagh.

As well as Steven Wilson and Abul Mogard, other high-profile admirers include film director David Lynch, who invited the group to play at his Cartier Foundation exhibition in Paris in 2007, and Brian Eno, who has described Clodagh’s work as “some of the most extraordinary songs I’ve heard in years.”

The Salt Garden (Landscaped) gathers together 3 long ambient remixes of tracks from the Salt Garden EP trilogy, originally released between 2016 and 2019. The core album is pressed on crystal clear vinyl and showcases ‘Solace’ and ‘Is Lanza Light & Given’, both re-worked by musical polymath Steven Wilson. “I’ve long been a fan of Fovea Hex,” explains Steven, “which for me is some of the most sublimely beautiful music ever recorded. It’s a mix of electronic and acoustic sounds played on instruments ranging from state-of-the-art to ancient and arcane.”

As well as the two tracks reworked by Steven, the bonus CD enclosed with the vinyl album also finds room for ‘We Dream All the Dark Away’, the widely-acclaimed re-interpretation by Abul Mogard of ‘All Those Signs’ from the Salt Garden II EP. By turns haunting and sinister, but always beautiful, the piece features vocals by both Clodagh and Brian Eno, as well as cello by Kate Ellis, and modular synth and effects by mysterious soundscaper Mogard.

An additional special bonus track on the CD is an unreleased remix of lesser -known 2015 digital single ‘By the Glacial Lake’ made by musician Peter Chilvers, best known for his collaborations with Brian Eno, Karl Hyde, Chris Martin and Tim Bowness.

“I feel truly honoured!” says Clodagh Simons, who began her career in cult folk-psyche band Mellow Candle, and since then has guested on albums by Mike Oldfield, Thin Lizzy, Russell Mills, Matmos, Current 93 and Steven Wilson. “It’s been fascinating to witness how these pieces have been so imaginatively and skilfully revisioned in the hands of Steven, Abul and Peter. Each piece has emerged into a completely fresh new light, with a different vibrancy, yet remains grounded in what was there before.”

Nic Arizona aka Niv Arzi, half of acclaimed duo Red Axes (alongside Kapitan, who released his debut solo album with MT in 2019) is here.
Nic Arizona’s transmission from Lockdown 1 in April 2020 is arriving in giant steps in the form of his debut solo album - Shavua Tov, to be released on MT later in 2021.
Floating the Flood is the first single of that album. It has been stretched and fitted for your imaginary (or actual?) dance floors as a 12” banger version, and is equipped on the b-side with a remix by his long time friend, and a huge label inspiration here in MTHQ - Lena Willikens.
We dream of hearing this LOUD.
In the meantime we fighting the good fight, on that spectrum between Hope & Despair.

X

Jim Coles once again turns the tide towards a new horizon and travels further into the echo chamber. Leading on from the much-lauded ‘Secret Location’ mini-album with Seekersinternational, one-offs such as ‘Open Palms dub’ (Dub Stuy) and other teasings, ‘Acid Dub Studies’ is the fully-fledged result of the merging of the calligraphic expression of the 303 Acid bassline with the stern sway of Dub Reggae and the hazier edges of Dub Techno and Ambient music.

Ibiza Records brings you Archives Vol 11 EP with those flavours of the early 90s when the scene was emerging from hardcore into Junglism thus the creation of Jungle...

This 4 track of gems from Potential Bad Boy n Noise Factory taken from Ibiza's vast back catalogue showcases their musical talent...

Tohuwabohu are Saam Schlamminger (aka Chronomad) and Burnt Friedman.The first joint 4-track EP was produced in Friedmans studio in summer 2013.

Cam Deas and Jung An Tagen twist the time/space axes with corkscrewing, unpredictable, avant garagetechno disruptions in a thrilling debut for Diagonal Colliding the experimental energy of Cam Deas’ “time exercises” with Jung An Tagen’s computerised techno,
‘Presentism’ opens new wormholes of pursuit for two leading exponents of avant electronics. Its eight tracks form a probing study into techno dialectics between states of past, present, and future, and between the approaches of notation, improvisation, and recording. It’s essentially intent on unravelling techno’s fixation with grids and loops, or an “eternal present”, in with disrupting the way we experience time itself. In the
context of radical dancefloor music, they move in the footsteps of Mark Fell, Gábor Lázár, or Russell Haswell, to
render rudely rhythm-driven results forever in anticipation of elusive kicks.
In aesthetic, the styles of ‘Presentism’ are recognisable from both artists respective oeuvre for the likes of The
Death of Rave and Editions Mego - from the stripped whorls of ‘Time Exercises’ to JAT’s wriggling organism
on ‘Proxy States’ - yet the rhythmic complexity and urgency is specific to their first collaboration. Effectively
each cut sets them in hot pursuit of an unknown variable; the kick drum. Generated in skittish, aleatoric
patterns, they follow the ball in bewildering permutations of asymmetric funk, encouraging minds and bodies
to calculate and intuit their own place in spacetime by means of proprioception.
Although ostensibly chaotic, there’s pure thrillis folllowing the fluidity of their logic between the shearing
vortices of ’That (nGridC)’, the metaplasmic head-plong of ‘That(yGridA)’, and the more sensuous space
explored in ‘That (yGridF)’, with Second Woman’s remix of ‘That (yGridD#)’ lending extra subtle and supple
kerning certain to snag forward-thinking, or should we say, present-thinking, listeners and lovers of upfront,
experimental electronics and club music.

On 6 th November Bristolian master Krust presents 'The Edge Of Everything' – his first album in 14 years. The pre-eminent electronic icon – who continuously prolifically blew minds throughout the 90s and 00s – has now fully returned from a long break, rejuvenated and artistically liberated.

The album appears if beamed-in from the edge of the universe, way beyond the precipice in a metaphysical netherworld. This is Krust as futurist revisionist, making exhilarating, standout music of depth and substance, which is unlike anything else, above-and-beyond floor-focussed confines. Krust’s music is more individualistic; closer to the vivid brushstrokes of a fauvist painting, and less like a diagram on a grid.

The sound is unmistakably Krust, but now wider, deeper, freer, more intense and more fully-realised. If past anthems like ‘Warhead’ and ‘Soul In Motion’ gave you a peek through the creator’s doors of perception, here they are flung wide open, pulling you across into awe-inspiring new worlds.

It’s clear this electronic icon who constantly and prolifically blew minds throughout the 90s and 00s is back, and on his best ever form, having explored radical new philosophical, mental and creative processes.

Keen to seek new paths and subvert the norm, Krust opted to release via Crosstown Rebels following the fervid advances of Damian Lazarus. The pair have a longstanding history, which began when the label owner played drum & bass in his former DJ duo, PM Scientists.

Mesak, one of the proprietors of Skwee, from Turku Finland with 'Holtiton' - his 6 track Laton contribution. Crafted productions with the classic broken-step, whiney synths & odd stabs known from the upfront-underworld of Skwee. But on the 6-cut and very bass heavy plate there's also banging & head-nodding tracks directed towards the sonics of 8-bit chip sound. One of Mesak's most quality-compiling releases to date.

Laton presents some of the proprietors of Skwee & the phenomenon of this Fennoscandian sound with three different 12inches and a LP compilation. 'Valiant' was originally released in 2012, limited and is back on demand.

Turbo Recordings is humbled to present this lovingly rendered reissue of Neutron 9000’s lost ambient trance classic. Composed and recorded at London’s Orinoco Studios in 1994 by Dominic Woosey, Lady Burning Sky was originally released on the legendary UK label Rising High.

Turbo prides itself on living in the moment and fighting for the future, and this rare excursion into the past is arguably the most forward-looking release of the next five years.

Carefully remastered by Bo Kondren from the original master DATs and spread over three 140g vinyl discs, housed in a beautiful gatefold sleeve with liner notes from Tiga and Neutron 9000 narrating the story of how this beautiful record came about.

palms palms, also known as lampsey lamps, has been making music ever since he felt like it. He creates melodies for both terrestrial and extraterrestrial forms of life, including plants, earthworms, lydgae and amyopi.

Proper, truckin’ psych techno bangers from Joachim Nordwall (The iDEAList) and Henrik Rylander’s cosmic incarnation, sent via Moscow’s Stellage portal

After seeing us off with last year’s ‘Your Skulls Are To Us What The Sun Is To You’ for Industrial Coast, the duo’s instinct for ace titles is in effect again on ‘The New Age Is Shit’, which pretty much sums up the record’s antithetical stance and the band’s scything iconoclastic approach to rhythm and noise-induced madness within.

‘Determination’ sets out with 11mins of meat motoring bass pound and thick layers of distortion that build up to a full 18-wheeler traction and keep it there. ‘Seen It All Been It All’ trudges thru thickest of razor wire noise and worksite klangs, and they really hit between the like eyes like a Nate Young Regression doozy with ’Stuck In A Dead End Man’, before yoking some kind of Pan Sonic-esque dub noise sludge in their lurching, drunken title cut. Some of their best gear, is it not?!

Shanghai’s SVBKVLT throw down a killer 2nd ‘CACHE’ compilation bristling with exclusive new zingers from the extended label firm, including Slikback, Hyp11E, Tzusing, Hodge, Gabber Modus Operandi, 33EMYBW, Gooooose, Nahash and more.
Chasing up one of the definitive club comps of recent years, ‘Cache02’ finds Shanghai’s best label is in rude health with a full spectrum coverage of styles from hyperpop to clobbering hardcore rave, mutant drill and back-alley EBM techno by some of the most crucial artists in operation right now.
Gooooose does wicked slow/fast footwork with Memphis rap cowbells and jibber-jawed edits in ‘Cows,’ and the Sbvkvlt/Hakuna Kulala axis twysts out a properly fwd kongo-tekno thriller in ‘Mushen’ by Slikback & Hyph11E. Indonesian mentalists Gabber Modus Operandi go ham with the possessed vox and thunderous kicks of ‘Pedas,’ and 33EMYBW nails Photek-levels of martial dance moves on ‘Coupling.’
Tzusing & Hodge supply the set’s big-room peak with a steaming EBM hammer tune ‘LCD,’ and Shanghaibased UK producer Swimful makes his mark with the glyding drill synths and knifepoint grime drums of
‘Muckle.’ Impressive introductions are also made to Seoul’s NET GALA with the vivid trance futurism of ‘Alternet,’ and the weird, scorched drill soul of Nahash on ‘The Way That I.’

Compilation of all new productions from a wealth of international talent, put together by Knekelhuis.

Label Text "This is a story of friendship, about how it grows stronger through the years. But it’s just as much about fledgling togetherness and shared art in times of crisis. The result is an introspective document of contemporary music, in spirit of Eno and Hassell. A space where we embrace our differences and speak the language of collectivity together, where we reflect, adapt and value each artist's contribution equally. To witness a multitude of cultural backgrounds that speak one like-minded language. Soothing and illuminating. And felt like...

Mastered by Amir Shoat and artwork by Keziah Phillips and Steele Bonus."

After the sold out releases by DJ Trace & DJ Krust & Source Direct on Tempo's SPEED series here's another legendary drum and bass producer called VOYAGER. Also known as Pete Parsons; a highly prolific producer and genious engineer, active since the early 90s and throughout the golden era of Jungle / Drum and Bass which got him releases on legendary labels such as Deejay Recordings & Lucky Spin Records, Suburban Base, Moving Shadow, Goodlooking & Creative Source amongst others. On this release you'll find three fresh new recorded Voyager tracks. Judge for yourself but mostly enjoy the voyage! This release comes as a strictly limited 500 copies handnumbered 180gram Picture Disc Vinyl pressing with a high quality polybag sleeve (including a handnumbered qty sticker on polybag corner) + all tracks mastered by Stuart Hawkes of Metropolis Mastering London. First come, first served, no picture disc repress! Please Note: This is a special high quality collector's picture disc vinyl and the sound quality is still good (but maybe not as good as on a regular standard black vinyl). For the full sound experience, you may buy the download.

First time on vinyl

Inspired by cosmology and ancient mythology, the Anunaku project is a continuation of TSVI’s debut album 'Inner Worlds' and aims to explore the use of various drums from around the world combined with elements of UK underground club music.

E' come un gioco, ma non troppo, quello della spirale, simbolo intrigante, ineffabile ed inestricabile: dal nulla alla volta celeste, alle galassie e ritorno; dalle immensità del tutto al niente, dall'infinito al buco nero.

From Babelfish: "It's like a game, but not too much, that of the spiral, an intriguing symbol, ineffable and inextricable: from nowhere to the celestial vault, to galaxies and back; from the immensity of everything to nothing, from infinity to the black hole."

*Coloured Vinyl Repress*

From the creator of Deep Reggaeton and the hit record ​"​¡Estéreo Bomba! Vol. 1​"​, DJ Python, returns with the first masterful full length album "Dulce Compañia". Comprised of eight ethe-real, banging hits of the most unique and thought provoking calibre - mixing Deep House, Shoegaze, Trance, and of course, Reggaeton - these songs-not-tracks slide over the Dembow in the unique way only Python can dream up. Rated E for Everyone.

We've been struggling with the follow up on the HELP012 press release: This record is by DJ Sports, it's called Akrasia and has three mixes on it.
Costumer support: (plusfortyfive) 26 83 82 39. Sports- & Central-action. Saludos para toda mi gente.

Following 2018’s debut, Giles Armstrong ‘finally’ returns to First Cut with three killer cuts.

From the woozy break beat techno of ‘The Bunny’ throughout the left field ‘Corridor of Uncertainty’ and the gritty electro of ‘Blazed In Slur’, the ninth release on First Cut showcases Giles’ considerable talent.

786 Recordings presents the next release of their 786X series.
 Rising Artist Saanen join the family with a new sharped 12”.
 Includes a deadly remix of Rukkus from DPRTNDRP & 3WA.


Red Vinyl

The unmissable, head-twisting debut LP by Cairo’s 1127 returns on red vinyl pressing for those who missed its shockwaves for the first time back in summer 2019, Huge recommendation if you’re into Autechre, Arca, Croww w, Rabit...
Getting right under the skin with its hugely variegated palette of brutalist, rhythmic power electronics and evocative location recordings, ‘Tqaseem Mqamat El Haram 2016-2019’ resembles something like a soundtrack to a Neil Blomkamp flick set it Cario, Egypt, 2050 where stifling heat and pollution means everyone wears
breathing apparatus and hover cars sputter about its dusty sprawl. It’s surely one of the most shocking and transfixing sides from North Africa this side of the debut LPs by 1127’s peers, Myslma and Zuli, and should be prized by anyone with an ear for futurist rhythms and microtonal synths of a modern, Afro-futurist order.
Comprising collaged chunks from 1127’s archive arranged in a seamless, diffracted flow that recalls Autechre as well as the mutant adjuncts in Arca’s &&&& or Croww’s ‘Prosthetics MechaMix’, the results feel as though scraped from the insides of 1127’s skull, capturing and rendering the sounds of Cairo street raves ricocheting
with spasms of gristly noise, strafing into pockets of cutthroat flashcore and dropping out into smoky,
intimate scenes of Arabic dialogue, all threaded together with a distinctive taste for metallic microtonal synthlines and coruscating noise.

Black Truffle is delighted to offer up a rare serving of unheard works by legendary Swiss artist Anton Bruhin. Active as a visual artist, poet, and musician since the 1960s, Bruhin has created important work in forms as varied as concrete poetry and landscape painting, imbuing everything he does with wit, humility, and absurdist humour. A recognised master of the jew’s harp (or Trümpi, as this ancient folk instrument is known in Swiss German), Bruhin’s sound work also encompasses tape collage, sound poetry, and manipulated bird song. On Speech Poems/Fruity Music we are treated to 26 short pieces made between 2006 and 2008 using the audio software Fruity Loops. These pieces carry on Bruhin’s long-running project of exploring the creative use and misuse of cheap, accessible technologies. In many of his analogue works, Bruhin explored the possibilities of simple cassette equipment. He invented DIY approaches to layering sounds by using multiple tape machines, experimented with distortion and tape speed, or, in his classic Inout (1981) created a maniacally single-minded audio monument to the pause button. Like the computer pixel drawings the artist produced around the same time as these recordings, Speech Poems/Fruity Music extends this approach to consumer software, presenting two parallel sequences of works that make use of Fruity Loops’ inbuilt synthetic instruments and its speech synthesis function. The instrumental works play like a twisted take on the aesthetics of 1980s video game soundtracks, using synthetic accordion and harpsichord sounds to realise jaunty little ditties that exploit their machine-realisation by making use of improbable pitch-bends and humanly impossible tempos and articulations. Between these samples of Fruity Music, we are treated to the Speech Poems, a series of recitations by a lone computer-generated voice. Many of them are in fact songs, as the synthetic voice crudely and hilariously changes pitch as it moves through its fragmented syllables and odes to cream in coffee. Carrying on Bruhin’s interest in the creative misuse of technology, many of the Speech Poems attempt to force Fruity Loops’ voice synthesis, designed only to speak English, to speak German. By entering phonetic text into the program, Bruhin gets it to produce a passable German alphabet and a series of approximations to a proper pronunciation of his name. Hilarious while strangely austere, entertaining but bizarre, Speech Poems/Fruity Music is classic Anton Bruhin, arriving in a beautiful mosaic cover by the artist, with the text of the ‘abc für anglophone’ on the back cover.

Bakongo comes proper with two stripped back drum workouts for TRULE’s 10” series. UK Funky pioneer Roska has been making great percussion tracks under his Bakongo alias for some time now. On Thirteen/Level Cowbell he continues this with two rugged, skeletal drum tracks with minimal bass and the faintest trace of texture in there that absolutely demand to be moved to.

Pudel Produkte boldly strides from strengh to strenth.

The enigmatic 47IN4 and RVDS (Pudel Produkte, Smallville, Bureau B) have coalesced as Cosmic Car, with one spontaneous gig under their belt with Börft’s Erik Jäähalli at the Golden Pudel and their debut release, Pudel Produkte 35.

Cradling tonality, detuned dischordant melodies which drift in and out of your subconcious, rhythms that collapse on themselves. The duo provide a record that floats between creeping acid and Mu-sique Concreté.

A delicate touch made with a unique use of tape machines, radio, and traditional techno hardware, it is pure sonic alchemy.

Artwork courtesy of the genius, Alex Solman

On April 23, 2021, Degiheugi will present his 8th album entitled "Foreglow". This record with multiple influences, ranging from samba to Afrobeat through soul and French chanson, is a real ray of light that makes you want to escape and takes you far from home. Once again, the unstoppable digger and beatmaker surprises us and shows us how well he masters the art of sampling.

First time on vinyl

49th release on US based label Warm Communications!

Kleistwahr is the solo project of Gary Mundy, the legendary power electronic and noise-rock musician who is a founding member of Ramleh and runs the highly influential Broken Flag label. Solemn drones and elegiac long-form passages gird Kleistwahr’s Winter, which often chimes, glistens, and glows through a unhurried constructs for organ, synth, guitar, and electronics. Yet Mundy pivots throughout with triumphant explosions of shrill noise, redlined overload, and harrowingly anguished vocals from the great unknown. Quintessential Kleistwahr.

Winter was originally published as part of the instantly out of print On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection also stood as the 50th release for The Helen Scarsdale Agency, an imprint founded in 2003 and dedicated to post-industrial research, recombinant noise, surrealist demolition, existential vacancy and then some.

With the necessary reissue of Winter, The Helen Scarsdale Agency will embark upon the reissue of much of that material from On Corrosion.

LIMITED Transparent Blue 12" Limited

Much talked about project, now release is finally coming into fruition. Morphology approached Exalt with the idea of releasing one of their tracks. Roll forward a year and this 4 track EP comes with 2 brand new original Morphology tracks and stellar remixes from John Shima and B12 legend Steven Rutter.

In the beginning, there was just a box of tapes and “Fate’s Gentle Hand.”

It was the autumn of 2010, and an anonymous figure known only as the Head Technician, an employee of Pye Corner Audio Transcription Services (“Magnetically aligning ferrous particles since 1970”), found himself at an auction in the village of Coldred, pop. 110. He was on the hunt for tobacco pipes when he chanced across a trio of boxes listed in the auction catalog, which described their contents only as “archived magnetic recordings.” The sole bidder, he won the lot, and upon receipt of his purchase took possession of an unspecified number of mouldering cassettes and ¼" reel-to-reel tapes. The collection contained no identifying information save for a single phrase scrawled on each box: “Black Mill Sessions.” And so, armed with razors, eyedroppers, and a bevy of solid-state circuitry, the Head Technician sat down at his machines and got to work.

Whether anyone believed it or not, this was the framing device surrounding Pye Corner Audio’s Black Mill Tapes Volume I: Avant Shards, which took the mysterious tactics of artists like Boards of Canada and Burial and raised them exponentially. Much like the narrator of a 19th century novel, the anonymous Head Technician purported merely to be the messenger of secondhand sounds. These were not compositions, we were told; they were tape transfers—“transcriptions” of an unknown author, slathered

Made in England

Original Flavour

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*2021 Repress ** Steeped in improvisational practice and known for their visceral live performances, the pair's sound combines Javanese folk and ritual music with metal and psychedelic influences. Rully Shabara's extended vocal techniques arc from guttural droning to frenetic chants and upper-register ululations, while Wukir Suryadi supplies dynamic instrumenta-tion using the bambuwukir, an amplified bamboo zither of his own invention. Menjadi (meaning 'to become') follows from the redose-3 containing "Di Kala Sudah" (reworked by Buchla synth master Charles Cohen) and is the first in a series of new Morphine releases pro-duced by Rabih Beaini and set to arrive over the next year, with artwork by Nathalie Du Pasquier, curated and designed by Tankboys.

A new label from the team behind the "contemporary jungle" imprint Repertoire.

Rave styles from the UK garage, hardcore and techno continuum.

After the exceptional first volume of ‘Rakka’, Vladislav Delay is taken by the wanderlust again for a ravishing 2nd album of elemental electronics inspired by the Finnish wilderness. RIYL Shackleton, Rian Treanor...
Where 2020’s ‘Rakka’ represented some of Sasu Ripatti aka Vladislav Delay’s most intensely noisy textures and rhythmic complexity, as inspired by walks in his native Finnish wilderness, his follow-up further draws on and refines that experience in a beautifully brutalist bouquet of brambling distortion and tempestuous pulses that speak to the chaotic power of nature’s ecological interdependence. In the process ‘Rakka II’ fulminates Delay’s reactive sound even closer to the styles of Shapednoise, but still distinguished by his signature,
freehanded style of percussive tumult that reaches beyond techno and club music into an ecstatic, holistic hybrid of power ambient, black metal, avant-dub, free jazz, and extreme dance musicks.
While still breathlessly busy and densely overgrown, ‘Rakka II’ is intended as the romantic answer to the more hostile first volume. Its seven parts balance a sense of febrile passion with hyper-disciplined logic in more explicitly emotive, optimistic gestures that emerge from its atonal murk and convulsive structures.
Boundaries of discord and harmony are smudged almost into the red, but rendered with the spatial definition that become a hallmark of Delay’s best work for over 20 years, but never heard quite so wild and lushly semi-conscious as on cuts such as the soaring and collapsing ‘Raato’, or the craggy might of ‘Raaha’, and the heart-in-mouth headiness of ‘Rapaa.

Tape

'Verzamelen II' is the second volume in a retrospective series in which we look back at the work of Wouter van Veldhoven (Netherlands). Throughout the past decade, the Dutch composer built an impressive catalogue of music in which tape loop and modular synthesis experiments hold a central place. Both collaborations and solo-work saw the light through some distinctive labels such as Slaapwel, The Tapeworm, Umor Rex and Digitalis among others.

With this series we want to dive into some work which slightly went under the radar. The pieces are collected from several releases and are re-mastered for the occasion. Some of them were never physically released before.

Peter Broderick and Hainbach kindly joined this trip by offering two new reworks which close this second volume.

Songs taken from ‘A head stuck in tapes’, ‘Een paar schetjes en optredens 2005-2006’ & other found unreleased tracks.