Beats Novedades

Tape / Cassette

This record was primarily informed by grief & loss. It’s overarching theme relates to the cyclic, transient nature of existence and the fact that everything is impacted by the law of change with nothing ever attaining a state of permanence. Dedicated to Adam & Alix.
Following up his 2017 album on Avian and another EP on Rengaine in 2018, we’re glad to welcome Verge on Veyl with 12 tracks of doom & drones to soundtrack the rest of this awful year

One of the unexpected silver linings of our planet being plunged into the grips of a pandemic has been ASC’s return to Jungle / DnB.

Drawing stunned reviews from all corners of the DnB spectrum, the ‘An Exact Science’ EP on Samurai marked the first of a trio of releases in this style. Initially meant only as a one off EP, the creation of ‘An Exact Science’ turned on a spark in ASC that propelled him into a new phase of inspiration in his heavily equipped studio. Once an LP project was agreed to, the tunes came rapidly to the point of overflow (hence part 3 of the trilogy set for 2021).

DJ Fett Burger's first solo album!
A nine track double album with the full circle of Fett man's artistic styles to date. A deep personal trip into the different sounds that in recent years have been defining, and inspiring his productions and output. A musical story from beginning till the end. Always weird, never straight. A free flowing creative record with no compromise in mind, and never predictable. A genre spanning experiment within the strict frame of Fett man's aesthetics. Deep, personal and wonky, with a psychedelic and emotional touch!
Sound wise, always looking back to move forward!

Two previously unreleased 1992 tracks by jungle techno pioneer Ron Wells under one of his many pseudonyms. Side A featured on Fantazia's iconic "The First Taste album, and "Free My Soul" was an unused track from the same project. This release is limited to just 80 copies!

Content we’d nailed the EP we had a few TPs pressed; sending them out to a handful of influential DJs and promoters from back in the day. I remember being in a club and hearing a track that sounded a lot like ‘Release Yourself’, only at a slower tempo. The thing was, the DJ who’d got hold of the TP (sorry can’t remember who?!) was a house DJ. He was playing it at 33 rather than 45. Still sounded good as a House track though!! ‘Time to get Raw’ was the first track written by the original Persons Unknown collective and Time to get Raw (Part 2) expanded on the original; adding some extra layers, time stretched beats and a new arrangement. Dope Jam became a favourite with many who bought the original EP I think because it still had that Old Skool 92/93 feel, but with some of the filtered beats and techniques that artists were experimenting with at the time. Killa is definitely my favourite track from the second EP, you can hear all the elements from the contributing artists in this track. As with the first EP we decided to keep the true identity of the artists a mystery; continuing with Persons Unknown. The original artists from 93 still remain a mystery. Re-engineered, Cleaned Up and Remastered in 2020; bringing the music back to life...

Magic Carpet" is the first Compilation of the German Label "Harmonie Exotic". Jose Manuel selected 12 experimental ambient tracks from the 1982 to the 1994. They are combined by the same feature, namely the magic and mysterious character. Even though all the (remastered) tracks released in different countries, such as Japan, Italy, and France, they are all combined in being rare and obscure songs. In most of them it is possible to verify the oneiric melodies mixed with the different drum machines, typical of that year.

For this reason, they show how the magic has been developed over the chosen years, as they were all enveloped from the same carpet. Starting from this idea the Compilation's title plays an important role in anticipating the dreamlike listening experience.

Three old school Rave tunes from the Killerhertz archives remastered and pressed to a Ltd Edition (300) Marbled Colour Vinyl. Includes the most wanted Angelraw Mix of "Distant Dream"

From the vaults of Persons Unknown, BSBR007 Motion Sickness is material from the 90's Persons Unknown USA tour. Unearthed, cleaned, re-edited and remastered, these tracks capture that 90s drum and bass sound. Fusing the creative ideas, stems and music from the original artists Omni-Trio and Syko under the name 'Persons Unknown'. We have worked meticulously to create these timeless tracks; adding to the Persons Unknown story.

2x12" Second album coming from the late Rhys Celeste by Fundamental Records, who are helping to release his unknown works.

Each track is a dose of the original analog synth and drum machines created by Roland almost 40 years ago. You can feel the twisting of the knobs in real time in every track, making this record a real space jam that deserves a good listening. This version is released in a high quality cardboard sleeve printed in reverse?

We took the picture for the cover this summer, that beautiful location is a very special place in Malta called Xaghjra, a meeting point for Rhys and his friends? As with all Fundamental releases, this is a limited release and will not be repressed.

Fierce kick drums, expertly cut up breakbeats and brain dance influenced melodies. 6 tracks of proper intelligent rave fuel by Ryan James Ford on this leftfield techno mini album for the Clone Dub Series.

The debut release on Rick Rubin and Russell Simmons now seminal Def Jam label that shook the world with its evil bass and percussion. Never released on 7" before, this is a true Hip Hop collectors dream. Featuring the ground-breaking "Scratch Party Death Mix".

Codigo De Barras’ is the exceptionally tight first album from Lisbon-via-Manchester’s cult batidaproducer P. Adrix - now operating as A.k.Adrix - an LP bursting with shockingly sharp-cut but breezily animated dancers from the top shelf of kuduro, all fire this one!!!
Making good on the promise of P. Adrix’s incendiary 2018 debut EP, the Angolan-Portuguese producer’s first album as A.K.Adrix slickly recalibrates the whirring percussive mechanics of his acclaimed early works with a richer melodic tone in eleven tight, tempered productions.
It’s a significant and confident advance of his style into a more supple, melancholic form of instrumental songcraft, following suit with slicker recent moves by Nídia and Blacksea Não Maya on Príncipe with outstandingly fresh contributions to one of the world’s most vital dance scenes.
The raw electric club buzz of Adrix’s early zingers is still present, only now more refined and betraying a craftier emotional intelligence and sensuality that’s beautifully apparent across the album. From the mix of haunting choral motifs and field recordings with Derrick May-like strings in opener ‘Ambiente Spiritual’, to the album’s standout centrepiece of gently hypnotic flute arps and tumbling tabla drums meshed into tarraxho rhythms on ‘Espuma Nocturna’, or the wide-eyed wonder of ‘Desenhos Animados’ with its impish woodwind and woodblock drums; it’s a rare pleasure to witness Adrix get deep inside his sound and really come into his own.
Anyone looking for the rude stuff will get it in the more raggo charge of ‘X50’, the thumping subs of ‘Hottttttttttt’, and the martial swag of ’Settings’, but the album’s dextrous and intricately efficient push/pull of energies between the club, personal sentiments, and naturally avant leanings, is perhaps best compared with Beatrice Dillon’s stunning ‘Workaround’ in the 2020 field.
Unmissable!

Als Re-Release lässt Conrad Schnitzlers legendäres "Con" eine Ära wiederauferstehen. Conrad Schnitzler steht heute nicht nur für seine bahnbrechende Musik, sondern eigentlich für eine ganze Ära - er verkörpert einen gewissen Künstlertypus, wie ihn so nur die legendären 1970er Jahre hervorbringen konnten. Als in einer nie dagewesenen Abriss- und Aufbruchsstimmung eine junge Kunstszene allem Alten und Überkommenen - und in ihren Augen politisch korrumpierten - eine kategorische Absage erteilte, den Kunstbegriff generell in Frage stellte und die Forderung einlöste, dass Kunst und Politik immer zusammengehören. In diesem Klima entstand die Idee der Konzeptkunst, die Auffassung, dass das eigentliche Kunstwerk der immaterielle Gedanke ist, der ihm zugrunde liegt und nicht seine Ausführung. Eine Idee, die antikommerziell weitergedacht wurde, denn nun durfte, ja sollte, Kunst beliebig oft vervielfältigt werden, billig sein und war für alle. Zugleich darf Kunst fast alles und fast alles kann Kunst sein. Conrad Schnitzler ist Konzeptkünstler und verkörpert seine Zeit, wie kaum ein anderer - sein Lebenslauf liest sich wie ein Manifest der Unabhängigkeit, seine Musik ist radikal neu, mutig und zuweilen regelrecht antikommerziell. Der legendäre von ihm gegründete Zodiac Club war der vielleicht wichtigste Schmelztiegel und Motor der subversiven Kunst- und Musikszene Westberlins. Als einer ihrer Helden und Gallionsfiguren, nahm Conrad Schnitzler im Paragon Studio das 1978 veröffentlichte "Con" auf, eines der raren Kleinode, dieser Epoche und seiner Karriere. Stärker als in anderen Arbeiten ist der Einfluss von Tangerine Dream zu hören (deren Mitglied Schnitzler von 1969 bis 1971 war) und als professionelle Studio-Arbeit ist "Con" nicht zu sperrig und artifiziell, sondern setzt stattdessen auf klarere Songstrukturen und musikalische Eingängigkeit. Zu Recht gilt "Con" manch einem als Schnitzlers beste Arbeit. Fast 40 Jahre später erscheint das Werk nun als Re-Release auf CD, LP und digital.

Romantic Kizomba lilt from DJ Lycox (Tia Maria Produções), stepping out on his first Príncipe session since 2017 with a strong set for the lovers...
Tending to the slower, more melodic and atmospheric side of the Angolan-Lisbon club equation, ‘Kizas do Ly’ arrives earlier than expected with a payload of sultry rhythms and wavey, dusky vibes
that offer a warm glow of hope in testing times.
In four instrumental strokes DJ Lycox lets his fingers sing on the keys with with almost baroquetight counterpoint between his strolling bass and quizzical top lines in ‘Jam’, while ‘Red Lights’ pulls steel drums, glassy percussion and elegant strings into a swaying style calling to mind a slow smudge of reggaeton and Kwaito tropes done by James Ferraro. ‘Babygirl’ follows on a soft focus, dry-iced flex like Palmistry meets Jan Hammer on a deserted Caribbean beach, and ‘Hábitos’
follows with a more lusting tussle of congas, strings and see-sawing bass bound for lights-up moments on the ‘floor.

DMX Krew has made millions of booties move to the beat since the early nineties. His string of albums on Aphex Twin's Rephlex spanning 1996-2005 helped define uk electro and breaks on dancefloors around the world. For almost thirty years he's tirelessly pumped out a myriad of incredible electronic programming through many labels including his own. Terrestrial Funk humbly welcomes Ed DMX's new album 'Ghost Bubbles' as the fourth release on our catalog following a string of boogie, highlife, and disco records. From Miami, Florida, to Accra, Ghana to the Gulf Of Mexico, and now to the Celtic Sea's channels off Britain's west coast. Ghost Bubbles is a thirteen track journey perpetuating DMX Krew's synthesized sound waves around the globe. Terrestrial Funk, Universal Love.

* Following on from successfully funding her How To Make A Symphony Kickstarter project, Emika returns with a new four-track EP that sees her chart yet more new territory.

* Lead track Flashbacks is a typically haunting affair whose deeply personal lyrics are a heartening example of how art can turn feelings of trauma into something beautiful

* Her velvety voice belies the deep subject matter while the sounds gracefully tread the line between the brooding and the ethereal, with pulsing, filtered synth delays, low register piano bass octaves and a stuttering slo-mo beat produced with The Exaltics, building an engrossing atmosphere

* Restless Wings goes into more experimental territory - both in terms of composition and concept. 'It's about creating a new personality which lives in the internet - something we all know

* Total features the silver-toned soprano star of How To Make A Symphony, Michaela Srumova, and tackles the complicated relationship between a mother and her daughter

* French musician Franck Vigroux provides a stark, shuddering remix of Flashbacks to complete the EP, driven by gnarled blasts of wildly distorted synths and bass grunts, rising to an intense, mesmeric crescendo

* This EP brings together the classical and electronic extremes of the Emika sound, proving that her signature is like no other and continues to evolve.

Herb LF’s legacy in the garage scene is immense. With his work retaining class and style over more than twenty years. He returns to this integral spirit and provides ‘International Extraterrestrial Music’ with their debut record - a two-part dancefloor orientated EP. On the A-side, Helicopter money slips and pulses between powerful pads and expertly crafted drum patterns, commanding instinctive movements in a club. On the flip, Payday provides a concoction of nostalgia and forward-thinking garage spirit, a result that is suitable for any rascal to dance it out both in the club or sat on the sofa

The three man Austrian outfit ‘Leitstrahl’ debuts on "Bordello A Parigi". With more than fifteen years of band history, the trio of Stoff, Paul Raal and Boogaloo Steve are as proud as punch to announce their debut album: Chromium Dioxide, to be released this summer featuring Jon Jon Foster, Nicole Jaey, Christina Mirabilis and Jimmy Baker.

In anticipation of this release we welcome the band with an appetizer in form of this vinyl-only sampler EP, including two exclusive non-album tracks only to be found here. Get ready!

Bourbonese Qualk legend Simon Crab meets Charles Beullac (Galerie Statique) in a volley of brooding, dubbed-out industrial/illbient misfits for Lisbon’s Holuzam, the young affiliate label of the renowned Príncipe Simon Crab is nothing less than a true pioneer of British post-industrial music, with a catalogue of prototypical dark ambient, groove-driven industrial, and hardcore techno practically unparalleled
in his field. In collaboration with Canadian artist Charles Beullac, ‘Kenemglev’ speaks to the range and nuance of Crab’s output while introducing Beullac’s likeminded industrial audness to new ears;
yielding nine tracks of sleepwalking industro-dub rhythms and tormented electronica blessed with a nocturnal allure that places their work in fine company amid Holuzam’s roster of off-road esoteric groovers.
The title ‘Kenemglev’ means “consensus’ in Breton, and smartly describes their mutual efforts to explore a sort of neutral no-person’s-land or virtual middle ground between their respective musical languages. In suit, all the tracks are titled in Breton - itself a mix of French and English - and their un/familiar nature is reflected in the music’s angularities and secretive feel, roving from Mille Plateaux-like glitch in ‘Douakek’, to the air-stepping pads of ‘Direnker’, and crispy noirish jazz hustle streaked with intercepted radio signals and keening crowd noise in ‘Razheta’, while ’Skaotan’ comes off like a glitching Raime workout, and the squashed break trip of ‘Berzh’ recall
Spectre or Scorn.

White Vinyl

Bezonked, high/low-grade crud from Aaron Dilloway, Nate Young, Joachim Nordwall, and partyrock hero Andrew W.K. as The Gagmen - recorded in a tiny NYC basement in 2012 and now finally seeing light of day on Nordwall’s unstoppable iDEAL Recordings Put three of experimental music’s gnarliest dudes, and their pals, in a room and this is what you get; 40 minutes of charred and gungy electronics with tormented vocals that sound like they just crawled out of a Brooklyn sewer. If you’re remotely familiar with anyone on board, or their various actions between the charts and the gutter, your expectations will be met side-on with engrossing levels of raw tape manipulation and throttled analog synths masticated and spat out in four parts
that hark back to their respective pinnacles of this era;- from Nate Young’s now classic ‘Regression’ seshes, to the body gurns of Dilloway’s ‘Modern Jester’, and Nordwall’s crushing ‘Monstrance’
collaboration with Mika Vainio.
A Swedish newspaper wrote “What the hell is this?”, in a review of The Gagmen’s debut gig in a posh Stockholm hotel, but keener ears will surely recognise the calibre of grot on offer from these dons of the trip metal underground. The mode is slanted and pharmaceutically enchanted, with Andrew W.K. sounding like he’s partied too hard on his pair of severely blunted vocal contributions,
while Dilloway, Young, and Nordwall’s noise supergroup vent crankiest spleen in tortuous tangles of ferric buzz and machine howl, all grungily gelling into anxious, burned-out industrial dub rhythms.
A total headwreck.

PLR is proud to host a variety of talented producers from around the hemisphere, from Berlin to Montréal to San Francisco. The label is a brainchild of independent artist Experimental Housewife and was kicked off by prolific producer Roche (100% Silk, Jacktone, Hobocamp) and his breath-taker A Genuine Effort To Make You Comfortable. Soon after, the spring saw italo-sprinkled dance floor beats followed by slamming techno and weirdo-tronica, a non-genre made of intriguing sounds that play tricks on DJs. In closing, the roster will be opening ears up with a wonderful miniseries of ambient releases before the final EP: arpeggiated pop from conceptual two-man band Star Service .

Premiere producers like Lily Ackerman (As You Like It, Mioli Music), CMD (Jacktone, basic_sounds), Golden Diskó Ship (Monika Enterprise, Spezialmaterial, Klangbad), BLEIE (B.O.D.I.E.S., 3am Devices), Mo Kudeki (Noctuary, Public Works), and Tape Ghost (Asterisk, Night Sea) have all signed up to the roster, releasing fierce and excitable works that they have had for a while but hitherto were not able to release to the public.

Reverenced names like Ryan Merry (now Elexos Park but formerly Ghosts On Tape), Roy England (Make Mistakes, Communikey), Caltrop (In The Dark Again), Loren Steele (Wolf + Lamb, Jacktone), and Philadelphia warriors Sean Thomas (Drumsong, Sound Between Movement) as well as bpmf (Schmer, Serotonin, Prototype 909) have all offered exclusive productions.

Mysterious and up-and-coming producers like Emmett Perlman (Wage Slave, Make Mistakes), Bad Person , gayphextwin (Jacktone), BIlagáana (VODER), and Atlas Of Nothing can be explored in the catalog alongside new names like Memeshift, The Hug , and Jaclyn Kendall .

Our spotlight mastering engineers for digital releases include David Last, Abe Duque, Dark Star Audio, David Tatasciore, and Helen Heß. Our resident and extremely generous/talented engineer for the year has been the one and only Roy England.

One of our favorite series returns with some breaks and Amen overload. We called on the talents of Law who makes his debut on AKO, Double O a regular in the series, The Last Ronin (Stretch and Enjoy) deliver some hard-hitting beats and Rumbleton revisits Greenleaf – Heartical Rasta from the AKOism series

Plr25.2 "spring", The Second Of Four Retrospective Records To Be Released In 2019. This One Is Packed With Robust Sf Talent: Elexos Park (formerly Ghosts On Tape), Lily Ackerman, Caltrop, Memeshift, And Kudeki. Copenhagen's The Hug Also Appears On The Release, Offering A Perfect Segue From Opening Track "sudden Bloom", A Truly Poignant Springtime Ode, To Ackerman's Highly Anticipated Vinyl Appearance Of Her Intriguing Track "bathroom". B3, meen Obat' From Oakland's Creative Memeshift, Is A Blistering Idm-esque Track Setting Us Up For The Next Record For The Collection, "summer", As It Promises Unstoppable Dance Floor Heat (stay Tuned For More Announcements.

Through the Sparkle is a collaboration between French ensemble Astrïd and American pianist and composer Rachel Grimes.
Rachel Grimes is best known for her chamber music project Rachel's, a hugely influential group formed in 1991 in Louisville, Kentucky, releasing six studio albums between 1995 and 2005. She has also released a string of contemporary classical works in recent years on labels such as Temporary Residence. Astrïd is a collective of four musicians based in Nantes, releasing records on Rune Grammofon and Home Normal.
After years of mail and email back and forth over the ocean, from Nantes to Kentucky, astrïd invited Rachel to come for a residency to make music together and play shows in France. They gathered for a few days, here and there, in 2012 and 2013 to write songs in Cyril and Vanina's home studio in the countryside.
The compositions found on Through the Sparkle glow with a unique, connected energy and a pure, instinctive musical understanding. Considered contributions from all sides allow the pieces to unfurl naturally. Each note and phrase feels like it simply couldn't be placed anywhere else in the album.
Charming, gentle and cinematic sounds are found here in abundance. Melodies circle and reveal themselves without force, allowing the listener to focus and explore the depths of what is on offer. Musically, Through the Sparkle is an expansive and evocative album. There is a presence to be felt throughout, from Cyril Secq's emotive tremelo'd guitars of M5 to the darker, more haunting mood of The Theme, to the tension in Mossgrove & Seaweed. Strings and woodwind coalesce around intricate piano and guitar movements creating a wealth of harmony and melancholy.
Through the Sparkle is a record of miniature symphonies, of elegant restraint. A gracious and generous offering from a group of musicians at one with each other and at the top of their game.
- Artwork by Gizeh's in-house art dept. SmilingPaperGhosts
- Rachel Grimes - previously of The Rachel's - this record will certainly appeal to fans of the band
- Astrïd will tour in October to support the release
- Both artists have released on such labels as: Temporary Residence, Nome Normal, Touch & Go, Rune

**LIMITED COPIES AVAILABLE**

CORE sound to death with a superb speedcore tun to close the affair...

"I am fascinated by the idea that time is not linear and that it cannot be measured quantitatively. The intensity of each moment lived makes it unique. This makes me rethink my own existence as an individual, as well as my relationship with all the things that surround me. "Six Postcards & Other Stories" is a soundtrack for these thoughts. Each postcard represents a fragment, a memory of an indefinite time. They are soundscapes that aim to make the listener create their own images, acting as triggers for experiences." - C.F.

The second 12" on CC comes, once again, from Hamilton Scalpel. Four tracks of Max Anti-Power Energy, with the last probably being the closest the label will ever come to releasing would could very loosely be described as a "summer anthem". Shouts to our Wes.

Mirrored sticker on sleeve and yellow graffed up label. Kinda like the opposite of the last one. Genius.

**LIMITED COPIES AVAILABLE**

The frontier for French electroacoustic mystical music has traversed much ground since Pierre Schaeffer shuffled on the past and laid out a map without borders or designated ground. Seventy years in this land of the fried we hear a plethora of Ideas and ongoing potential coming from all corners of the globe. Inheriting the wisdom of past masters whilst forging a signature style of his own Kassel Jaeger sists as one of the premier explorers of these unknown worlds today. Comprised recently recorded tracks Kassel Jaeger presents a work of revisits and reworkings, one which acts as a hinge in both closing this particular chapter whilst opening up the windows to new sound world to come. In Aster we have a rich deep music replete with dark ambient sonorities swirling amongst intense buzzing tones.

Often chilling and ominous this is a fearless music with abstracted corners and dynamic leverage. Unafraid to embed itself in the ongoing whirlpool of sonic progress. Jaegers output remains a thrilling body of exploration and ongoing transformation..

LTD. MARBLED VINYL

Angel Tears in Sunlight is Pauline Anna Strom's first album in over thirty years; an assemblage of music that refracts the expansiveness, and minutiae, of imagined realms while embracing the kaleidoscopic echoes of our distant epochs. The capacity to collapse time might elucidate the enigma of Pauline Anna Strom. A mystic force in music, emerging during the dawn of new age as the Trans-Millenia Consort, the pioneering synthesist channelled primordial energies into future-facing sound through a series of full-length releases between 1982 and 1988. Little was known about her, except by a constellation of devoted followers who saw a unique legacy forming amidst the (mostly male) synthesist canon of the time. Following the 2017 release of Trans-Millenia Music, an anthology revitalizing the most evocative parts of Strom's catalog, the Bay Area visionary sensed the universe telling her to return to music. As with her work in the 80s, Angel Tears in Sunlight was composed and recorded in the same San Francisco apartment where Strom has lived for almost four decades in synthesis with her machines and "dinosaurs." Populated by a compact array of modern instruments that streamline the sound of her analog past and her beloved iguanas, Little Soulstice and Ms Huff, the terrarium of her home forms an intimate yet limitless ecosystem that defies the constraints of the outside world. Within this sanctuary, Strom becomes lost in time, drawing on the ancient energies of her inner visions. Her hardware forms the crux of translating these ideas into sound. "It's the only way this stuff can be pulled out of myself, the universe, Little Soulstice, an ammonite_," Strom notes. "It couldn't be done without this machinery, because there's no other way to draw and capture these frequencies into sonic interpretation." Strom's process of recording transient live-takes enriches the mystery of her work. She renders the machinery a composer itself, a cohabitation with a living other. "Many musicians wouldn't go that far because of ego," Strom muses. "The equipment has to become part of you and your creativity. That's how I think it all comes together." Music-making becomes a harmonic language of intuition with an instrument, where Strom cultivates sound for a harvest that defies season. Shaped by circadian contours, Angel Tears in Sunlight is a celestial observatory of earthborn phonic mosaics. Strom uncovers a symbiosis between hardware frequencies and apparitions of nature in the record's arena of organic tones, emulating the melodic pulses of primeval terrain. The album transcends both shadow and light, falling to hushed stretches of sound as if not to awaken antediluvian animals, before soaring through the treetops where ancient skies peer over reptilian traffic and unsparing rains.

Over the course of three EPs this year alone, Stones Taro has affirmed his skills as a producer with a rare talent for taking old school breakbeats and UK garage into fresh territory. Now the Kyoto-based artist raises his game with his new EP ‘Pump’, which will be released on October 23rd by Highball Records (HB003), the London-based label that exports forward-thinking music from Japan.

If you were enamoured by the playful rush of energy that Stones Taro captured earlier this year on ‘To Rave’, ‘Pump’ takes it to the next level. The title track quickly sets the agenda for what’s to follow: a maddeningly addictive loop, a flurry of breaks that emerge at an anarchic pace and a stuttering vocal sample that takes you back to early ‘90s house. Somehow Stones Taro has glanced back at the sounds that have preceded him and pushed them forwards.

The second track ‘I Want’ is more direct, again echoing ‘90s house but this time from the NYC scene. But still Stones Taro hasn’t peaked, with the manic beats of ‘Ride On The Ride’ recalling the intensity of Metalheadz’ ‘Platinum Breakz’ compilation. The closing ‘Understand’ changes the mood with fevered breaks contrasting a more melancholy ambience.

Stones Taro began his career in 2014 and debuted for Scuffed Recordings (ran by High Class Filter and Ian DPM) in 2017 with the acid house meets 2-step EP ‘Spiral Staircase’. Subsequent releases have largely been split between Scuffed and his own label, NC4K. His tracks have been included in mixes by the likes of Yaeji, DEBONAIR, Qrion and Pinz & Pelz, while media support has included Clash, Hyponik, Inverted Audio and The Ransom Note.

Medicine used to be, we expected, good for us. Albeit with added sugar. Now medicine is a huge problem in itself, with vast companies caught mis-selling dangerous drugs. It’s one of the biggest scandals ever. How on earth did we get here? Who did this?

The Imbeciles are on the case.

“It’s about the dark side of prescription ‘medicines’. Oxy, Xanax, Ambien, all that. Big pharma is pushing these addictive ‘medicines’ that we don’t actually need, to desensitise / numb / kill. All for profit,” says Butch Dante.

A new classic from The Imbeciles. They know. And they made a video. Watch it here.

Now they’ve been remixed. By these people:

C.A.R.:
Impossible to categorise, and all the better for it - London based, Franco-Canadian, C.A.R., flirts with elements of new wave, cold wave, synth-pop, post punk and off-kilter disco; and without doubt wields some of the most satisfyingly other-worldly melodies and synth lines around.

Ryan James Ford:
One of the most exciting underground techno producers on the block - Ryan doesn’t constrain himself to any one rhythm, aesthetic and motif, but can always be found to be hitting the listener with thick atmosphere, dark melodies and an upfront, experimental attitude.

Legowelt:
A true pioneer of left field house and disco, this Dutch master draws from disco, italo, dub, dancehall, techno and many more sonic pools to create his wonderfully engaging, but always envelope pushing sound.

Second volume in VampiSoul's series focusing on Peruvian cumbia from the 60's and 70's. Beat and psychedelia mix with Andean and Amazonian folk to create pure tropical magic!

* Fresh off the back of producing the majority of Riya's Sublimation LP, Villem & McLeod step up for their own debut Spearhead Records EP 'No More Games'.

* Once again they have teamed up with Riya with 'Dance With Me' and 'Get To Know' with flawless results.

* 'Seamless' see the boys team up with Zero T for a full on liquid monster of a track.

* No More Games is a superb demonstration of just how good these two Ipswich based producers are and we can't wait to hear more from them.

* Support from Radio 1, Kiss FM, London Elektricity, LTJ Bukem, Technimatic, Bryan G, Etherwood, BCee, and a whole load more...

white vinyls

5 years after his last studio album, Wax Tailor is back with "The Shadow Of Their Suns" a darkly elegant "sound feature" accompanied by a new and prestigious cast.

Behind this allegorical title hides a long period of brainstorm. The luxury of time in a world where everything goes fast. Time to observe the light from the shadow, the "whirlwind of life", its excesses, its drifts and its symbolic violence. Time to think and translate into music as a privileged witness of our society.

Among the guests of this new album, the rock legend Mark Lanegan & his unique voice, Del the Funky Homosapien (Gorillaz, Hieroglyphics), D Smoke (Winner Netflix Rythm + Flow, the new west coast scene sensation), the late Gil Scott Heron, Rosemary Standley (Moriarty), Mr LIF (Thievery Corporation, Def Jux), Yugen Blakrok (noticed alongside Kendrick Lamar & Vince Staples on the Black Panther album), Adeline (Brooklyn’s Best Kept secret soul singer), Boog Brown (Detroit femcee).

One of the most important artists in the development of the Horo sound, Astral Projection is the first full length ASC album for the Horo label. Astral Projection follows on clearly from ‘Imagine The Future’ with the development of the Grey Area sound progressing and becoming intrinsic to a large majority of ASC’s current work. But this LP is not a Grey Area addendum, Astral Projection is a luminous artistic statement from a sonic perfectionist who the term ‘sound designer’ was made to define. An accomplished and much respected ambient producer, ASC weaves his talent for soaring emotive soundscapes with his undeniable rhythmic prowess across a cohesive 12 track sonic voyage that again accomplishes a rare goal in todays electronic music landscape - a commanding listen from beginning to end. Very few artists are as prolific and consistent as ASC, but we are confident Astral Projection will be revered as one of his finest moments in years to come.

**EXTREMELY LIMITED RUN OF 150 - BEAUTIFULLY PRESENTED WITH HIGH SPEC SILVER AND BLACK MARBLE VINYL**

Diasiva return to Irish label Acroplane Recordings with another collection of uncompromising, bass-heavy, tales of the world decaying.

Diasiva is a collaboration between Monolog (Ad Noiseam, Murder Channel, Hymen) and Swarm Intelligence (Acroplane, Voitax, 47). As Diasiva they have previous releases on Ohm Resistance, Arboretum, Instruments of Discipline, Subtrakt and Acroplane Recordings.

Rich in tradition & sound, Don Papa & Kambo Super Sound yearly highlights their take on dub & reggae from Moss, Norway. Kambo Super Sound presents a rockin' cross-over digital stepper with horns and galactic synths. Don Papa with remix work by DJ Sotofett drops bass heavy, hard drummed dub with extremely high-attentioned island style horns.

The ever forward-thinking and experimental Pregnant Void label welcomes electroacoustic sound sculptor Massimo Amato for a spellbinding new album, Lost Sunsets, due in 2019.

Amato hails from Rome and has put out a fantastically innovative and cultural selection of albums that fuse ethnic, spiritual funk and jazz musics made with analogue and acoustic gear. Label head Simone Gatto first met Amato in Lecce in 2017 when he was invited to play by a local electronic music festival. He performed his last album In The Mood and Gatto was so impressed so invited him to work on his label.

This, his third album, was composed between 2007 and 2010 and features collaborations with a series of excellent musicians including Gigi Masin. Tracks feature a mix of synthesizers, harmonium, harmonica, toys and percussions that convey a range of exotic moods and grooves throughout.

An enchanting tone is set from the off, with the heavenly chords and innocent vocal whispers of "Time Capsule" then the rhythmic synth sequences of "To Love The Love". Drifting trumpets bring real melancholy to the electronic glitches of "Dreaming of You", while "Lightwaves" is a transcendental meditation on long sustained chords that empties your mind.

"Lost Sunsets" features exquisite piano notes and glassy tinkles, "Nightflower" is a deeply insular and inward late night ambient track before "Folksong" is an uplifting piece with gentle distant drums and more magical synth work. There is a Middle Eastern feel to the rippling chords of "Blue Petals" and "I Found Love" and the outro is another subtly uplifting piece that is stunning in its celestial synth work.

This is a serene and patient album of richly detailed sound that manages to be stunningly light and deft yet make a huge emotional impact throughout.

"Thanks Simone Gatto and Pregnant Void for being close to me and all the great musicians and friends who helped me. A special thanks to Luca Barlocci and his third eye/camera for capturing the emotion of sound."

Massimo Amato - synthesizers, harmonium, harmonica, toys and percussions.
Imi Gavin - vocals on A1 and D2
Massimo Berizzi - trumpet on A3
Gigi Masin - synth on C1
Mario Fob - reverse guitar on D2

White Vinyl

This is "Altair", a collection of kaleidoscopic post-breakcore on Love Love Records from veteran french surrealist Ruby My Dear. Presented with artwork by TAPT on white vinyl.

The lights are out and a strange alien force surrounds the periphery of your hearing.. The sound of a haunting music box flickering in the darkness draws you closer but as you begin to approach everything explodes into dank crossbreed DnB rhythms that punch you in the gut and send you flying. As the bombardment of breaks momentarily subside you realise you've been beamed aboard the mothership and are now surrounded by unknown and indescribable visions.

You are given a brief moment to contemplate before your legs are swept from underneath you by a flurry of amens that would fry the minds of the hungriest of junglist's epicures. Journeying deeper into the heart of the beast you become aware of distant and immense rumbles but are stopped in your tracks by grinding brutal machinery rising up on all sides. As quickly as it appeared it starts to collapse and you are plunged into near darkness once again.

Pulses of light slowly begin to stab rhythmically from behind clouds and you feel yourself begin to move faster and faster through a void that is now streaked by a spectrum of colour. Floating debris starts re-arranging around you at light speed and every fiber of your being is simultaneously stimulated with needle-like accuracy. As the last string plucks play out the darkness falls away and the cover artwork comes back into focus. You immediately leave wherever you are and encourage someone else to experience this music.

Magestic album re-issue : The complete colelctions of tunes Manu Le Malin did produced in 2004, minus the tunes that were already pressed on vinyl and plus the tunes that were not produced on the CD because that would have been « too long »... Here also stand a LFO Mark Bell remix. Peace.... And more...

St. Petersburg seeker Vladimir Karpov's first ever release as X.Y.R., initially issued on a almost-private run of 30 tapes via his own Singapore Sling Tapes imprint back in 2012, is finally getting the vinyl treat it deserved, thanks to the Mixed Up label out of Italy. "Robinson Crusoe" takes its name and sonic prerogative from the infamous novel by Daniel Defoe, and somehow anticipated of some years the New Age revival explosion which we all have witnessed in the recent times. Here X.Y.R. established the fundamentals for a signature sound he has then developed over the years with massive release for the likes of Los Angeles's Not Not Fun and London's 12th Isle imprints, while also appearing in the unmissable Jon Hassell-inspired compilation by Optimo Music, alongside masters of ambient music such as Ariel Kalma, Robert Aiki Aubrey Lowe and Hassell himself. Listening to Robinson in retrospective is now refreshing experience, a different trip on its own: far from being just recollected as revival New Age music, and more comfortable with some strains of Italian Library from the '70 (from the nautical atmosphere of Biologia Marina to the arid soundscapes of Il Deserto by Egisto Macchi) here Karpov fills both the island and the novel's plot with a peaceful yet obscure pathos, mixing wild nature field recordings with some of the most beautiful, outspoken and bold melodies - as stated above, not just average "furniture music" for designers. The tracks sequence opens a full sensorial deprivation for the listener, who might casually finds himself caught between catchy motives and more abstract and transitional vignettes. Using nothing more than a vintage analog Formanta-Mini synth and a couple of pedals and loop stations, X.Y.R. has created one of the most singular ambient album of the this decade, now fully remastered from tapes and issued for public consumption. Get lost.

Bruno Duplant’s music often explores the memories of things, moments, and spaces. For this volume, he realizes the idea by religiously recording old electronic devices like VHS, old computer, floppy disk while it’s operating, during several months in 2019, and collected it. Per the artist statement, (e)rase is a reflection on the premature and programmed obsolescence of all of our products, mainly electronic, but also questions on the future of stored data (why, how, for how long, at what price for the environment, etc.). While seems paradoxical, it is an effort of a self-critique which at the same time sculpting a commemoration on the temporal relationship between human and technology.

Joni Void & N NAO are the respective monikers of surrealists Jean Néant and Naomie de Lorimier from Montréal, Québec - who found each other in 2016 through a poetry-reading/performance by Naomie in Jean’s home at the time, a DIY loft-venue known as The Plant. This would lead to numerous events involving both, there and in many other Montréal underground spaces, until both finally worked on a collaborative piece for Joni Void’s album “Mise en Abyme” released in 2019 on Constellation Records, and began performing together as a duo following that. Nature Morte is their first collaborative album, where voice, tape samples & field-recordings meet montage & electronic production to form a collage of sorts, an abstract puzzle that unfolds both artists’ sound-worlds.

Recorded between December 2017 & July 2020 in Montréal, Québec. Mastered by Simon Lancelot. Artwork by Albarrán Cabrera. Design by Sprflxgrfzm.

In 2016, the Japanese Duo Tenniscoats (Saya and Takashi Ueno ) visited Munich for the first time to play at the Alien Disko Festival, invited by the band the Notwist. In the japanese-bavarian bar Nomina Saya and Ueno listened and joined the acoustic brass-string-combo Hochzeitskapelle (Markus Acher and his brother Micha are also members), who use to play in between people in restaurants, on the street, on boats, etc ...but only on a real stage, if they have to. Inspired by this evening, Saya founded the brass-band Zayaendo back home in Tokyo, together with her friend Satomi Endo, who plays the soprano-saxophone. They started to play in parks, forests and bars, and many friends joined, making them a collective with up to 20 musicians. Some of the members are also composers and contribute their compositions.

In 2018, the collective came to Munich, and joined the Alien Disko festival. In 2019, they invited the Hochzeitskapelle to play with them on a 2-week-tour to japan. When they returned to Munich after this for the 2019-edition of the festival, their Munich friends organized a welcome-surprise-party for them, playing one evening only cover-versions of Zayaendo-songs. Taking part were the Hochzeitskapelle joined by Kofelgschroa-acoordion-player Maxi-Pongratz, the experimental duo Schnitt, who play with a vinyl-cutting-machine, trumpet and bass-clarinet, joasihno alias Cico Beck (Notwist) with his music-machines, the duo of Munich-based Japanese pianist Sachiko Hara and clarinetist and composer Christoph Reiserer, and a school-big-band led by g.rag-trumpet-player Alois Schmelz, who excited everybody by beautifully singing one song in Japanese. They played Zayaendo-compositions from the album „Zayaendo Music“.

Every band had recorded their cover-versions at the rehearsals ... just to give as a souvenir to the Zayaendo-members... but as this is such a wonderful and special compilation and just beautiful songs, we decided to make a small, limited vinyl-edition of this as well for others to hear. And traditionally, this has of course to be housed in a screen printed jacket by master Señor Burns, numbered and individually colored.

Alina Kalancea's Impedance is an entirely instrumental album spanning four sides, contains powerful rhythmic sequences, heart-beating frequencies and hypnotic loops that are paradoxically encapsulated in carefully crafted compositions which are full of secret passages and hidden doors. Kalancea's work creates ungraspable sonic experiences, which overtakes you, immersing its listeners in powerful and mind-altering soundscapes. There's no quick payoff on Impedance. This is the sound of new, patient electronic music, full of depth and substance.

Alina Kalancea is a Romanian sound artist and composer based in Modena, Italy. She has studied sound design and synthesis with Enrico Cossimi and collaborated with producer Alex Gamez, and artists Julia Kent and Raven Bush. Highly recommended to fans of Eleh, Caterina Barbieri, Shasta Cults, Jessica Ekomane, Eliane Radigue, and Alessandro Cortini. Packaged in a deluxe, heavy duty tip-on gatefold sleeves printed by Stoughton; cut by Golden Mastering and pressed at RTI.

‘Sotto’ is Andrew Oda’s attempt at world building in sound. Meshing method, mind, metaphysical and mundane into massive murals, its triptych of vivid compositions seem to wield electronic sound like a magic paintbrush. Inspired by the paintings of Otto Marseus van Schrieck, Ljubomir Popović, and Nicole Duennebier, ‘Sotto’’s three parts inhabit environments bursting with explosive internal ecologies of synthesized pulsations, yawning drones, tinkling imaginary chimes, and abstract noisy rumblings that flow, ebb and breathe with the infinite complexity cognition meshing with the chaotic order of natural greenery.

Side A’s two pieces – ’Sotto’ and ‘Spirit’ – are both only made up of synthetic sound, created via computer and other synthesizing methods. The spark came from an attempt to show the process of creation, life and the final union through sonic means, spiralling into a dense lattice of lifeforms, spirits, and objects realised in sound. “The original goal of the project was to convey the idea of this sound visualization for creatures and textures that are fluid, tangled and morphing into and around each other,” explains Oda.

While imagination and spirit are the subjects of the first two pieces, the final piece of the triptych, ‘Enfold’, emerges into a luscious and staggeringly beautiful material world. Oda turns here to acoustic recordings made in the field, as well as pianos, bells, and flute (performed by Susannah Oda), layering the results into the trembling organic soundscape suggested by Jonáš Gruska’s cover photography. The entirety of ‘Sotto’ is a living and vivid sound world of Oda’s creation – the first in a pegged trilogy of triptychs – brimming with beauty in which to wander and bask.

For this volume, Sydney duo Andy Rantzen and Jochen Gutsch team up with Brisbane-based Lawrence English to create a new trio work, themed around the ideas, life, and personality of a German philosopher, poet and thinker, Arthur Schopenhauer. Based on Rantzen’s spoken words and English’s haunting sine waves, Gutsch structured the piece by adding piano, trumpets, wailing guitar, and thumping percussion, arranged as the original composition “On the Completion of My Master Work”. On the flip side of the tape, comes the reimagined version of the title piece. Both pieces appear as reflections to each other, maybe challenging each other, making conversations and questioning each existence.

Furcula is a collective work by composer Asger Baden and recording artist & actor Peder. Peder and Asger Baden work as film composers on a daily basis at their townhouse studio in central Copenhagen. They have worked for 'Breaking Bad", 'Beastie Boys", 'Wolfpack' amongst others. Whenever they have some time, they work on Furcula. The music is based on the acoustic colours of two very different rooms: The Village (large orchestral studio in Copenhagen) and Vor Frue Kirke - the biggest church in Denmark which features a reverb of over 7 seconds. All sounds, instruments and samples are recorded in these two rooms and used as samples in the studio to create the music. The result is the depth and contrast between the huge reverb and very close textures that feel as though they're right next to you, scratching your skin. The result is ghostly, dark, cinematic and beautiful. Art by Rob Sato. - Debut album as a collective by filmcomposers Asger Baden & Peder who has had music featured in Breakin Bad. - Peder has 4 solo albums under the belt released by Ubiquity records, Wordandsound, Fake Diamond and allways featured in Radio Nova. Featured artists like Oh Land, Coco (Quadron) Jonas Bjerre from MEW amongst others. - Asger Baden solo debuted with a classical album 2015 recorded in Prague and The Crooked Spoke in 2008. - 2/4 of danish group Cours Lapin - As cinematic as it gets.

Monday morning in the rush, buzzing from turning a sprint into a jog. Quick stomps with heavy boots to spice up the season of endless beverages. Leave the temple to fix your screws because the whole gang stood with tears in the rain as Susan dropped this boggling compilation of classic London heat-stroke inducing vibes for you and only you. Big up Asquith for the Lobsterian fire. Susan shows deep approval. Ain't nothing regular degular about this one, folks.

Bassface Sascha - 4 Always & 4 Ever / Mind Control
Berlin based Revolver Sounds comes out with two massive tunes by German drumandbass veteran Bassface Sascha.
4 Always & 4 Ever
4 Always & 4 Ever takes us back to the old school with its mixture of a catchy piano riff, pitched vocals and some classy breaks and subs. Of course, Bassface added a modern twitch to this hymn-like tune!
Mind Control
Mind Control starts with a dark intro, before turning into a modern midtone roller with broken beats that is meant to turn dance floors upside down.

‘A distant color, secluded’ is the majestic debut album of modal harmonic topologies conjured by Swedish synthesist and sound sculptor David Granström for Kali Malone and Maria W. Horn’s highly regarded XKatedral label Granström’s first full-length release firmly establishes him in a field of progressive artists who are generating beguiling new music from a rigorous mixture of algorithmic synthesis, 20th Century minimalism and medieval composition techniques. On ’A distant color, secluded’ Granström yields a technically complex yet emotively direct demonstration of his compositional style during four works ranging from a pulsating prologue vignette to a side-long epic, each built from the ground up with Supercollider software.

This software provides Granström with an extremely fine level of control over the timbre of his sounds, which are often simple motifs, chords, cyclically layered into vast topological complexities and worlds within worlds that gradually emerge from reiteration and slight real-time shifts.

Working within isometric and just intonation systems that connect ancient Indian classical traditions to medieval composition and late 20th century expressions of modernity by Cage and Catherine Christer Hennix, Granström’s music strives to collapse distinctions of time and place with absorbiong harmonic transitions that highlight an uncanny valley between the sonic laws of the “real”, or manifested world, and his resoundingly immersive spaces of minimalist, pure non-dimensionality.

Between the concise flutter of illusive harmonic flux in ‘The Other Side’, the brazenly coruscating cadence of ‘Approaching The Infinity’, and what sounds like Autechre remixing Earth on the A-side’s ‘Plane At Infinity’, and the swelling gulf of ostensibly still (yet unfathomably deep) waves that crash over the B-side’s ‘Waning Moon’, Granström lucidly questions the listener’s spatio-textural sense of tone and timbre in a way that results in rich instinctive responses and encourages users to listen deeply to, and inhabit, the dissolution of perceptive boundaries.

* Dom & Roland Productions, the label, has gone from strength to strength since its conception in 2006.
It Features Dom's new solo work and his collaborations with other visionary artists such as Noisia, Hive and Amon
Tobin. The label has continued to push sonic boundaries whilst staying true to it's ethos of 'not selling out'.

* BEACH BUM - DOM & ROLAND

There's someone on the beach playing a catchy picked out guitar riff. The waves are lapping. A surfer walks along the beach carrying their surfboard, their hair is blowing in the wind. They are thinking about how powerful and awesome the ocean is in it's contrast to the serene and quiet sunset beach, They like the guitar a lot!

* DRED SOUND - DOM & ROLAND

Big Sound! In a large warehouse in Kingston Jamaica, a kid turns up with his laptop and a keyboard full of playable samples. The kid's twisted some funk era breakbeats into gigantic proportions and is trying out song structure ideas whilst listening back on the the huge sub bass system. There are a lot of people sitting around, everyone stops to listen, they never heard anything like this. It's raw, and powerful, and they like it!

Repress

GLXY’s debut album Research & Development is the culmination of years of sonic enhancement and experimentation.
A fusion of electronic elements and soulful soundscapes, the album marks the next chapter in the GLXY story.
Distant, cascading arpeggios over heart-like pulsations set the tone in ruminating intro ‘Hypothesis’, which seamlessly flows into title track ‘Research & Development’. As elements slowly combine, the track builds into an energetic rolling beat that’s unlike anything previously heard from the duo before. ‘Conclusions’ follows, featuring a soulful piano hook and wistful vocals from Irish talisman Steo. Rasping strings and techy percussion come together in introspective ‘Falling’, the cold, distant voices creating a particularly eerie atmosphere.

A short, modulating arpeggio prelude makes way for lead single ‘She Sings For Me’ featuring Manchester’s DRS. Melancholic chords and a rolling jungle beat merge with his deeply pensive vocals to create a match made in GLXY. Showcasing their moodier liquid sound, ‘Changed Forever’ features a captivating vocal hook and brooding synth stabs. ‘LP Track’ flips the script – a cameo appearance from Friction reminiscent of his past Radio 1 days leads into a boppy garage beat full of funk.

Submotion Orchestra’s frontwoman Ruby Wood is the star of the show in ‘Abstraction’, her sentimental vocals soar over GLXY’s trademark undulating bassline and airy atmospherics. Citing inspiration from garage, electro and breakbeat, ‘Crescent’ is a nod to the duo’s influences - Burial-esque percussion over building pads and warm bass. Canadian Anastasia lends her vocal talents on ‘It’s Not Love’, an analogue bassline interweaving in between a rippling synth motif and her contemplative lyrics. 

The darkest undertaking on the album, ‘Fourth State’ showcases GLXY’s masterful technical ability in the studio. Their hallmark synth pads lead into a bouncing, modulating bassline that’s sure to light up a dancefloor. Playful breakbeat interlude ‘Rapture’ captures a moment from Shogun Audio’s epic 2017 Christmas party at Phonox, with the album concluding on ‘Anatomy’, a 6 minute journey from start to finish… watch out for that 2nd drop!

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, Kevin Drumm, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

Ike Yard remain a legendary band of early '80s New York City – at once immensely influential, yet obscured by a far-too-brief initial phase. Their debut EP, the dark and absorbing Night After Night, sounds almost like a different group, so rapidly would Ike Yard evolve towards the calmly menacing electro throb of their self-titled LP.

Originally released on Factory in 1982, the album put Ike Yard's indelible mark on the synth-driven experimental rock scene then emerging all over the planet. While historical analogues would be Cabaret Voltaire's Red Mecca or Front 242's Geography, opening track "M. Kurtz" makes starkly clear that Ike Yard is a far heavier proposition.

With a thick porridge of bass, ringing guitar and strangled/stunted layers of voice, these six pieces are densely packed and perversely danceable. "Loss" sounds like a minimal techno track that could have been made last week, while "Kino" combines Soviet-era imagery with sparse soundscapes à la African Head Charge's Environmental Studies.

Ike Yard somehow pull off the toughest trick in modern music: making repetition hypnotically compelling through subtle variation. The effect of Ike Yard's first LP can be heard in many genres – from industrial dance labels like Wax Trax to electro-punk bands and innumerable European groups (Lucrate Milk, Red Lorry Yellow Lorry, etc.).

The fact that the cover artwork does not include any photos of the band, but rather features the original catalogue number (FACT A SECOND) only further illustrates the release's importance and Ike Yard's timeless mystique.

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, Kevin Drumm, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

Curve Records returns for their second outing with a powerful, grooved-out, broken beat EP: ‘Planned Cities’ from Bristol’s veteran forward thinking producer Lrusse.

“I like the optimism behind planned cities because they often don't turn out as expected - humans are random and there are unintended consequences everywhere. I never set out to write a broken beat EP, so that's quite been kind of a surprise too, ha.” Fellow Bristol legend Lord Leopard (F.K.A. Lukas) remixes the A1, ‘Crep Check’, delivering a club tool that will heat to any dancefloor.

A1: Crep Check - Crunchy, half-step drums broken beat hot with searing pads and bone-rattling sub.

A2: Crep Check (Lord Leopard Remix) - A huge straight up 4/4 club tool, tried and tested on the dancefloor.

B1: Scaff - An instant classic with a distinct Bristol bass bin sound, lazy broken drums and chopped piano hook.

B2: Those Letters - A soaring broken beat journey, perfect for switching up a 5am techno set.

Lrusse is the solo project of Ed Bayling, also known for slow-mo dancefloor heaters as one-half of Bristol’s Behling and Simpson, and has found regular support from the likes of Midland and Danny Krivit to Claude von Stroke and Todd Edwards, with tracks released on iconic labels such as K7, Tsuba and Dirt Crew, as well as underground fixtures like Nite Owl Diner and Apple Pips.

Left of centre experiments from the Dutch underground of yesteryear. Muziekkamer was the name of the home recording studio that gave birth to the twelve tracks on 'Popmuziek', an intriguing document of sketch arrangements and primitive, fairytale sampling wave cuts. This is music which excels due to its inherent naivety; the limitless ambition of 'Black Box' almost sounding like a precursor to the 90s ambient techno of Likemind or Stasis. On 'Being Home Tonight' we can hear an early form of what the likes of Tolouse Low Trax have been bringing to the forefront of contemporary club culture whilst the erratic art-rock of 'Walkman' mirrors what Leven Signs & co were doing over the pond. In trying to create something which represented 'intrusiveness' as a contrast to an earlier ambient tape the trio incidentally blurred the lines between various musical fashions to come. An amazing snapshot of time and place!

Ned Lagin's Seastones is a pioneering electronic composition interweaving metaphors from nature, science, art and music and the origins of music. Reflecting the technology, science, modern art, new ecological awareness and optimism of the times and culture, Seastones embodies the history of electronic music by taking full advantage of tape music, analog synthesizers, and computer technology to create pieces that are dynamic, rich, and deep.

Originally released by the Grateful Dead's Round Records in 1975, Seastones' reputation as a gem of electronic music was further enhanced by the celebrity of the musicians who contributed to the source material. Seastones musicians include Ned Lagin (processed piano, clavichord, organ, prepared piano, electric piano, synthesizers), Jerry Garcia (processed electric guitar, pedal steel guitar, voice), Phil Lesh (processed electric bass), David Crosby (processed electric guitar and vocals), Grace Slick and David Freiberg (processed vocals), and Mickey Hart and Spencer Dryden (percussion).

This new LP presents two crafted Seastones sets (Sets 4 and 5, 18 tracks) drawn from the entire Seastones composition and contains gorgeous extended processed vocals by Garcia, Crosby, Slick, and Freiberg, and beautiful abstract instrumental passages by Lagin and all.

Lagin is considered a pioneer in the development and use of minicomputers and personal computers in real-time stage and studio music composition and performance. He had classical music training in piano, counterpoint, harmony, orchestration, composition, and the history of music. Growing up in 1960s New York he was deeply influenced by modal and free jazz, and by modern art. Lagin studied jazz improvisation, arrangement, and piano and played in small jazz groups and a big band. Seastones was influenced not only by modern jazz and forms for improvisation, but also by Lagin's studies of early, Renaissance, and 20th century music. He was a touring, studio, and guest keyboard player with the Grateful Dead from 1970 to 1976.

Seastones composition began in 1970, while Lagin was attending the Massachusetts Institute of Technology (MIT). In 1974, with a minicomputer and an E-mu modular analog synthesizer, Lagin was able to play a polyphonic keyboard and hybrid computer-controlled instrument, as well as create simple generative musical processes. The normal controls found on the analog synthesizer were customized to accept computer control and the system was large enough to input audio and control voltages from the other musicians' instruments. This means that the synthesizer controls which were processing the incoming audio from the musicians could be controlled by what the artists were playing. These control voltages and timing signals derived from the amplitude envelope shapes of what the musicians played, as Lagin puts it:

"... became the sources of modulation that are the imprints, the musical touch and articulation, personality and presence of each musician. Interweaving multiple musical identities within an interconnected group. Ensemble interaction and improvisation through instrument and compositional interconnection."

Each track on Seastones is what Lagin refers to as a "moment form". Each track is self-contained, like a sea stone on the beach, a moment in time full of feelings and meaning, an entire world unto itself. Again, Lagin:

"Each stone on a fragment from another place and time. Some are just one mineral, some made of many; some are crystalline; some magnetic; some meteorites from the birth of this solar system or the universe; some contain fossils of ancient lives and little life form's, their stories are imprinted. Ephemeral existence."

"Like real sea stones, the Seastones moment forms are each a placetime, a time island, a droplet of time. They are composed and synthesized and skeletal improvisational forms. Some moment forms are ideogrammatic; the communicate their own self-contained structure, each a sensuous object in and of itself. Some of the moment form compositions are individual, some are related."

"Some are metaphoric abstracted forms derived from geology, and natural history and paleontology, electronics and electricity, organic and biochemical synthesis, physical processes, mathematics, physics and quantum mechanics, language and linguistic structure, and different forms and perspectives from pictorial (and abstract) visual art (paintings - cubism, pointillism, impressionism, expressionism and color field). And some from the sea with tonalities that are complex ocean surface and deep wave forms and currents, with the superposition of many waveforms from many sources. Some moment forms are just one waveform cycle."

Seastones: Sets 4 and 5 is available in this audiophile edition of 2000 copies. This audiophile quality LP was cut by Golden Mastering and pressed at RTI to insure excellence in reproducing Seastone's rich analog sound. Transparent blue vinyl.

'Everything U Need' was the cliff hanger Overmono left revellers on at their final performance before dancefloors were forced to close, the duo finding their sound in a culmination of all their explorations to date. Following much heralded collabs with Joy Orbison (as one commentator noted of Bromley "the track that was on every 5 minutes at Warehouse Project") they've since released a succession of forward-thinking remixes and edits of Four Tet, Thom Yorke and Rosalía. Add to that a mountain of co-signs and inclusions in Pitchfork's Best of Electronic for 2019, they've quietly become one of the most vital voices in electronic music today.

Overmono were on a roll before lockdown. As the top YouTube comment for their Joy Orbison collaboration track ‘Bromley’ put it, “so this is the track that was on every 5 minutes at Warehouse Project.” That track and the duo’s own ‘Le Tigre’ were played out constantly by the likes of Four Tet and Ben UFO, the former also hiring the duo to remix his track ‘Teenage Birdsong’.

Then there are their edits. Thom Yorke was so impressed by the duo’s versions of ‘Not The News’ that he let them release the tracks on their own Polykicks label. Add to that their cheeky version of Rosalia – ‘A Palé’, which caught the ear and the eye of the respected flamenco artist, as well as being a highlight of their live performances pre-lockdown.

Then the world abruptly stopped, all their forthcoming gigs were cancelled and suddenly Overmono were able to fully commit their energy to their legendary Bromley studio. It’s was during this time that the duo feel they’ve been able to realise exactly what Overmono’s music should be. “Our work together had so far been about exploring and defining what Overmono is… and we feel like we’ve got this now”.

‘Everything U Need’ is the first track to be released since this realisation and is taken from the forthcoming EP of the same name. Somewhat serendipitously, an early version of the track was the last thing the duo were able to perform live, at London’s Printworks in March. The subsequent video sent the Identification of Music Group on Facebook into a frenzy and has been in demand since. The final finished version along with the other tracks on the EP represent a marriage of everything Overmono have done previously, and it showcases their ability to make music that is as enjoyable on headphones as it is in the club. Topped off with incredible artwork from the acclaimed artist Rollo Jackson, Overmono are clearly stepping into a new era of their artistry. In their own words, “It’s our most complete record to date”.

Joy Orbison premiered ‘Everything U Need’ last night on his BBC Radio 1 show, stating “I’m biased... but I’m a huge, huge Overmono fan.. I don’t think there are many electronic outfits out there doing what they’re doing”, and also hinted towards more music from their collaborative Joy Overmono project in the future.

Patrick Richard's debut LP "Transgression" sums up his musical output so far: Deep, emotional and intelligent techno. It is a coherent, yet rich and diverse LP: full of dirty samples, cinematic sowker edge to them. The Blade Runner tinted "Escape", for example, takes you on a sonic journey through misty dystopian wastelands, while "The Abyss" dives deep below, with dusky chords, psychedelic Arp-leads and skitzo riffs accompanying the listener on the descent. On the more upbeat side you have "B Ortz' Edit", a slightly breakbeat flavoured stomper with warehousey stabs, or "Flare Gun" a Detroit-oozing killer, with epic strings on top of a pumping broken groove, guaranteed to get the crowd moving. The LP also contains more tranquil moments such as "Shelter", and subtle deep techno, such as the foggy "Searchlights". Comprising dirty basement house, dark dubby techno, flirts with broken beat, ambient serenity, as well as more experimental ingredients, Transgression is indeed a diverse and generous debut.

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, Kevin Drumm, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

It didn't take too long until CPR and RSOT realized that there is a logical connection between two worlds. Where RSOT defines himself with his warm unearthly loops, floating into an unbounded void while reinventing beauty, CPR comes along to complete these with their more dark psychedelic, acoustic and organic oriented sounds. The "Earth Is Heaven / Heaven Is Hell" EP is beyond logic; it is the conclusion of combining both universes, where space and time confront themselves and will be burned down within the ritualistic circle. The void filled with warmth and sparkles, detached from their original source, a rebirth of natural primitivism.

It's been over a year since we at Suction Records last raided RX-101's archives, but far be it from a lack of quality material. In fact, we've been holding back this special batch of melodic, chilled out techno and electronica for 'Dopamine,' RX-101's first full-length vinyl LP. Dopamine (suction047) is a cohesive body of work with clear references to Aphex Twin's 'Selected Ambient Works 85-92', Polygon Window's 'Surfing on Sine Waves', and Warp Records' 'Artificial Intelligence' series.

For those of you new to the story, RX-101 is Dutch producer Erik Jong, who recorded hundreds of top-tier AFX/Rephlex-style tracks to cassette tape from 1997-1999, but never sent out any demos ('I didn't think my own tracks were good enough, or feel the need to share my tracks with others. I simply wanted to make music without any pretension or specific purpose'). Suction Records discovered RX-101's output via Erik's Soundcloud page, which had been much discussed on Aphex Twin fan forum We Are The Music Makers, where many speculated that Erik was in fact a secret Richard D James alias. We were blown away the vast treasure trove of golden era '90s electronics in Erik's archive, and began work on an ongoing campaign to release the music of RX-101.

Although Erik was initially driven to electronic music production through the influence of house and techno, especially Detroit-area heavyweight labels Underground Resistance, Plus 8, and Transmat, it should be clear to anyone who listens that RX-101's primary influence is the work of Richard D James. While RX-101's output to date has been like an overview of many facets of the AFX/Rephlex catalog, from Caustic Window-style crunchy techno, to Bochum Welt-style synth pop, to Universal Indicator-style acid, the focus of Dopamine's sound palette is firmly guided by the slow, funky and crisp 808 patterns, warm analog basslines, and evocative chords of Aphex Twin's landmark 'Selected Ambient 85-92' LP. It's an immersive listen from start to finish - 13 tracks of armchair techno of the highest order.

Sendai is the collaborative project by Yves De Mey and Peter Van Hoesen. Both artists are longtime friends and share a deep passion for exploring the outer limits of the electronic music spectrum. Sendai combines De Mey's skillful extraction of deep and dynamic sounds from his modular synthesizer system with Van Hoesen's keen sense of digital composition and sound design.

Like many Canadians, Joseph Shabason and Ben Gunning like to untangle themselves from urbanity and disappear up north a few times a year. Unlike other cottage-goers, Ben and Joseph don’t while away the ur-time on jet-skis and lounge on docks reading pulpy mysteries. Instead, they bring a car full of synths, drum machines, saxophones, guitars, samplers, effects, and recording equipment to jam the days away in a cabin-fever inducing haze of wood smoke, cedar musk, hot wires and jazz sweat.

Muldrew, recorded on the northern Ontario lake by that name, is the culmination of several years of this collaborative tradition. Resisting their penchant for composition and arrangement, the duo embarked on this project with only an open framework that encouraged restraint. The result is a sparse and improvisational album, hung on enough structure for each song to evoke a distinct, albeit ambiguous mood. Space is paramount and even the most digital elements breathe with the resonance of the room and mingle with creaking floors. The resulting album is steeped in the placid stillness and northern ambience of a lake at dawn, and the emotive expanse of a forest at dusk. Imagine an ECM cottage-series, or Jon Hassell and John Martyn scoring a Bela Tarr film set in rural Canada. This is the future-proof music of metropolitan polyglot minds invigorated by nature’s mute refusal to follow a click-track.

DMM Pressing. Limited Edition of 500.

For the 8th installment on Lossless Music's Dope Plates sub-label sees label boss Soul Intent drop 3 rave and jungle infused gems.

With Jungle making a come back Soul Intent thought it was important for the kids to not forget about rave and hardcore so "The Old Skool Is So Kool" was born. Five minutes of breakbeat hardcore and rave nostalgia... so much so when playing it out in clubs Soul Intent regularly gets ravers asking "which Ratpack tune is this again?".

"Lick Down" is an out'n'out classic amen and 808 bass roller (and we mean roller!) while "Got The Music" blends old and old vibes and production techniques resulting in a very fresh and unique sounding track.

red marbled vinyl repress
* The first Technimatic release since their breathtaking 'Better Perspective' sophomore album of last year, 'Technimatic Remixed' is a collection of some their greatest work to date brought kicking into 2017 by some of Pete & Andy's favourite producers of now. Break, Alix Perez, Fracture, Was A Be and LSB all feature giving their own personal takes on some already seminal Technimatic moments.

* We have never had a remix project of our work so this is a really fun one for us. You kind of get scared but excited at the same time as you wait for each track to come back! But all the guys on this project are guys we admire and respect greatly so we knew they would deliver the goods. 'Bristol' was just made for Break to do, we'd actually earmarked that one a couple of years ago for him. LSB is just on fire with his work at the moment, Alix we've loved since before we joined Shogun, Fracture was our only choice on 'Trigger Warning' as he's just the don for that sound and we've been really impressed by new Shogun family members Was A Be.

* Also we felt we'd like to contribute something to the project so we picked one of our favourite tunes with Lucy Kitchen and gave it a little sprucing up. The 'Night Vision VIP' has been doing damage in our sets for months now so we felt it rounded the EP off nicely. We hope you guys enjoy it as much as we have been!' Technimatic

Radio
14th Aug - Friction - BBC Radio 1 - World Premiere & Friction Fire: Bristol (Break Remix)
21st Aug - Friction - BBC Radio 1 - World Premiere: Parallel ft. Zara Kershaw (LSB Remix)
28th Aug - Friction - BBC Radio 1 - World Premiere: Hold On A While ft. Jono McCleery (Alix Perez Remix)
*More TBC*

Comprehensive promo campaign to seek specialist radio including but not limited to, Friction, Eddy Temple Morris, Annie Mac, Zane Lowe, Julie Adunega, Phil Taggart, Mistajam, Hospital Records Podcast, D&BA Podcast and many more.

* Print
*More TBC*

* Online
21st Aug - UKF - Online World Premiere: Parallel ft. Zara Kershaw (LSB Remix)
28th Aug - XLR8R - Online World Premiere: Hold On A While ft. Jono McCleery (Alix Perez Remix)
*More TBC*

Full online service to further targets: Mixmag, Liquicity, DJ Mag,Hyponik, Hit The Floor, Inverted, Less Than 3, Beatport, Mixmag Brazil, Magnetic Mag, Ninja Ninja, DnB HQ, D&B Dojo, Broken Culture, BassOrDeath, Phuture Labs, Sky TV (Soccer AM etc), EDM Chicago, House Of Coxhead, In Reach, Your EDM

* Club / DJ Support
10th Aug - VIP mail out
17th Aug - General club mail out
Target to over 400 key DJs and tastemakers on the Shogun Audio mailing list including but not limited to Shy FX, London Electricity, Andy C, Goldie, Calyx & Teebee, Friction, Alix Perez, SpectraSoul, Rockwell, Technimatic, Bailey, Breakage, Danny Byrd, Roni Size, LTJ Bukem, Fabio & Grooverider, High Contrast, Lenzman, Camo & Krooked, Skream, Sub Focus, Zinc plus many others

For AI-21, Italian duo The Abyss Within Us enters the fold. The project, consisting of Claudio Porceddu (Claudio PRC) and Stefano Ferrari (menion), combines lush ambient textures with beguiling mysticism. Originally performed in Ankali, Prague, the rich and expansive ‘Life in a Circle’ constitutes a 2-part journey deep into darker, farther places. Chasmic frequencies hark back to an ancient ritualism, punctuated by uplifting moments breathing with elegiac grandeur.

SLEEPERS POETS SCIENTISTS is the compilation of 9 female Georgian artists. It showcases works by Natalie Beridze's students at the CES (Creative Education Studio), where Beridze teaches song-writing and music production. Natalie Beridze is an international well-established artist with releases on Max Ernst, Laboratory Instinct, and Monika Enterprise, through live performances, theatre and movie soundtrack works, as a member of artists collective Goslab, and collaborations with Ryuichi Sakamoto, Thomas Brinkmann, Gudrun Gut, Nikakoi – to name but a few. "This compilation is the backbone of what I try to persuade as a lecturer and as a person, who endlessly loves the music-making process. "Sleepers, Poets, Scientists " is the embodiment of intelligent, benevolent, dedicated, talented and beautiful women, who I believe have a bright future as female composers in Georgia and this album is a significant step towards it."

The retro cover is a nod to the famous group shot from the 1927 Solvay conference, which brought together physicists like Albert Einstein, Erwin Schrödinger, Marie Curie, and others. With this in mind, the name Sleepers, Poets, Scientists rings like a call to action for today's brightest minds, to wake up and save our chaotic, troubled world.

Formed in Chicago in 2009, Apiary brought together four of that city's most versatile and prolific musicians: David Daniell (guitar), Steven Hess (drums), Joseph Clayton Mills (electronics), and Jason Stein (bass clarinet). Together, Apiary interwove disparate strands of Chicago's improvised music community, seamlessly incorporating their influences—ranging from jazz to minimalism to noise—into a whole that was dense and hypnotic.

Having developed a reputation for the intensity of their live performances, Apiary entered the studio in the spring of 2010 in an attempt to document their unique sound. These recordings, uncovered and revisited a decade later, have lost none of their power or immediacy. If anything, the intervening years provide a sense of perspective and insight into how vital Apiary's music—grounded in collaboration and possibility—remains. Apiary was reworked and brought to completion in 2020; it provides a fascinating window into a crucial moment in Chicago's musical history, one that still vibrates with startling urgency.

Trinovantes is a new collaboration between old friends Franz Kirmann and Stuart Bowditch, who originally met in 2007 at the Multivitamins events in Shoreditch.

The body of work on Hidden Codes employs a new approach. Songs by metal bands were interpreted by algorithmic functions into MIDI. The extracted data was then edited and played through a variety of software and synthesisers to generate warm, ambient layers that, whilst removed from the original songs, retains a sentiment of the original ideas. The layers were then arranged and further processed to form new pieces.

This first EP of the band is the synthesis of the sensibilities of the collective and the logical extension of their live performances of ALEA (s). Beyond the music, drawing and animation find their place there with neat artwork (and a limited series which includes drawings by FSTN the illustrator of the collective) and a vinyl which includes hundreds of drawings forming a mini animation movie loop if the disc is played under a stroboscopic light.

Memory Disks. Volume Two. Chevron. Jonathan Valentine returns to Shipwrec with a second instalment of his mind and motherboard melting music. This mini album is packed to bursting with ten tracks of acid soaked electronics, chiptune glossed chicanery and retuned rock reworks. Volume two picks up where the first left off as the Blackpool wizard reimagines and reshapes drill and bass, beatless ambient and funfair funk. A catherine wheel is ignited from the needle drop to send a rainbow of sounds and styles spinning and swirling under the shimmering brilliance of Valentine's daring creativity. Stand back and simply enjoy.

*Repress*

"I acquired my first shortwave radio back in 1998 or 1999. Living in San Francisco at that time, I found a wealth of signals being broadcast from across the Pacific towards the US. This was before cellphones became ubiquitous, so the radio spectrum was relatively free of interference, even living in a city. I quickly found that when I got out of any urban environment, I could receive more signals and with better clarity. So with every opportunity for travel, I took a shortwave. By 2000, I had upgraded by then to a smaller Grundig portable with a wind-up antenna and a MiniDisc recorder in tow. I held out acquiring a flash-drive digital recorded until the summer of 2012, with the technology of the MiniDisc already obsolete by then. This collection represents some of the more interesting finds from that collection of MiniDisc recordings." – Jim Haynes, Northern California, 19 August 2020.

Side A:

1. Random tuning across various bands, picking up WWVB the time channel in the US, the American evangelist Brother Stair, German and Spanish newscasts. Recorded in 2003, Northern California.

2. UBV-76 - the infamous Soviet-era Buzzer signal with a rare message being delivered at the top of the hour. Recorded in Barcelona, April 2001.

3. A chorale joined by an SSB tone. Unknown date and location.

4. Romanian language lesson, as recorded in Barcelona, April 2001.

5. Detuned voices, South Carolina, 2007.

6. Trumpeting fanfare cut to RTTY transmission. I'm not sure if this cut was done internally switching from station to station, or if I made the cut in the minidisc itself. I believe it was the former. Unknown date and location (probably Tennessee).

7. Morse code transmission. Estonia, 2007.

8. Sparse three dot transmission (the letter S, perhaps?) within a series of high energy utility signal bursts. The purpose of which escapes me. Unknown date and location.

9. Ham Radio Relay Transmission. Unknown Date. Probably Northern California.

10. I always called this utility signal 'the calliope.' I have no idea what its purpose is. Unknown date. Unknown location.

11. This percolating utility signal was recorded in South Carolina, 2008.

12. Ham Radio Communication. Summer 2001. Tennessee.

13. Unknown Shortwave noise. Unknown location. Unknown date.

Side B

1. Tuning in a SSB Ham radio broadcast. Unknown date, location.

2. A brief snippet of a science fiction reading about 'Professor Cantrell' Barcelona, 2001.

3. WWCR / Alex Jones broadcast. Christmas 2006, Nashville. I have no desire to re-broadcast any of that man's bullshit. But I politely ask that you take note of my editorial hand in response to Jones' caller.

4. Peculiarly warbling SSB detuned transmission. Melbourne, Australia, 2003.

5. A conspiracy theorist speaking about fluoride and water fluorination. I heard him numerous times in the early '00s, but I am not sure of his identity. Other topics included home schooling and garden cultivation. Northern California, 2005.

6. WBNY with Commander Bunny. One of the strangest pirate radio broadcasts. Unfortunately, the WBNY transmitter is very weak, and this was most understandable snippet of the recordings. South Carolina, 2007.

7. Outlook on BBC World Service, discussing the future of payphones. Northern California, 2005.

8. HF-GSC at 4724 kHz transmission from Andrews Air Force Base. This was one of the only times I actually wrote down a frequency, which is still being used as of 2020. Recorded in Death Valley, 2012.

9. Radio Damascus. Estonia 2007.

10. SSB detuned transmission with distant crosstalk. Unknown location and date.

11. End of broadcast and interval signals for Radio Romania. Recorded in South Carolina, 2012.

12. Interval signal for Radio Vatican. Recorded in Estonia, 2007.

John Frusciante releases the first instrumental electronic album under his own name on Aaron Funk's Timesig label. The record is dedicated to his cat Maya who recently passed away, a fellow traveller in his otherwise solitary music making sessions. 'Maya' is inspired by John's favourite music: '91 to'96 UK breakbeat hardcore and jungle. It’s a varied and personal take with sophisticated, authentic production balanced against John’s acute sense of melody, an inspired blending of machines and samples infused with a joyful energy. "I don't have that interest in singing or writing lyrics like I used to. The natural thing when I'm by myself now, is to just make music like the stuff being released this year. I really love the back and forth with machines and the computer." The fun he’s having on 'Maya' is infectious.

Mort Garson’s road to cool cultural caché and the sublimity of Plantasia meant a decades’ long journey through an underworld of sophisticated, international, string-laced dreck (i.e., your great-grandparents’ record collection) to arrive at Music from Patch Cord Productions, this set of queasy-listening you now hold.

Music from Patch Cord Productions shows that Garson’s knack was to exist in both worlds, super-commercial and waaay out. He cut delirious minute-long blasts for commercials (as to whether or not they were actually ever aired remains unknown) and spacecraft-hovering études. Were there really account managers out there in the early ’70s that gave the greenlight to these commercial compositions which seemed to anticipate everyone from John Carpenter to Suicide? What were these campaigns actually for, Soylent Green? Regardless, Mort’s jingle work laid the groundwork for the future. As Robert Moog himself noted: “The jingles were important because they domesticated the sound.” Via Garson’s wizardry, the synthesizer transcended novelty to ubiquity and dominance.

Other curios and questions abound. How did Garson’s arrangement work for Arthur Prysock’s satiny body worship album This Is My Beloved transmogrify into the body-snatcher pulses of “This is My Beloved”? Are the two pieces even related? What is the IATA code for the airport of “Realizations of an Aeropolis”? What denomination is the “Cathedral of Pleasure”? If “Son of Blob” sounds like a hallucinatory melted ice cream truck theme, what on earth does Blob’s father sound like? Every sound wrangled out of that Moog by Garson pushes things further and further out.

Of course, these are all questions that may never get answers, as Garson wasn’t the most organized modern day composer, busy as he was conjuring strange new realms with his circuit boards and synths. He worked and wrote right up until his death in 2008, his daughter and Sacred Bones still going through all of the material left behind. He wouldn’t live to see it, but his renaissance was just around the corner, the seeds that had been scattered in record bins around the world suddenly coming to bear fruit. Take a bite!

The unfathomable quantity of Pan Daijing meets Werner Dafeldecker's mercurial sound art on this surprise, limited edition 7' pressing.
Leading on from her heavily arresting Lack album for the PAN label, A Page To A Corner is Daijing's first collaborative release. The title track is a lethargically hypnagogic thing, with Daijing lamenting an unseen force, bound into a mesh of monotone drones and keening strings to ultimately quease-inducing effect.
On the B-side, Daughters of The Botanist, Daijing's death croak vocals are placed front and centre of the mix against a more dynamic backdrop of gong-like tones that gradually recede to leave the slithering sound of extended instrumental techniques and brownian electronics.

*Repress*

SFV Acid takes you further into Volume 2 of Trillium Towers, a defunct business district located in Woodland Hills California. Providing a new EP with G-funk-filtered house & electro cuts!

Amsterdam collective De Lichting presents the third sequel as part of their collaborative album series. ‘Drie’ emphasizes the euphoric and heated club pieces. The release comprises emotional techno while embracing its breakbeat/electro fused roots in between. In ‘Drie’, the collective shows an edge without losing their grip of imaginative ambiances.

Venderstrooik is a mysterious collective of musicians, artists and performers, infamous for their wild live shows and guerilla view on today's society. Crustacean is their first concept album, and showcases their musical depth - from future electroclash classics via experimental acid techno to melodic sensitive moments. The often explicit but always witty and profound lyrics give us a further peek into their dark souls.

2024 Repress

Mannequin Records is proud to present a full length by the Philly minimal-synth princess Void Vision.
Void Vision is a Philadelphia-based electronic project helmed by Shari Vari. It began around 2009 at a time when a wave of synth-revivalists were materializing, but the quality of the songwriting and intense vocals set the band apart from the pack. In a rare instance, Void Vision has managed to combine vintage dance elements with melodic structures, haunting melancholy, and lyrics that have a palpable soul. The songs themselves are dynamic, referencing a cross-section of the last 30 years of electronic music, while simultaneously retaining a uniqueness all their own.

The infamous Wierd Records weekly club night in New York, which showcased a variety of talented electronic and coldwave artists, served as an incubator for Void Vision in it's early stages. After a standout debut performance at the club, they immediately caught the attention of Blind Prophet Records, who consequently released their first 7" single, 'In 20 Years', which received excellent reviews.

Vari has continued performing and recording steadily over the last few years, releasing songs on compilations for various labels, including Rough Trade, and in 2012 the song 'Everything is Fine' was selected for Artforum magazine's 'Best of 2012' issue. In 2013, Void Vision toured the West Coast and later that year released a split 12" with Portland-based band, Vice Device. The first official full-length album, entitled 'Sub Rosa' is set to debut on Berlin-based Mannequin Records, followed by a European tour in 2015.

Shari Vari formed Void Vision in 2009 originally as a duo, during the explosion of the new minimal synth and cold wave scene in United States. Sharing the same scene of the Wierd Records associates like Led Er Est, Martial Canterel, Xeno & Oaklander, Automelodi, in 2010 VV released 'In Twenty Years' on Blind Prophet (Sean Ragon's Cult Of Youth record label), receiving also the attention of the Rough Trade dudes, who asked to put out a track for one of their synth wave compilations.
After other split vinyls, tapes and compilations, Mannequin approached Shari with the intention to continue what Wierd Records started, giving a proper shape to her beautiful and youthful dark electronic sound. The result is 10 hypnotic cold analog tracks dominated by the warm and fragile Shari's voice, some more 'pop orientated' some others belonging to the original 'cold wave' atmosphere.

"Sub Rosa" is an edition of 400 copies on 160 gram black vinyl and 100 copies on 160 gram white vinyl.

*Repress*

*Repress*

Can You Smell What The Sock Is Cooking?!

Sock It To Me steps up with their first release. Three club-focussed collaborations from Alec Falconer & Desert Sound Colony with a Harry Wills remix.

What does a contemporary album mean to us? Marc Pinol and Hugo Capablanca asked themselves this question when faced with the challenge of recording their first C.P.I. LP. To find the answer they went back to some of the most important records in their lives and listened to them from start to finish. At a time when the whole concept of an album might be at its lowest ebb for decades, they wanted to return to the old way of telling stories, recreating the notion of a narrative "journey" but doing so in their own original manner. 'Alianza' displays a wide range of emotions through only a few elements. There are no structures, barely any drums. It's a puzzling journey that moves through darkness and light, happiness and despair, hope and menace, as it unveils its own mysterious universe. Every track is a world in its own, yet all of them are linked by an invisible energy that reflects a coherent constellation. To achieve this, Hugo and Marc used a broad array of vocal timbres, including their own drone-treated voices, digitized vocals from an old vector synth, and those of several contributors. Most of the sounds on the album come from digital devices, as they wanted to "prove themselves" in the studio "by doing something as warm as we could while trying to avoid analogue if possible? The major part of 'Alianza' was recorded during the spring of 2018 in Barcelona, with further takes and additions recorded in Berlin, New York, Los Angeles and Switzerland. It features contributions from Spacemen 3's Will Carruthers, Tanja Siren, Veronica Vasicka, Anna Homler, Demetrio Martini and Pablo Sanchez. The album was mastered by Gordon Pohl in Dusseldorf. The artwork is by Dominic Brucia and features a picture by Tanja Siren. The album was created with the support of The Richard Thomas Foundation.

2x12"

Fluxion is an artist with a long standing contribution to the electronic music scene. "Perspectives" is the artist's 9th full length album under this moniker.
His collaborations over the years with top boutique labels, such as Chain Reaction and Echocord records, and his total volume of albums and eps, place him at the forefront of the electronic music scene, for more than 20 years.From avant guard electronic dance music to techno with ambient textures, Fluxion has managed to stay at the forefront producing music that helped shape up a whole scene.
"Perspectives" is a more personal album expressing the artist's state of mind at a specific point in time where the need for change was a necessity..
There are moments in every artistic path, where instead of following a concept, an instinct, a theorem, music becomes the tool that allows you to see and reflect more clearly on your own feelings.
Music has this unique ability to talk straight to your inner world, and doesn't necessarily request the process and the complexities of an analytical mind in order to be understood..It can just be felt.
That is at the core of "Perspectives", which sees a release on the artist's imprint Vibrant Music.
This album reflects on moments and moods, but in the process of doing so it manages to balance between listening environments, making it a fine full LP listening experience, and at the same time offering some great club choices, with tracks like "Formation","Glimpses". "Dawn","Glimpses II" and "Cliff" a version of which has been released by XLR8R last year.
With "Perspective" Fluxion has no intention to impress, but rather express in a more honest way, and share a moment in time, full of intimate moods, and take us on a journey..
One where feeling the music, is at the center.

Biochip C´s obscure Force Fields Volume 1 EP gets a well deserved remaster from the original DATs by Beau Thomas@ Ten Eight Seven and will be pressed by Optimal. Four absolute obscure Hardcore gems that deserve to get more attention this time around, 26 years after it´s initial release in 1994 on Weird Beard Records.

Our third release of the decade comes from another new signee, Barcelona-based Kodama, who teams up with Dubstep OG LX One for the heavyweight A side.

Cronauer
Uplifting bells and pad harmonies pave the way to a gritty bass assault, striking with the power of a meteorite coming from outer space. Cronauer unfolds as these contrasting yet complementing parts engage and interwine, driven by heavily-swung hard-hitting drums which turn the track into a club weapon.

Piranha Plant
Time to turn page and enter the next chapter: Piranha Plant is a sublime oneiric journey of lush harps and heavenly bells, joining into masterfully composed layers of melodic bliss and. New sections keep introducing instruments like new characters in this dreamy fairytale.

Dorsia
A brisk intro catapults us straights into Dorsia, a high-energy introspective roller which joins two sides of Kodama's multifaceted output. Melancholic melodies dance over a powerful bass & drum synergy, until the second drop comes in with stomping weight, beautifully delivering our fix of bass-Nirvana.