Beats News

This selection of ultra rare tracks represents the sound of the postpunk Dutch band Necronomicon and their label Fetisj from the period 1981-1982. All selections have been mastered from the original released cassettes and unreleased demo-cassettes

Black Truffle is proud to announce the first vinyl reissue of Rafael Toral’s Aeriola Frequency, originally released by Perdition Plastics in 1998. Toral made his name in the world of mid-90’s experimental electronics with two releases, Sound Mind Sound Body (1994) and Wave Field (1995), both now recognised as classics and reissued on vinyl by Drag City, which saw him exploring the potential of electric guitar and pedals to immerse the listener in seemingly endless waves of sustained tones. On Wave Field, inspired by the striking resonance effects he experienced during a Buzzcocks gig with bad acoustics, he achieved a synthesis—often imitated but never bettered—of rock guitar, Ambient, and the acoustic exploration of Alvin Lucier, a kind of "liquid, abstract flux of rock sound".

On Aeriola Frequency, Toral continued the explorations of Wave Field but dropped the guitar, creating a series of extended pieces using only a simple feedback loop designed to work with pure electronic resonance. The result is far more delicate than Wave Field, a steady but unstable flow of filtered tones that continually reorder themselves into new forms. On both the LP’s sides, the tones, like growing plants, imperceptibly shift from drifting freely in ambient space to weaving strangely natural melodic patterns, as the loops unfold and the resonance gently outlines recurring rhythmic shapes.

The overall effect is strikingly organic, as David Toop noted in the liner notes included in the original release (and reprinted in this reissue): “A crystal garden, the sound grows in reeds and streams, blown like spider web strands, glittering and invisible, pulsing with translucent colour, bubbling and imploding, fraying and powdering.”
A classic of the non-academic approach to electronics that flourished in the 1990s— and a big influence at the time on Black Truffle head honcho Oren Ambarchi—Aeriola Frequency ushers listeners into an endlessly fascinating world of gliding tones and shifting details that they might never want to leave.

- Recorded at Noise Precision, Portugal, December 1997 and April 1998. Remastered by Rafael Toral in 2020.
- Liner notes by David Toop and Rafael Toral.

Here it is! The first EP from "Zero Netcost", a project by Romain Bezzina with the help of Simon Mills ak Bent plus a few guests. A sweet mashup of easy-listening and downtempo tracks with nostalgic and dreamy vibes. God damn, this is some good-ass ice cream!

Turned on by a new dawn of chemical love, Sydney dance-funk combo Bellydance laid down their sampledelica blueprint in 1991, thinking in parallel with Weatherall's revelatory work with Primal Scream. A candy flip of streetsoul, festival jam band and Chip Monck's cautionary brown acid address, 3 Days Man! was primed for open fields and discotheques, in an age when the deejay was royalty.

With an elastic lineup that boasted up to 9 members, Bellydance synchronised more with the club scene than the city's straight-ahead pub rock racket, naturally recruiting hometown heroes Peewee and John Ferris to remix their multi-track concoction. A certified party closing anthem, the brother's sun-smacked breakbeats elevate a collective consciousness beyond the clouds.

Originally issued on Regular Records sub-label Boomshanka Music as a precursor to their album One Blood, the now sought-after 12" sports characteristic artwork from Mambo visionary and Mental As Anything co-founder Reg Mombassa. Instigated by Sydney selector Ben Fester, this Efficient Space reboot arrives fashionably late to Woodstock's 50th anniversary but just in time to help soothe universal division.

Shanghai’s forward-facing Svbkvlt turn out a killer surprise drop from Hyph11e and Kode 9 after their raucous Gooooose & Dj Scotch Egg throw down Last spotted on a body-spinning split session with Slikback for Hakuna Kulala/Svbkvlt in 2019,
Hyph11e’s Tess Sun renders her most polluted atmospheres over panel-beating mutant techno rhythms in ‘Barnacles’; spending the first half fulminating amorphous, cranky sound design before
emerging from the chthonic murk with a foul head of industrial bashment.
As an avowed fan of Svbkvlt’s aesthetic, and a regular visitor to their region, Kode 9 is the ideal candidate to rework ‘Barnacles’, refitting it with signature wavey top line and recalibratiing the rhythm to a hybrid of rolling mid ‘90s hardcore breaks, nippy 2-step, and glyding UK Drill bass graffitti that firmly marks up his first outing since 2019’s ‘Digging In The Cart’ reworks of Japanese computer game soundtracks.

Red Vinyl

sferic reembrace ambient spirit Jake Muir for the label’s luscious 7th release; a fabrication of impressionistic city scapes describing L.A. at dusk, and Berlin dawning .
’The hum of your veiled voice’ was written by Muir in the wake of his transition from a life in Los Angeles to a new start in Berlin. It sees him transpose field recordings of his former home city into
a hazier sort of mid-ground that subtly diffracts the difference with Berlin in summer, refining the shimmering production tekkers of his West Coast surf-pop tribute ‘Lady’s Mantle’ (2018) with a nuanced, lower case emotive tactility intended to arouse heady states of atmospheric tension between nostalgic sehnsucht and romantic promise.
Muir readily acknowledges influence from the more washed out, elusive textures, timbres,
and spatial awareness of artists such as Philip Jeck, Richard Chartier, and Marina Rosenfeld, as opposed to the usual touchstones of AFX or Eno. But more implicitly he references a sense of queered ambience shared with Chartier’s Pinkcourtesyphone, and as such his music is seduced by the allure of “gay bathhouses and spas, club back rooms and decadent boudoirs” in a way that suffuses the whole record with an aphrodisiac air shared by sferic’s superb Perila LP or Romeo
Poirier’s ‘Hotel Nova’.
Supine and seductive in its illustration of an “endless night”, the devil lies in the album’s evocative intricacies, using a signature light touch and Akira Rabelais’ Argeïphontes Lyre software to ruffle locked grooves and dusty jazz snippets into ASMR-triggering texturhythms and dematerialised, hea(r)tsick blurs between the ear-stroking ephemera of ‘fleeting touches’ and the way his music appears to waltz out of an open window over Berlin at night in ‘the dimness of the sealed eye’, and land on the pillow of your dream partner in ‘like sweet thoughts in a dream’.

GRITTY, ODD & GOOD is a new weird, pseudo-music compilation curated by avant-garde experimental composer and audio artist Francisco López.

As far as creation itself is concerned, big cities do not manifest anymore as the catalytic cultural centers they used to be. Their iconic status as hip locations seems more symbolic than real. The combined mighty forces of neocapitalist gentrification and telecommunication / information decentralization might have generated a substantially different landscape of geographical cultural distribution. And so unlikely places are also sources of physically-isolated, but culturally-interconnected, new creation. This is just but one more example of the larger phenomenon of techno-cultural atomisation (not to be confused with the more restricted so-called “democratisation”) that allows millions of people to create and share, pre- and post-internet. The amateur is the new potential master; and that is decided by the crowd in the circus and the stadium, not at the academy. With all of this comes the potential for new aesthetics, or at least the open-ended evolution of the previous ones, –far better than the current confusion between ethics and aesthetics- from the uninformed and the unknown. Atomization of this kind also brings for some the desire and the right to anonymity. And so it is for the unknown obscure artists of this compilation of weird experimental music –“gritty, odd & good”, with drones, glitches, cut-ups and more- who won’t reveal anything beyond their unlikely locations: San Marino, French Guiana, Philippines, Lesotho, Oman, Faroe Islands, Tuvalu, Liechtenstein, Kyrgyzstan. An innovative compilation presenting a world of unusual experimental de-constructed and recombined music casting a strong and exciting light into the unusual corners of our world. Dive in.

Compiled and Mastered by Francisco López
Vinyl mastered by Rashad Becker

a 1 Ragazza Raddrizza (Live Excerpt) - Giuseppe Moretti San Marino 3:00
b 2 SCVB - Daryana Jean French Guiana 4:39
[c] 3 One One Six Bee - James Ocampo [Philippines] 5:37
[d] 4 Coogan Radio - Thabiso Makhetha [Lesotho] 3:18
[e] 5 micro-Sister (Al'ukht Alsaghira) - Rashid Al Balushi [Oman] 3:59
[f] 6 Mond - Lív Jacobsen [Faroe Islands] 3:10
[g] 7 Sansobavo Mix - Eteroa Apinelu [Tuvalu] 8:38
[h] 8 Sans Titre (Fumée v.3) - Zzodiakk [Liechtenstein] 6:38
[Kyrgyzstan] 1:17

Brianna Price turned plenty of heads when, earlier in 2020, she swapped out her well-worn B.Traits moniker for the new title of Baby T. A change of name also signalled a departure from the booming techno-centred sound Price had been pedalling as B.Traits - she promised, all guns blazing, that Baby T was about 'hardcore junglist shit only'. The project's debut drop, an EP for Samurai Music entitled Portra, put that manifesto into action, running the gauntlet of darkside drum 'n' bass, ardcore soundsystem techno and dark ambient.

From the whip-crack electronic drums which usher in Baby T's second record I Against I it is apparent that we're in for another wild ride. Emerging here via Central Processing Unit, Price meets the CPU sound halfway on I Against I's A-side, delivering two super-snappy broken-beat electro joints which both have a malevolent, dystopian edge to them. The levels are high from the off, with opener 'I Wish' fronting nasty, high-wire machine-funk that draws its strength from the Bunker, Djax-Up-Beats and BPitch Control sounds. 'Acid Science', another helter-skelter melange of needling synths and vocal licks, follows. Though this track's title may promise acid, the snaking bassline refuses to lock fully into the perpetual-motion madness of a TB-303. Instead, Baby T chops the lick up to move in and out of the drums, an effect that has one thinking of Cardopusher.

'Estrogen Attitude', the tune which kicks off I Against I's second-half, is an even headier brew. The intro skulks and broods, a pulsing kick-drum and intermittent 303 whirring in a cavernous atmosphere. You get the sense that something is brewing, especially given that the tempo has increased to junglist speed. However, when the breakbeats do enter Baby T opts to lurk rather than strike, locking into the sort of murky drum 'n' bass roll that wouldn't sound out of place on the UVB-76 imprint. This is jungle to shadowbox to.

The vibe of 'Estrogen Attitude' is inverted on EP closer 'We Could Disappear'. Beginning with a grainy, mournful ambience that recalls Biosphere and Kevin Martin, the track gently unfurls with the introduction of synthetic strings and muted breakbeats. If 'Estrogen Attitude' was indebted to Metalheadz, there is plenty of Goldie's more grandiose soundscaping running through 'We Could Disappear'. At the end of the track, the atmospheres dissolve to leave only the hum of sub - both a reminder of the bassweight principles that drive the Baby T project, and also representative of how I Against I has progressively etherised itself across its four tracks.

Baby T's Central Processing Unit debut I Against I tackles dystopian electro, impressionistic drum 'n' bass and dark ambient, all while adhering to junglist principles. This is a brave new world for both the artist and the label.

RIYL: Metalheadz, Pessimist, Mutant Joe, Cardopusher, dgoHn

Infernal Sounds welcomes Cluekid back to the fray, returning to release two of his most sought after dubs in 'Electric Avenue' & 'Horizontal'. The legendary producer throws you right back to the '08 days on the A side, taking you in with straight junglist sampling and a low-end wobble of a freshly set blamanche. 'Horizontal' displays the same sort of traits, but gives you an added dub-flex through the backdrop melody, and a low-end you'll feel right down in your stomach. It's an ultimate double XL.

Soulful selector and skateboarder extraordinaire Hugh Hardie is back with his latest EP, ‘Learning To Fly’, consisting of four sublime cuts, hot on the heels of his recent‘7 Tunes In 7 Days’ lockdown project. Produced from his home studio in Bristol, Hugh’s new release features collaborations with DJ Marky and singer/songwriter Cimone.

Named after the Indian mountain city in West Bengal, opening track ‘Darjeeling’ is a faultless embodiment of Hugh’s trademark jazz-inspired groove. Filled with transcendent piano chord progressions, rolling breaks and an enchanting upright bassline, ‘Darjeeling’ is a classic example of the soulful liquid beats the Bristol-based DJ has become known for.

‘Said & Done’ sees the commanding vocal talents of Cimone take the lead as Hugh Hardie and DJ Marky team up on the buttons to create a smile-inducing bouncer drenched in feel-good summer vibrations. Infectious descending bass wobbles lay the foundations below swinging piano licks and sharp-edged, shuffling percussions. With DJ Marky being an avid supporter of Hugh and Cimone’s initial link up on ‘Raindrops’, it only made sense for the trio to jump on a track together.

‘Learning To Fly’ with graceful strings and arpeggiated plucks, leads seamlessly into a crisp drum track and driving bassline. Hugh’s delicate yet powerful and uplifting pieces of music explore a broad range of emotions, taking the listener on a stimulating musical journey.

Drawing for original jungle sounds whilst staying true to his soul-heavy style, ‘Late Night Harp’ does exactly what it says on the tin as captivating harp melodies and acoustic guitar riffs are infused with fizzing sub-heavy basslines and steamrolling breakbeats generating a no-holds-barred banger.

His ‘Learning To Fly’ EP is the second project to emerge from Hugh Hardie in the 2020 lockdown. His previous ‘7 Tunes In 7 Days’ extended EP saw him create a track from scratch every day over the course of a week, and received support from DJs across the board including the legendary LTJ Bukem. With the success of both his ‘Shadows & Silhouettes’ and ‘Colourspace’ LPs under his belt, Hugh’s dedication to ensuring that soul remains the main ingredient in his productions is cementing him as a staple figure in the world of liquid drum & bass.

Shanghai’s Hyph11e commits a debut album of brooding sound design and gnashing breaks to her home city’s Svbkvlt stronghold, following hardcore ballistics for Hakuna Kulala and a lead single prepped with a killer Kode9 refix.
Dragging UK ‘nuum dynamics into Shanghai’s impending, fast-fwd present, Tess Sun aka Hyph11e has carved out a fierce reputation with her shots found on the praised ‘Cache 01’ compilation and in DJ mixes by key players including M.E.S.H., Aïsha Devi, and Kode 9 & Burial over the past four years. On ‘Aperture’ she plays around the theme of holes, rupturing her own path thru rave spacetime with deft, barrelling breakbeats wrapped up in fluidly contoured synth schematics that probe mutant corners of the dance, somewhere between industrial breakcore tekno and junglist footwork, with bleak but sensually personalised soundcraft done in a mechanised outernational dancehall style shades away from her label mate 33EMYBW and Uganda’s Slikback.
Hyph11e sparingly lights up her music like scenes from a rave in strobing start/stop motion and with a knowing grasp of negative ecstasy - finding pleasure in the aesthetic and noumenal spaces between styles, time and space. She characterises this notion in the album’s brutalist bookends, ‘Encrust’ and the chemically overripe lushness of ‘Erosion’, while traces of electro-acoustic strings infiltrate the prowling stepper ‘Accretion’, and more traditional Chinese tonalities describe rangier Jungle Tekno landscapes in ‘Baily’s Beads’, and she summons wraithlike spirits from the fizzing industrial dancehall fissures of lead single ‘Barnacles’. At her most dextrous, proper UK hardcore is rinsed into labyrinthine warehouse variations on ‘Doppelgänger’ and ‘Get Out From Under’.
Anyone who suffers trypophobia may want to proceed with caution, but hardcore ravers of all stripes and futuristic leanings will sink deep into the ravishing style and puckered darkside
discipline of this sharp, incredible album.

After the initial release of ENV012 Kloudmen started sending music that was a level beyond what we had previously heard from the duo. Remixes of and Plays by major scene players such as Caspa and Hatcha as well as the fresh blood in the forms of Bukez, Samba, Sepia etc.

Then out of nowhere in a fashion that caught our ears Kloudmen x Rez. We had to know more! The result was this release.

Producer & DJ Mall Grab has announced his new EP 'How The Dogs Chill, Vol. 1', on his brand new imprint 'Looking For Trouble.' The new release arrives ahead of Mall Grab's upcoming 'Looking For Trouble' tour, including a London headline show on 6th October at E1.

The 25 year old's latest record follows one of last summer's biggest house releases - 'Pool Party Music' on DJ Haus's ever-excellent Hot Haus Recs, as well as a collaborative EP earlier this year alongside Loods on Steel City Dance Discs, the label he runs with his friends Jarred Kennedy and Jackson Fitzsimmons. Having emerged in 2015 with the infectious 'Feel U' EP, the strength and evolution of Jordon's productions has firmly established him as one of dance music's most exciting talents.

The new EP arrives in the middle of another busy period for Mall Grab. Having played well over 100 shows in the last year, he just curated the London event Long Live Southbank - a one off fundraiser party supporting the restoration of Southbank's hallowed Undercroft skate space, which was streamed by Boiler Room. Having grown up skateboarding the event's cause was a particularly special one for Jordon. About to embark on his much anticipated 'Looking For Trouble' tour throughout September and October and with more shows through November & December in Japan and Australia, Mall Grab will close out 2018 on a high.

Childsplay presents The debut EP from mod-r. A 4track summary of the emotional state of youth 2day. equal parts breaks, acid, electro and angst. If you don't like it JUST FUCK OFF

Birthed from a radio show and event series with iconic Los Angeles radio station DUBLAB, SOS MUSIC’s goal is to provide a platform for diverse and forward-thinking electronic music, with a keen emphasis on womxn talent from around the world. In conjunction with Berlin-based !K7, the label’s debut release, SOS MUSIC Vol. 1 is a 14-track eclectic compilation showcasing dance music from some of the best producers working at the moment including rRoxymore, Violet, Nightwave, Umfang, LCY & Minimal Violence - lovingly curated to uplift and celebrate the global electronic community in a time of deep uncertainty in the music industry. SOS MUSIC Vol. 1 is international to its core, drawing on in?uences from the artists’ respective backgrounds including the UK, US, Serbia, Spain, Japan, Slovenia, Portugal, Germany & Canada.

SOS MUSIC was founded in Los Angeles by Maddy Maia (UK) and Tottie (Spain via the UK). Maddy has a long history in independent music, and is currently VP A&R in the US for famed British indie label Ninja Tune. Tottie is director of events and special projects at DUBLAB, and curates music, art and cultural programming that re?ects the diverse landscape of the city and beyond.

A shared love of underground music and culture, Maia and Tottie’s bond started strong via throwing events and later with hosting a monthly radio show; The SOS Music imprint is a natural next step in the pair’s progression as curators and its goal will continue early principles the duo stuck to- to seek out diverse underground talent and amplify their voice or community, whilst championing diversity on all sides of the industry. Maddy and Tottie’s music in?uences and styles span wide across the spectrum of experimental dance music, ranging from left?eld house, orchestral ambient sounds, not forgetting a nod to their youth growing up in the UK rave scene.

First vinyl pressing of the sought-after counterpart to Yellow Swans’ late noise classic ‘Going Places’, giving new life to over 1 hour of sky-clawing, lush noise meditations and strung out minimalist dirge widely regarded among their most powerful work ‘Being There’ places listeners at the dilated eye of Pete Swanson & Gabriel Mindel Saloman’s Yellow Swans storm. Originally delivered as a CD addendum to limited edition copies of ‘Going Places’, its four parts still stand tall on their own 10 years later, marking some of the project’s most scorched-earth sensations in billowing widescreen, with an elemental dynamic that leaves us weatherbeaten and eviscerated but somehow refreshed with every listen. It’s the sort of collection that demands rapt attention and rewards with head-swallowing effect.
Like a sonic rendering of the hour after death of their project, the duo appear to expend all their final energies in an almighty black hole collapse of noise and metal viciousness and meditative maximalism that must be experienced in the flesh for optimal effect.
From the yawning cosmic jaws of ‘Foil’ with its howling guitars and vocals descending into stygian slow techno, to the gutted shoegaze glumness of ‘Comedy Hypnosis’, to the album’s beautifully worn-out highlight ‘Public Space’, and their summoning of knives-out noise blizzard with ‘Inhabitants’, you’re in the presence of truly mighty, life-affirming material that should rank among your finest American noise sides of the 21st Century.

Veteran NYC based Scottish electronic musician Drew McDowall's latest work is his loftiest, most liturgical, and least industrial outing to date —and potentially the apex of his recent discography.Named after an ancient Greek word for votive offering, Agalmaexudes a hooded, devotional aura, creaking and keeling under vast rafters of stone, stained glass, and shredded wires. It's a music of majesty and mystery but also modernity, McDowall's refined modular system shape-shifting strings, piano, pipe organ, and choral masses into disorienting synthetic mirages of the sacred. He cites the intersection of “joy, terror, and the elegiac” as a centering inspiration –or, phrased more bluntly, “that 'what the fuck is going on' feeling.”



As a career collaborator himself, with stints in Coil, Psychic TV, and countless other shorter-lived partnerships, it's telling that McDowall chose this project to gather such an impressive spectrum of peers. Italian synthesist Caterina Barbieri, American drone organist Kali Malone, prolific multi-instrumentalistRobert Aiki Aubrey Lowe, operatic Humanbeast vocalist Maralie Armstrong-Rial, Saudi producer MSYLMA, and warped futurist beat-makers Bashar Suleiman and Elvin Brandhi cameo across the album's 42 minutes, contouring McDowall's nuanced negative spaces with shudders, shadows, and shivering flickers of serenity. Each of them shines in their spotlight, elevating these elusive alchemical states into surreal revelations of texture and transcendence.



McDowall's original working title for the record is revealing: Ritual Music.He speaks of his creative practice in ceremonial terms, negating binaries by seeking the middle path to anuminousequilibrium that erases the distinction between the inner and outer worlds.These compositions feel similarly processional and intuitive, at the crossroads of holiness and hallucination, the sacred vertigo of yawning naves rising into untouchable night skies. It's a vision of industrial music as enigma and invocation, cryptic hymnals of shroudedbeautysummoned in catacombs and crumbling cathedrals.



Despite its depths, Agalmais also an album of immediacy and emotion. Celestial laments of and for times of unrest and suffering. McDowall characterizes his initial intention for this music as an to attempt to convey experiences he felt incapable of putting into words: “To try and approach sublimity, or at least acknowledge it in some way.”Agalmamore than acknowledges the ineffable –it embodies it.

Following his joint drop with Denham Audio, Bristol's Borai fires up the third installment of his Higher Level label with another two precision-tooled rave bombs. Building on a catalogue 10 years deep and a versatile production style that spans deep house, techno, garage and breakbeat, Borai has been busy feeding his heavyweight productions into the scene via his Club Glow project (also with Denham Audio) - first as a mixtape in 2018 and now expanding to encompass events too. As with much of his recent work, HL003 leans heavily on early rave tropes re-figured for flexible assimilation into open-ended, genre-agnostic club music zeitgeist. "Carpet Bagger" has a propulsive 4/4 thrust, but its nightmarish bass drops and stabs are pure darkside. "Sanctuary" (surely shouting out the seminal '90s Milton Keynes spot) takes a sweeter direction - silky smooth chords and diva vocal licks riding over a rolling Hot Pants break. This is classically informed rave tackle given a gleaming finish - heavy in the low end and bright on top for maximum devastation in the dance. Take note too - HL003 also welcomes a new artist into the fold for the sleeve design, Nuff Gal. The Bristol-based illustrator perfectly captures the playful energy of Borai's productions, ushering in a striking new aesthetic for Higher Level.^

Contemplate, reflect, observe and record. Constanijn Lange presents a story of reminiscence and memory, partial witnesses of past and present journeys. Ideas and ideals of what has been and what could have been entangled between complementing poles of drive and meditation. The result is his rst full length album and a personal story that unfolds all its details the closer you get.

Blazing Shed Hardcore declarations for the lovers & the ravers.

Stunning debut release from Confuso Editions, a new label operating out of NYC/Rio de Janeiro here venturing into the furthest realms of outsider pop with the first ever public airing of recordings by John Zieman, a student of electronic synthesis at Hampshire College and
collaborator with Nam June Paik, John Sanborn, and Dara Birnbaum. Distilling 80s midtown sleaze (digi-saxophones, drum machines, listless ballads), we’re once again reminded of the sheer volume and wealth of outsider brilliance lurking in archives, drawers and lofts across the world - there really is no end. Fans of Ariel Pink, John Maus, Vazz, Stano, James Ferraro, look sharp!
As far as we can tell the first compilation, or even release, of John Zieman’s music to the wider public, ‘New York City 1980-1984’ spans year of work created after-hours at Manhattan’s nowdefunct Intergalactic Studios, covering an era-consistent gamut of itchy new wave machine rhythms and guitars ranging from gangly to jangling and pop-tart, all embedded in cruddy and offcentre FX and synths.
It comes with an amazing backstory too; in April of 1980, Zieman began working at Intergalactic Studios in Manhattan, where he took up residence in the studio’s bathroom, using soundproofing foam as a bed in a demolished stall. During this period, Zieman began composing on the studio’s Fairlight CMI synthesizer-sampler. Over the following seven months, working commercially by day and recording by night, Zieman produced the tracks which would become the basis for this set of tracks before you.
Revolving the fizzing drum machines of lead single ‘Flying Nine (Dara)’, which first appeared on the soundtrack to Dara Birnbaum’s video piece ‘Damnation of Faust: Evocation’ (1983), the set sprawls out between something like an unzipped Woo with ‘Gamelan Skate’, to ohrwurming offbeat pop in another big highlight ‘Hi-tech Love Song’, alongside more solitary and melancholic charms in ‘Occasional Thing’ and the loping ‘Leave You In The Park’, and something that could have
almost appeared on a James Ferraro tape 10 years ago in ’Better When It’s Deeper’.
As Joshua Daube puts it “The compilation stands out as an uncanny reflection of New Wave, at once rooted in its time and place and yet deeply singular. Across the twilight of a smoke-filled bar, Zieman’s edgy synths fix us with a thousand-yard stare, hungry sounds from the wrong side of Port Authority: “can I go back to sleep?” confuso revives these overlooked hypnagogic gems in New York City 1980-1984, which shine across the decades like a streetlight in a snowstorm.”

A full 5 years after its original digital-only release, the self-titled album by Occult Orientated Crime (AKA Legowelt) finally receives an opulent 3LP vinyl release. The result of many years of experimentation and research, this is professional ambient music featuring perfectly fine-tuned frequencies to alter your state of mind and take you to a complete loss of subjective self-identity. Limited edition of 400 copies featuring gatefold ASCII artwork by Legowelt himself!

Our next 12-inch venture is a superb Techno fuelled remix from Bart Skils of the world-wide smash hit Universal Nation. We all know the story of Universal Nation and that of its creator. There has been a plethora of remixes over the years, taking the original sound into new territory, new genres. Each and every effort has its own merits and we couldn’t be prouder of the impact this has had on electronic dance music history. This release will be in collaboration with Filth On Acid who will be releasing Bart’s remix in digital format. Dutch DJ and producer Bart Skils is the man of the moment, delivering the goods in a brand-new twist in the legacy of this mighty classic. A highly respected artist in Holland and beyond, Skils’ DJ sets are celebrated by Techno lovers as forward thinking and well-constructed. He is part of Adam Beyers’ leading Techno imprint, Drumcode Records and he’s churned out quite a few releases on several other labels. He is very much in demand and his passion for music takes him to various locations around the Europe. With this solid remix we’re delighted to have him on board.

Bart Skils adorns the A-side with his remix and he notches up quite a treat for us which will grab a lot of attention. Pounding kick drums lead the way alongside deep rumbling basses that dominate the low end. The infectious Universal Nation melody filters in, teasing us with snippets of the wide-open synths. Before long we’re locked in as the melody in all its glory is unleashed. On the break we find the original robotic vocals as the melody builds along with a snare roll taking us to the climax and back to full-on mode for the duration.

As an added bonus, on the flip, we have the original masterpiece that never ever disappoints.

Please lend your ears to this new pastoral and nostalgic beauty from Swoop And Cross, aka London based Portuguese composer/musician, Ruben Vale. Like a soundtrack to a melancholic and romantic silent film from long past, the tracks on Stories Of Disintegration wind their way into your subconscious, softly easing you into a state of memory and longing. As though you are watching your life on rewind...and waiting to hear what happens in the music. The languid and dreamy piano motifs are counter balanced by more rhythmic electronic flourishes, and together they form this very contemplative set of sounds. Put this album on late at night with someone that you love!

"Sydney Valette" is one of the most fresh, renowned and notable synth acts of France, good proof of it are the dozens of intercontinental gigs he’s playing on the best festivals and hottest clubs among the best artists nowadays. His simple and very direct arrangements use to capture any listener in very few seconds because he’s probably the most “pop” artist of Oráculo Records.

All tracks have been specially remastered for LONG CUT Vinyl by Daniel Hallhuber at Young & Cold Studios!

Traditionally the liner notes of an album take on a kind of third-party address, where a writer is delivering their thoughts about how an album makes them feel without breaching that space where they are representing themselves or the moment in time directly to the reader. The goal is typically a kind of timelessness, but as we live in unprecedented times, unconventional methods take on new life, and hopefully importance. In the spirit of that idea... man, is this the kind of album we all need right now. So many of us feel like we're constantly walking a tightrope, are feeling like we can't unwind, are in genuine need of a few moments of respite. Every so often an album emerges from an artist that most likely did not realize when they were composing how timely the results would be, and Lofi Dimensions is exactly that kind of record. It doesn't really matter why it's coming when it is, what's important is that it's here, offering peace to the perturbed and inspiration for the downcast. The American Dollar have long been one of those artists operating in a kind of middle ground, a band with a long history of creating moving instrumental rock that has somehow avoided ever becoming synonymous with modern American post-rock acts. They retain a sort of autonomy in a valued position just outside the boundaries of classification. Blending electronic textures with moving guitar and keyboard melodies, their music has always traveled somewhere in the spaces between trip-hop, electronic, post-rock and ambient, and this inability to be defined is ultimately what sets them apart from the trappings of genre, allowing them to be whatever they want The American Dollar to be in a given moment, always on their terms.

Waveshaper Media is thrilled to present Electron Music/Shore Leave, a new LP by former Pere Ubu synthesist and electronic music trailblazer, Allen Ravenstine. The LP is comprised of two EPs (1 per vinyl side), the first two parts in Raventine’s new Tyranny of Fiction series. Waveshaper Media first came into contact with Ravenstine when we interviewed him in 2012 for our modular synthesizer documentary I Dream Of Wires.

For those in the know, Allen Ravenstine has been one of the most creative synthesizer players of the past forty-plus years. Ravenstine started out in the mid-1970s experimenting in his Cleveland apartment with an analogue EML 200 synthesizer, eventually creating a piece in 1975 that became known as Terminal Drive. While he had no intention of releasing his compositions, word got out about the kind of sounds he was experimenting with, which led to an invitation to join pioneering “avant garage” group Pere Ubu for the recording of the group’s first 45, “Thirty Seconds Over Tokyo.” He soon joined Pere Ubu full-time, bringing to the band’s sound unpredictable textures, effects, bleeps, squalls, pulsating washes of sound—whatever he felt could enhance the soundscape of the band’s performances and recordings.

By the early 1990s, Ravenstine had grown sick of the road, band infighting and the music industry in general. Deciding a change was needed, he opted to forego music altogether, making his living as an airplane pilot. His music career remained in limbo until 2012, when an interview for the I Dream Of Wires documentary, alongside Robert Wheeler who had succeeded him as Pere Ubu’s synthesist, turned into a recording session for the duo, leading to a series of collaborative releases. As well as having his 1975 Terminal Drive recordings released to great acclaim in 2017, Ravenstine has been prolific in recent years, with Electron Music/Shore Leave now marking his 3rd solo full-length.

Electron Music/Shore Leave brings together ten of the prodigious composer’s most recent lyrical and abstract compositions collectively comprised of the sounds of analogue and digital synthesizers, traditional acoustic instruments and the sampled sounds of birds, dogs and other artifacts of nature. Working prodigiously on a daily basis, over the past two years Ravenstine has amassed a large number of atmospheric recordings that he has intuitively aggregated into groups of five pieces each. The first five recordings, subtitled Electron Music, are found on Side A of this LP while the second five, Shore Leave, comprise Side B.

Ravenstine played the majority of the sampled instruments on these recordings as well as piano, Moog theremin, a Roland Aerophone and a bevy of synthesizers including a Korg MS20, EML 200, and a Doepfer Dark Energy. Recording virtually over the internet due to the covid pandemic, collaborators from around the world contributed Ondes Martenot, prepared piano, transverse flute, trumpet, saxophone, double bass and percussion. The result is a heady, disparate brew of compositions that range from abstract to lyrical, in the process conjuring up a bricolage of ambient soundtracks, jazzy miniatures, space age exploration, world music, Erik Satie-like studies and the ghost of Harry Partch. As a collection Electron Music/Shore Leave is a stunningly mature work that provides new and surprising sonic rewards with each and every listen.

repress !

Now for something different! After a string of releases with dancefloor intent, Barcelona based MOM returns to its more experimental side with NO MORE WHITE PRESIDENTS. For this, Modern Obscure Music welcomes Black Meteoric Star (LCD Soundsystem/DFA) aka Gavin Rayna Russom to the label. NO MORE WHITE PRESIDENTS is an experimental film directed and soundtracked by Russom. This 12' contains 3 choice excerpts from NO MORE WHITE PRESIDENTS. The soundtrack was originally self-released by Gavin on cassette, but this is the first vinyl outing. The artwork on this release is by Marc Monguilod. At the start of 2017, Russom came out as a Trans-Woman and her transition is one of the themes explored in NO MORE WHITE PRESIDENTS, as well as broader topics such as capitalism and death. Gavin Rayna Russom has been releasing music since 1997 under her own name and a string of aliases. Gavin collaborated with Delia Gonzalez on the acclaimedDays Of Mars in 2005, where they explored keyboard hypnotics. Russom was the driving force behind The Crystal Ark with Viva Ruiz, and for the last few years has been an integral part of LCD Soundsystem. The music of NO MORE WHITE PRESIDENTS is dark and claustrophobic yet exciting. As far as the dancefloor goes, it is suitable only for the darkest of clubs. Stealth Technology features jarring oscillating synths, angular beats and waves of acid. Three Trains is a short track where tape hiss drifts over a tough rhythmic section and a dark bassline. Coffin Maker finishes the release with punishing beats, oscillating acidic synth lines and a growling bass. Not for the faint hearted!

To say we're simply just "excited" to get this phenomenal album by Double Geography out would be a monumental understatement - it has been on rotation here at INVINC HQ pretty much constantly for a couple of months now.

Double Geography is Duncan Thornley, one half of Weird Weather who have released on Emotional Response, Going Good and the Whip+Lash imprint, exploring sometimes hypnotic, sometimes abstract experimental tech-tronica.

Double Geography, however, takes us deep into the undergrowth, into the world of plants. With tracks named after a variety of flora the music could loosely be described as laidback ‘balearica'. However, where much of that genre (if it can even be called a genre) has spawned so much insipid, mediocre coffee table ‘lounge music', The Indoor Gardener has retained that crucial element of tripped out psychedelia that transports us just that little bit higher.

Technical wizardry is also very much apparent. Thornley's day job as an audio engineer shows. The unique character of the sounds we're hearing seem as rich and diverse as the natural world that inspired their creation.

So relax, take a deep breath and take a wander round this botanic paradise - a psychedelic Garden of Eden for the 21st century.

"The perfect record for taking a trip without actually going anywhere....another winner from the Invisible Inc camp....will bring a bit of light to the dark times ahead" Alexis Le Tan Full Circle / Bahnsteig 23 / Born Bad / Idle Press

"So amazing.....all tracks sound spectacular" Monika Seta Why People Dance / Dance In Chaos

Sister of Groovedge Records, Mystery Booms brings together the Lyon electronic scene to show its common love to the Dub.

First appearance is naturally delivered by brother Irie Mona. He is a producer implanted in town since a decade and he perfectly knows how to inject new digi-attitude in an old school roots way of dubbing productions.

Modern weird riddims by the boy Prince Stoner! Expect 2 contemporary songs for the dancefloor, still into a respectfull dub attitude! Tuned in! !!

In Search of Ancient Civilization is an contemporary electronic work at its finest, although the tools used to shape its sound are linked to a folk tradition. For that matter the album features musicians from within Vakula's creative circle. Tracks that needed specific vocals and also rare instruments such as harp, fujara, tambourine have been produced in collaboration with Olena Nevertii and Yaroslav. The artist has sampled himself while throat singing along with field recordings in natural surroundings.

There's a message behind the carefully made-by-hand fantasy aesthetics of the production and its unconventional voice. Vakula's fascination with the Ancient world moved him through the history of humanity, to the point where his findings were insightful enough to warn the listener: "It's time to wake up".

With Vol.1 long sold-out and fetching a tidy sum on the online shark market. We’re pleased to present to you: Sweet Echoes vol.2 - five tracks of homegrown 160+ rollers, rinsers and freaky-deaky bass-driven nuggets. Because we care about our local jungle.

At the controls: Rings Around Saturn (Melb), Splitch (Syd), Hugh B (Syd), Freda (Syd) & Roy Batty Jr (Syd)

limited Obi strip/White vinyl edition

''Ruyzdael presents Writers on Wax Volume 1: The Sound of Graffiti, a compilation album with 8 exclusive, primarily electronic tracks by producers from four different countries who are more (in)famous as graffiti writers than as musicians.''Letters on a wall, letters on a train. When you take it back to that essence, it?s really not so strange that graffiti writers call themselves and each other writers. With just a few letters ? a word, a name ? they write their mythology for a general audience. No huge vocabulary needed, just imagination and a need for expression. It can come as no surprise that those qualities extend to other disciplines as well. Graffiti has long been associated with musical styles (hip-hop, punk) that contain an abundance of imagination and expression. Less well known is the fact that graffiti writers have embraced the DIY approach of electronic music. Writers on Wax Volume 1 is a group exposition of beats and basslines, imagination and expression. Sometimes using a lot of words, usually none or very few. The dance floor has its own myths.

Red Translucent Vinyl, Gatefold, Photo Book Cover

limited red vinyl/gatefold edition ''Ruyzdael presents Writers on Wax Volume 1: The Sound of Graffiti, a compilation album with 8 exclusive, primarily electronic tracks by producers from four different countries who are more (in)famous as graffiti writers than as musicians.''Letters on a wall, letters on a train. When you take it back to that essence, it?s really not so strange that graffiti writers call themselves and each other writers. With just a few letters ? a word, a name ? they write their mythology for a general audience. No huge vocabulary needed, just imagination and a need for expression. It can come as no surprise that those qualities extend to other disciplines as well. Graffiti has long been associated with musical styles (hip-hop, punk) that contain an abundance of imagination and expression. Less well known is the fact that graffiti writers have embraced the DIY approach of electronic music. Writers on Wax Volume 1 is a group exposition of beats and basslines, imagination and expression. Sometimes using a lot of words, usually none or very few. The dance floor has its own myths.

No 4 ! from Francesco Del Garda's Timeless imprint.

Craggy interdimensional pop hits by Yosa Peit on this transcending debut LP. Perfect time to invest. Brought to you by Tax Free and Termina

The project began as an experiment. Haley switched digital audio workstations, rebuilt his palette of sounds, and tasked himself with simply trying it out. The exercise freed him of expectations and permitted a process that echoed the tones of more immediate external environments. A gravity had seeped in; resulting material shifts between bleakness and sublime suspense, awe at the expanse of existing, in looking back and letting go. “It’s a sort of sad smile and a wave goodbye but at the same time hello, a 'welcome to your life’ moment,” Haley says. Take the storm pattern sequence from “Gaussian” to “Ultrafiche of You”: a queasy, contemplative vignette rests on a single soft-synth cloud before the latter’s percussion ripples across the sky. With trademark stutters and swells, the composition conjures the sensation of searching in the afterglow. “It’s a love song, and I don’t write many of those.”

A year on from their self-titled debut, Bristol-based sound sculptors Dot Product are back with a follow-up that stays true to their experimental principles while offering up new textures and arrangements for their hard-won sonic content. It's been a busy year for Adam Winchester and Christopher Jarman, the pair behind the project. Following the release of Dot Product on Osiris Music in March 2016, they appeared at prestigious festivals such as Atonal and Simple Things. This spate of shows has fed back into 2080, a new body of work that feels distinct from its predecessor while retaining the unnerving, distorted finish that has come to define the Dot Product sound. It was largely created through studio-based improvisation as a natural response to the performance set up the duo had developed. Rhythm plays a significant role in the early strains of 2080, whether triggering static blasts or stirring up low frequency tones into a seductive waltz, but as the album progresses these rhythms give way to anchor-less drones, refined metallic shimmers and red-lining noise blasts. Even if such ingredients were present on the previous album, here they feel thrillingly out of reach. When occasional field recordings swoop into earshot as on Electric Flesh, it's hard to tell whether they might be a real-world mechanical manifestation or a visceral shard of sound design. Between the tonal lines lurks a narrative. Previously Dot Product concerned itself with a scientific approach, and such experimentation gave Winchester and Jarman the tools to define their venture. Now 2080 sees them applying these tools to a specific creative vision. That vision may be more implied than specified, but it's provided this intriguing pair with their next logical step on a journey into uncharted sonic waters.

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Basement Records is proud to present its 3rd reissue from the rare Street Beat 10" Series. This 3 x 12" pack features the 4 tracks from the 10" singles and 3 tracks taken from the Test Press of a Street beats 12" but was then released on Eze Gs own label Soundscape Records.

The two experimental turntablists Graham Dunning and Slim Vic present each 10 locked grooves on this 7".

The grooves can be played as "normal" DJ tools or played together as a complete loop song if you have 10 turntables.

First ever release. The piece Les Éphémères was originally commissioned by the French radio station France Musique in 1977 as 20 short 'sound images' to be transmitted between the regular programming. A finished master tape and a complete cover layout was found in Viktor's archives after he passed away in 2013.

The record is accompanied by a 24-page booklet illustrated with Viktor's photos, as well as an extensive essay by curator Magnus Kaslov, Museum of Contemporary Art in Roskilde, Denmark.

- 180 GRAM AUDIOPHILE VINYL
- PVC PROTECTIVE SLEEVE
- SCORE BY JOHN DEBNEY
- CONTAINS A 8-PAGE BOOKLET
- LIMITED 15TH ANNIVERSARY EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Passion Of The Christ (2004), composed by John Debney, is the original score for Mel Gibson's controversial film The Passion Of The Christ. The soundtrack received an Academy Award nomination for Best Original Score and it was on the first place in both Top Christian Albums and Top Soundtracks in 2004. In 2005, the album won a Dove Award for Instrumental album of the year at the 36th GMA Dove Awards.

The soundtrack succeeds as a coherent, moving, well-executed musical statement whether or not has seen the film. The album is a combination of folk instruments, Eastern-tinged harmonics, solo, and choral voices. Debney has used the Indian master violinist and vocalist L. Shankar, and singer/double-violinist Gingger Shankar.

Debney's soundtrack is an interesting and highly recommended work. It will offer those who choose to encounter it a far-reaching and deeply affective listening experience that is as aesthetically beautiful and unsetting as it is evocatively familiar.

Available as a limited 15th anniversary edition of 500 individually numbered copies on transparent red vinyl.

Emerging producer Patrick Conway delivers the goods on the second EP to be released on Art E-Fax.
E-FAX002 is a selection of submerged breaks, dark and spectral bass grooves and washed out melodies all combining to make release that is as eerie as it is infectious. A producer who describes his influences as being 'transcendental meditation, UK Rave, Sheffield bleep/Warp records, Carl Craig circa the early '90s, Silent Servant, Shabba Ranks and joss sticks smoking out the studio', it's not hard to hear the shadowy, dense smoke and heavy calm that unifies those inspirations.

We're proud to unveil a brand-new album by Phuture T, entitled 'Persuasive Funk', out 24th July on Inperspective Records.

An eleven-track release, Persuasive Funk kicks off with the title track, a soulful, jazz-inflicted D&B collaboration with legendary D&B stalwart Jungle Drummer, melding electronic elements with organic instrumentation featuring Live Bass from rising UK star, Tom Mason, and capped off by invigorating vocals from Sofi Mari. This sets the tone for the rest of the LP, with ‘Voyager’, ‘Uisce Beatha Haze’ and ‘Roosje’ all following a similarly funk-laden formula. ‘El Ritmo Mundial’ and ‘Frenzy’ channel the spirit of free jazz into a melange of trumpets and high-energy drum patterns, before ‘Tumbleweed’, ‘3000’ and ‘Lord Apache’ provide a fittingly triumphant finale.

Repress!

NX Records is a collaboration between Matthew Herbert's Accidental Records and the Department of Music at Goldsmiths, University of London.

In May 2013, the label launched with an introductory mixtape and live performances as part of the Puregold Festival launch at the Southbank Centre. NX Records has continued to release new, critically acclaimed music, host numerous events and run an annual pop up record shop.

The label's mission statement is to create a new model for the music industry, connecting exciting talent from the renowned creative hub of Goldsmiths - and the wider community of South East London - with the ever-experimental Accidental Records.

Our aim is to build connections between emerging artists, education, the industry and audiences. NX is a professional label that works alongside, not in opposition with, DIY artists.

The first in our series of experimental split 12"s focuses on instrumental electronic music.

Goldsmiths student and modular wizard Sam Hostettler evokes a daydream meeting between Vangelis and Burial, with his impossibly lush synthscapes shot through with dubbed out percussion. Meanwhile, La Leif's blend of crunchy, electroacoustic techno and outernational field recordings should hit the spot for fans of Karen Gwyer or Shelley Prior.

NX12X is out on Feb 1, with a launch party at The Glove That Fits on Feb 14. Come grab a copy of the vinyl, and have a dance...

The last months have seen the rise of the northerner Somah. He returns to Scrub a Dub with two bass heavy rollers including his first collaboration with unsung hero Nova. Championed by Mala, Egoless and Toddla T, Somah mixes euphony and galloping rhythms to deliver some of his deepest cuts yet.

It's been four years since Sweatbox Dynasty, the fourth solo LP from Pennsylvanian experimentalist TOBACCO. In that time, Tom Fec's project has toured with Nine Inch Nails, provided the theme song to HBO series Silicon Valley, and teamed with Aesop Rock for a collaborative album as Malibu Ken. He now returns to Ghostly International for Hot Wet & Sassy, a full-length album oozing with his most playful and approachable songs to date, which, conversely, express notions of antilove, self-hate, and disappointment in others. Pop impulses have always surged beneath the surface of his sound - blown-out bass, analog synths, drum machines, and Fec's unmistakable analog gurgle and hiss - here they've bubbled to the top. "I feel like it's the most I've been able to refine what I'm doing," says Fec. "For the past decade I've had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from 'what would the Butthole Surfers do?' to 'what would Cyndi Lauper do?'" And what would Trent Reznor do? Fec found his answer straight from the source. Their collaborative track, "Babysitter," fuses their voices into one deranged presence: "I'm the new babysitter," they alert, before pivoting into a menacingly saccharine bridge. The track tumbles on a tom fill, then a punishing synth line rips into a cacophony of drums and feedback like a lawnmower gnawing through the living room carpet. "This was new for me, but I wanted to write a song that was everything I am and have been, and then like one notch further. Trent was the notch further," adds Fec. The collaboration is a work of alchemy seamlessly blending TOBACCO's trademarks with Reznor's industrial rust and sonic gore. Downcast, sincere, woozy, "Jinmenken" might be the closest Fec has come to a ballad. "Maybe you can find me down the line," his vocoded delivery bounces along the beat. "It's me trying to write a Jets song," says Fec. Album opener "Centaur Skin" presents the stylistic concoction that has been the TOBACCO MO from the beginning, crossing dreamy melodic shimmer with the sinister tones and slime. This has become easier to digest, but also far more potent. A motorik beat steadies the track's galloping arpeggio, acting as a springboard for Fec's dark ruminations as well as an uncharacteristically crystalline synth solo. "It's my feel good self hate anthem. Don't worry, I'm good. It was fun to write." TOBACCO hasn't been reinvented, but it has been refined and distilled. Brighter, sharper, and far more dangerous because of it. Hot Wet & Sassy is practically staring at the sun without shades and feeling those corneas roast. Everything looks good as your vision fades. The pop-forward structures exert their undeniable hooks with baneful precision, pulling listeners into their clutches; once there, sugary melody rewards submission.

Gremlinz, Ahmad / Acid Lab and Parallel make their debut on the second vinyl release of Convoluted Recordings. Grinder starts off the album with a introduction of sub stabs and ethereal pads leading into an amen tear out. Judgement Day is a dance floor destruction track with a dub-tinged amen, layered breaks and heavy subs that will destroy any speaker. Acid Lab ends off the 2018 release with a smooth amen roller Jericho, bringing everyone back to earth and reality.

For The Next R.a.n.d. Muzik Comp Leipzig's Qnete, Interviews And Stanley Schmidt Team Up With Melbourne Local Rudolf C.

Breakbeat Music From House Through To Emotional Drum And Bass..

- 180 GRAM AUDIOPHILE VINYL
- PVC PROTECTIVE SLEEVE
- SCORE BY JOHN DEBNEY
- CONTAINS A 8-PAGE BOOKLET
- LIMITED 15TH ANNIVERSARY EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Passion Of The Christ (2004), composed by John Debney, is the original score for Mel Gibson's controversial film The Passion Of The Christ. The soundtrack received an Academy Award nomination for Best Original Score and it was on the first place in both Top Christian Albums and Top Soundtracks in 2004. In 2005, the album won a Dove Award for Instrumental album of the year at the 36th GMA Dove Awards.

The soundtrack succeeds as a coherent, moving, well-executed musical statement whether or not has seen the film. The album is a combination of folk instruments, Eastern-tinged harmonics, solo, and choral voices. Debney has used the Indian master violinist and vocalist L. Shankar, and singer/double-violinist Gingger Shankar.

Debney's soundtrack is an interesting and highly recommended work. It will offer those who choose to encounter it a far-reaching and deeply affective listening experience that is as aesthetically beautiful and unsetting as it is evocatively familiar.

Available as a limited 15th anniversary edition of 500 individually numbered copies on transparent red vinyl.

Upstate New York artist Tor Lundvall's music often evokes a sense of soft-focus autumnal melancholia but nowhere is this atmosphere more explicit and evocative than his self-released 2006 holiday album, Yule, newly reissued by Dais Records. Inspired by childhood memories of “cold, dark evenings” waiting for his mother outside shops and supermarkets while seasonal songs drifted faintly on the frozen air, the collection feels appropriately hushed and hypnagogic, half-remembered melodies heard through falling snow.

Steady muted rhythmic pulses wind through wintry landscapes of icy synthetic textures, glass bells, and distant metallic echoes, occasionally framed by Lundvall'ssoft, dazed vocals, narrating scenes of “slushy, illuminated train stations” and “the lonely trees of January, still entangled with blue lights long after the season has ended.” It's a music of barren branches, crescent moons, and willowy figures shuffling and shivering on their way somewhere, viewed from a fogged window passing by, or high above.

As with Lundvall's signature oil paintings, Yule's sonic vignettes are works of observation, poetic glimpses rendered in gradients of color and quiet. He has referred to his music in the past as “ghost ambient” and, although his songwriting here skews more foreground than background, the phrase aptly captures the haunted, half-light quality of these fragile tracks. 10 miniatures of wreathed streets and silent woods, of twinkling store windows seen from a distance, the sensation of being outside of life looking in –the sentiments that seeded Lundvall's vision remain undimmed: “There was a special melancholic beauty about these moments that has never left me.”

Massive bass. That was the idea behind Primitive Ignorant. That and history; his and Britain’s. Primitive Ignorant is Sym Gharial from 80s Matchbox B-Line Disaster and Sikh Punk is about him growing up as a Ladbroke Grove Sikh; not fitting in until he found release with punk rock, bands and, for better and worse, drugs. It looks at the Brexit-fuelled return of the racism he experienced as a kid and traces its roots back to the lingering arrogance of Colonialism and Empire.

It's digs into rejecting his Sikh roots, bleaching his skin, (in peak whiteness, Sym appears on the cover of Pulp’s Different Class), experiencing addiction, racism and coming out the other side, completing a redemptive arc. Sym’s been clean for ten years and embraced his Sikh roots, wearing a turban once more at his wedding last year.

Sikh Punk is loosely inspired by Sandinista, his favourite Clash album as he pushes into new musical genres. There's no guitar, for a start. From the outset, the idea was to carve out a HEAVY POP between Health’s rough edges and Chromatics’ reverie although inevitably it ended up somewhere quite different. He's a bassist so Sikh Punk is bass-driven, using R'n'B production tics to make it kick hard. Sym is not, however, a singer, so aside from some screaming and BVs, he's found other people to sing his very personal lyrics: casting him as the record’s id and other voices as its ego.

Leonore of International Teachers Of Pop sings on Dress Like Me; Jon from The War On Drugs added mournful Jerry Dammers' brass to Sikh Punk I-V, narrated by Sym’s nephews Ivo and Sahib, IDLES’ Joe Talbot and Sym’s hero, Mick Jones from The Clash, reading extracts from Oscar Wilde's Ballad Of Reading Gaol and Panthea. Bess on Worship Art is an old friend from Ladbroke Grove, Daisy on Beautiful Scum he met online over lockdown and Le Junk is a friend who sits close to Iggy’s edge; Pete Teleman puts in an appearance; Katie Kaboose sings White Jeans and Eyeliner about an old friend Adam who turned him onto art and cinema but died at 17. There are found sounds throughout from Portobello Market and it’s all mastered by Barry who cut Like A Virgin, Prince’s Kiss and the last Radiohead record. Primitive Ignorant’s visual collaborator, Steve Gullick supplied the sleeve to the limited vinyl edition and shot the Ballad video.

Commodo is back with ‘Stakeout’ — a standout three-track follow-up to recent EP, ‘Loan Shark’.

Out October 23, ‘Stakeout’ picks up where ‘Loan Shark’ left off, tapping back into the conceptual, crime-ridden Wild West first imagined across tracks like ‘Contraband’ and ‘Hot Pursuit’; “If anyone is working on a 22nd century film noir at the moment, this would make the perfect soundtrack” wrote Bandcamp back in June.

This sentiment echoes across the ‘Stakeout’ tracklist, which again details tracks that marry precision bass-weight and deft, nimble sampling techniques with nuanced flashes of genius; Commodo is no ordinary producer. From the swirling unease and sharp crackle of the title-track to the oddball, industrial swing of ‘Transit’ and menacing, Batman-style lurch of EP closer ‘Crooked’ Law’, ‘Stakeout’ forms the fascinating concluding chapter of Commodo’s latest Black Acre odyssey.

Among the musicians whose work closely reflects the reduced forms in experimental music, perhaps the most interesting is Cristián Alvear, a Chilean guitarist performing formally radical post-Cagean music, as well as Laurent Peter aka d'incise, a composer, multi-instrumentalist and producer, one of the key figures of the eclectic scene in Geneva. The numerous projects in which they participate prove their strictly defined artistic vision and active involvement in networking the music community, so it’s appropriate to consider them as transitory elements between several scenes on different continents. They have collaborated, among others, with Ryoko Akama, Cyril Bondi, Michael Pisaro, Sarah Hennies, Seijiro Murayama, Taku Sugimoto, Lance Austin Olsen and The Pitch.

Bow Down Thine Ear, I Bring You Glad Tidings is a good example of the refinement of the style developed by Alvear and d’incise in recent years. One can observe here how their musical language and range of instrumental techniques in the use of guitar and idiophones got crystallised.

The classical form of a musical piece organized in time and characterized by a set of elements that create a coherent narrative is replaced here by the primacy of repetition, pitch, precise articulation and reverberation. Sounds seem to be clearly rooted in specific acoustic spaces, which allows the space itself to be treated as a real instrument that adds another layer of meaning. Repetitive sound sequences operate in a similar way to the metronome, determining an obsessive rhythmic pattern, a kind of matrix on which all the details are inscribed. The static structure of the pieces allows the music to function as a sound sculpture - breaking time constraints in favour of continuous duration and acting in a multi-perspective way. This material, does not promise any solution, but strictly accompanies the listener and tries to close itself in the continuous present.

At the same time Bow Down Thine Ear, I Bring You Glad Tidings is a clear dialogue with the work of Henry Purcell. The title of the album is a reference to the anthems written by the British composer (Z11, Z2) and the titles of the pieces refer to his sacred songs (Z192, Z342). Apart from a skillful attempt to decontextualize the lyrics (biblical or rooted in the tradition of baroque religious poetry), we can see here not so much an attempt to give the music a metaphysical character, but certainly Alvear and d’incise tend to replicate a similar mode of listening, as in the case of Purcell's compositions - meditative and at the same time oriented to all elements of the musical situation.

Molt assembles with DB1's opening redefinition of form & function in Late Night; a journey of spatial exploration and intricate drum work arranged for polyrhythmic bitempo hybrid territory, palpating into a spectrumrich environment topdressed with scything layers of percussion. Tone, DB1's beatless secondary o.ering introduces fluid, localised doses of low frequency synth work, developing into an exploration inside rich, vivid arrays of convoluted space. Vinyl copies of Initial Conditions include 10 infinite lockedgroove loops assembled by DB1 himself, covering 1 bar percussion arrangements as well as ambience and dronenoise terrain. These additions aim to channel functionality and provide creative tools for performance.

Flip over to uncover the masterful work of DYL in YDNTKNW:
A lesson in dynamics, donning swathes of industrial elasticity yet solidifying itself as a functional dancefloorworthy exercise. Rip roaring waveforms are barely suspended by the tension of cables buckling under pressure. Paragon delivers via Molt's first edition, Black Celebration (Stone Cold): a controlled descent into insanity in the form of textured sample destruction. Pitch bent, brash and broken; Paragon's drunken drum patterns dissolve into redux noise and drum confusion, conjuring a sleep paralysis inducing bed of imagery, advancing into a spiral of unconscious cacophony. The piece finalises as a crescendo of lockedloop noise.

Club-fueled horsepower drives this 9-track "Cinnamon Behind the Wheel," as the Asheville-based producer DZee weaves together a collection of shapeshifting landscapes of euphoric breaks, gritty industrial rhythms, hypnotic-induced dub and UK rave stunners into a cross-pollination of both UK and US inspirations. As the cofounder and operator of TRAM Planet, DZee forges new frontiers for the label with this wild ride into pure dancefloor heat for all sound system terrains.

Whether it's the arpeggiated vocals in the rave anthem "Expired Lotion Aug 29," the kinetic feedback beatdown of "Ho Ken Waa" or the electro breaks hybrid opener "Phantasy Rewind" - "Cinnamon" has as many shades of styles as it does bangers. But DZee flexes more than just versatility prowess here, as it clocks in at nearly 50 minutes, the release covers a masterful blend of wide range BPMs and seamless arrangement structures that run as smooth as the shifting gears of a high octane engine.

Born and raised in South London, Hector Plimmer is a multi-faceted producer, composer and DJ whose sound is drenched in tribal rhythms and beautifully crafted bass. Influenced by beat-makers like Flying Lotus and Theo Parrish, but with the subtleties of the classic Metalheadz era drum and bass, his second album 'Next To Nothing' is released on 25th October 2019. The album features guests Ego Ella May, Emma-Jean Thackray, Andrew Ashong, Pie Eye Collective and Alexa Harley.

After featuring on Brownswood Bubblers 11, curated by Gilles Peterson, Hector proved his talent when he was selected as a winner of the PRS Steve Reid InNOVAtion award. At a performance at ‘Sounds Of The Universe’ Record store, Hector caught the attention of Albert's Favourites' label heads Adam Scrimshire & Dave Koor. A conversation was started which led to the transfer of almost a whole album's worth of material and resulted in his debut full length record ‘Sunshine’.

'Sunshine' was met with rapturous acclaim. The record went on to be awarded Gilles Peterson’s album of the week on his BBC 6 Music show and was championed by both Lauren Laverne and Tom Ravenscroft on the station as well as Jamie Cullum on BBC Radio 2. Its success on the airwaves transcended to streaming with the inclusion in the top 50 viral US chart on Spotify.

"This album has been a real labour of love. I spent the most part of a year trying to make music I thought would be fitting to follow my last album, whilst not actually knowing what that might sound like. 'Sunshine' had been received way more positively than I had anticipated and although praise is a lovely thing, it was the cause of much anxiety when the time came to start on this record. I put a lot of pressure on myself to produce music and kept going down routes that felt forced or just didn’t click for me, in hindsight I realise this was me making music not for myself, but for what I imagined other people might want to hear. In a way 'Next to Nothing' is my first real album, 'Sunshine' was more like a collection of four to five years worth of music compiled into the shape of one. This is my first dedicated attempt at creating a cohesive project, something that shows who I am right now and what got me here."
- Hector Plimmer

As a DJ Hector has a monthly slot on NTS radio. He has played alongside the likes of Gilles Peterson, Kutmah, Alexander Nut, MNDSGN, Onra, Dego, Kaidi, Max Graef & Glenn Astro; Hector finds himself in the good company of those talented selectors who play genres across the spectrum of Hip-hop, Beats, Funk, Soul, Disco, Afro-beat, House and Jazz.

+Digital Download

Pailhead was a collaboration of vocalist Ian MacKaye (Minor Threat, Fugazi), Ministry’s Al Jourgensen and Paul Barker, and drummer Eric Spicer (Naked Raygun).

In 1986, MacKaye was just a few years away from his genre-defining work in Minor Threat and on the cusp of starting an even more influential band, Fugazi. Al Jourgensen was also undergoing a transition with his band Ministry after the release of “Twitch”. He wasn’t the guy who would release the game-changing “The Land Of Rape And Honey” a couple of years later, but he was well on his way.

Alain met Ian when he was living in London. Both found common ground musically and politically and decided to collaborate on a project that would fuse elements of industrial music with hardcore punk. The result was a bunch of unique and unrepeatable hymns.

Pailhead released one first single “I Will Refuse” / “No Bunny” in 1987 and next year the 4-song EP “Trait”, both on the legendary Wax Trax! Records.

Limited edition of 500 copies on grey vinyl with deluxe sleeve with soft touch lamination and sticker with classic band logo.

Last Rights is the seventh studio album by Canadian electro-industrial band Skinny Puppy originally released in March 1992. Last Rights was well received and named by Alternative Press as one of the best albums of the 1990s and was the band's first release to chart on the Billboard 200.

Last Rights saw the band experimenting with two opposite extremes: cacophonous heavy music and gloomy melodies, resulting in moments of industrial weight as well as moments of uncharacteristic softness. The album incorporates some of the band's most impenetrable walls of sound and an eleven-minute track composed almost entirely of manipulated and distorted samples. It spawned two singles, "Inquisition" and "Left Handshake" which was distributed under the title "Track 10.

Adam Pits & Lisene suit up and shoot straight for the stars as Space Cadets on the newest Seven Hills release, SHR002. Driving, gutteral and bass-heavy, Space Cadets combat the predisposed semblance of 'space music' with a collection of fast, pumping, uncompromising club music.
Trance-infused, breaks-splattered tech-house from Adam Pits, a broken beat UK bass & techno fusion from Lisene, and a serene warping remix delivered by equally gifted producer No Moon, we're excited to hear these tracks grace dancefloors throughout this galaxy and beyond.

2020 Reissue of "Anthropomorphic" - the third work of The Mount Fuji Doomjazz Corporation (the improvisation alter ego of The Kilimanjaro Darkjazz Ensemble) from 2011. One session - almost 60 minutes.

PART I. "Anthropomorphic" means ascribing a human form to a non-human entity. In this case, this non-human entity is music. Being born is human. "Anthropomorphic" is born from the amniotic fluid of Eelco Bosman's guitar layers. Comforting, quiet. The innermost peace is the peace of the womb. Breathing is human. Hilary Jeffery's trombone starts to breathe. The first deep breath of many breaths. Infrequent breathing, irritated breathing, return to equilibrium. Endless organic cycles.

THE MOUNT FUJI DOOMJAZZ CORPORATION is a live improv jazz/drone/doom sideproject consisting of the THE KILIMANJARO DARKJAZZ ENSEMBLE members Gideon Kiers, Jason Köhnen, Charlotte Cegarra, Hilary Jeffery, Eelco Bosman, Nina Hitz, and Sarah Anderson and various interchanging guest musicians including Ron Goris. Following DOOMJAZZ FUTURE CORPSES! and SUCCUBUS, "Anthropomorphic" constitutes the third released session of TMFDC.

PART II. Growing is human. Nina Hitz' cello is growing on the mother soil of Jason Köhnen's guitar and Gideon Kiers' electronics. Strong body, solid body. Opening his eyes and capturing the light. Innocent receiving turns into the determined lookout of Sarah Anderson's violin. Clouded awareness, conflict, clear awareness. The dissonant revolt of the mind against the body.

Since the members of TMFDC live scattered among Rotterdam, Paris, Berlin, and London, they rarely tour. This in turn makes each of their single shows a special event, and if they do play a show, they don't mind longer trips. Consequently, it is not a surprise that "Anthropomorphic" has been performed and recorded in three parts in Utrecht / The Netherlands, Wroclaw / Poland, and Moscow / Russia.

PART III. Evolving is human. Hilary Jeffery's trombone returns from his trip. Jason Köhnen's bass, Eelco Bosman's guitar, and Ron Goris' drums lay the groundwork. Gideon Kiers' electronics reinforce the atmosphere tinted by Charlotte Cegarra's sparse vocals. Sarah Anderson's violin dares a rare melody. Free will is human. The instruments exchange their roles and dominate their players. Space. Dimension. Form. Function. The anthromorphism, the true and deep nature of improvisation, is complete.

Despite being recorded in three segments, "Anthropomorphic" is a coherent single entity and is based on a plan, like all the TMFDC improv sessions. Following this plan, TMFDC have created another mesmerizing, exalted, disturbing, and atmospheric piece of art. Always activating different talents of its many members, no album of TMFDC or their studio counterpart THE KILIMANJARO DARKJAZZ ENSEMBLE resembles the other, and "Anthropomorphic" makes no exception.

Rare musical magic from the Bruton library catalogue – ambient, spacey, pastoral and electronic. Music by John Cameron, Alan Hawkshaw, Fran-cis Monkman, Brian Bennett and more – all total masters of the scene. All very cool. All very now. All will sell very fast.

Over the last three decades Jonny Trunk has collected and written about library music. But he’s never had a great deal of luck with the Bruton catalogue. By this he means that he’s never stumbled across a massive stash, or lucked-out buying a huge run for practically nothing –that’s the kind of thing that used to happen in the 1990s and the early noughties if you were out there looking hard for library music. But he did manage to get about 25 in one hit about 20 years ago when the BBC shut down their “TV Training Department” near Lime Grove and also when a box of Brutons ended up being dumped at a hospital radio, and they didn’t want the records, so Jonny got a call.

There are lots of Bruton albums in existence – over 330 LPs in the vinyl catalogue, issued between 1978 and 1985. That’s a lot of music to wade through if you are looking for sublime modern day sounds. For many years now the “trophies” from the Bruton catalogue have been the beat or action driven LPs – the two Drama Montage albums (BRJ2 and BRJ8) have always been the big hitters, and others such as High Adventure (BRK2) too.

But Jonny has always found himself drawn to the lime green LPs, the pastoral, peaceful albums (The BRDs), which were full of the kind of gentle, lovely music that would turn up in Take Hart as Tony was paint-ing a woodpecker or a badger or an Autumn tree. The other Brutons he likes are the orange ones (The BRIs) simply because they are full of ex-perimental futuristic electronics and would remind him of 1980s ITV backgrounds. This LP series includes Brian Bennett’s cosmic classic Fantasia (BRI 10). Jonny has been knows to refer to this style of library music as “Krypton Factor library”, because it’s exactly what that strange but successful 1980s TV quiz show sounded like.

In recent years as interest in library music has expanded, we’ve watched
the price of a handful of Brutons really going through the roof - not the just the action and drama ones, but the more esoteric and experimental LPs too – like the BRDs and the BRIs. Jonny gets the vibe that people fi-nally want to hear this other more interesting and experimental side of the Bruton catalogue. So what better time than now to put together a compilation of such sublime period sounds.

Not only does this album bring together a set of fabulous cues that would cost the average man in the street a month’s wages (if the origi-nals were all wanted and if you could even track them all down), but it also chops out the need to listen to other tracks on library albums that are nowhere near as good.

The cues here all date from between 1978 and 1984. They come from the BRD, BRI, BRH, BRJ, BRM, BRR and BRs catalogues.

The composers are all legends within the genre, and here, were doing what great library composers do best – fulfilling a brief and utilising modern studio equipment to both commercial and beguiling effect.

Clear Vinyl
Rare musical magic from the Bruton library catalogue – ambient, spacey, pastoral and electronic. Music by John Cameron, Alan Hawkshaw, Fran-cis Monkman, Brian Bennett and more – all total masters of the scene. All very cool. All very now. All will sell very fast.

Over the last three decades Jonny Trunk has collected and written about library music. But he’s never had a great deal of luck with the Bruton catalogue. By this he means that he’s never stumbled across a massive stash, or lucked-out buying a huge run for practically nothing –that’s the kind of thing that used to happen in the 1990s and the early noughties if you were out there looking hard for library music. But he did manage to get about 25 in one hit about 20 years ago when the BBC shut down their “TV Training Department” near Lime Grove and also when a box of Brutons ended up being dumped at a hospital radio, and they didn’t want the records, so Jonny got a call.

There are lots of Bruton albums in existence – over 330 LPs in the vinyl catalogue, issued between 1978 and 1985. That’s a lot of music to wade through if you are looking for sublime modern day sounds. For many years now the “trophies” from the Bruton catalogue have been the beat or action driven LPs – the two Drama Montage albums (BRJ2 and BRJ8) have always been the big hitters, and others such as High Adventure (BRK2) too.

But Jonny has always found himself drawn to the lime green LPs, the pastoral, peaceful albums (The BRDs), which were full of the kind of gentle, lovely music that would turn up in Take Hart as Tony was paint-ing a woodpecker or a badger or an Autumn tree. The other Brutons he likes are the orange ones (The BRIs) simply because they are full of ex-perimental futuristic electronics and would remind him of 1980s ITV backgrounds. This LP series includes Brian Bennett’s cosmic classic Fantasia (BRI 10). Jonny has been knows to refer to this style of library music as “Krypton Factor library”, because it’s exactly what that strange but successful 1980s TV quiz show sounded like.

In recent years as interest in library music has expanded, we’ve watched
the price of a handful of Brutons really going through the roof - not the just the action and drama ones, but the more esoteric and experimental LPs too – like the BRDs and the BRIs. Jonny gets the vibe that people fi-nally want to hear this other more interesting and experimental side of the Bruton catalogue. So what better time than now to put together a compilation of such sublime period sounds.

Not only does this album bring together a set of fabulous cues that would cost the average man in the street a month’s wages (if the origi-nals were all wanted and if you could even track them all down), but it also chops out the need to listen to other tracks on library albums that are nowhere near as good.

The cues here all date from between 1978 and 1984. They come from the BRD, BRI, BRH, BRJ, BRM, BRR and BRs catalogues.

The composers are all legends within the genre, and here, were doing what great library composers do best – fulfilling a brief and utilising modern studio equipment to both commercial and beguiling effect.

In a year which made impossible the now highly anticipated annual unveiling of new projects and collaborations that usually accompanies Berlin Atonal, the festival has compiled a major selection of new works by a range of artists from across the advanced musical landscape. Entitled More Light the compilation traverses the vast spectrum of musical
experience.
French producer Aho Ssan - who made his debut at Berlin Atonal’s 2019 edition - has smelted the vocals of Exzald S into a multi-layered track that gestures towards a future language for computer-produced music. New York’s Hiro Kone pairs with group A’s Tot Onyx to debut their collaboration with an outstanding showpiece of groaning power-surge electronics, while legendary futurist Gerald Donald XOR Gate alias.
Speculative widescreen-electronics protagonists Roly Porter and Paul Jebanasam unveil the first recorded track of their collaborative Altar project, conjuring up an entire ecology composed of both positively and negatively charged emotional-electronic particles. Enchanted Belgian magicians Pablo’s Eye offer a new track that grows out of the melancholic ambient-pop that the collective has been making since the 90s, while Nkisi hones in on a section of her premiere Atonal ’19 set ‘’Initiation” and reworks it into a brawling, bleak, hard-edged trampler.
These tracks sit beside a transformational collab between Abdullah Miniawy and Carl Gari, evocative synthesised works from Caterina Barbieri and Laurel Halo, unclassifiable post-ambient from exael and Kazakh-British violinist Galya Bisengalieva and much much more. The festival’s legendary revived imprint which has previously hosted contributions from Cabaret Voltaire, Psychic TV, Marshstepper and others now has a monumental new chapter.

Aesthete 'Obfuscation' (Computer Club)
Computer Club presents, Aesthete (aka Thom Barnett) with his debut release 'Obfuscation'. A 4 track EP of bass-heavy minimalism.Micro-precise percussion bursting through minimal electronics with chattering industrial machines, the 4 tracks take an experimental approach directly to the dance floor. We first encountered the unique Aesthete sound in a dark former ballroom in Sheffield in early 2016 and were mesmerised by his sonic assault.As the name suggests, Barnett's skill isn't confined to audio. A talented designer, he runs Mamnick, an internationally renowned brand sold online and via outlets including a flagship store in Tokyo. Mamnick clothes and items blend Sheffield craftsmanship with a love of cycling and a sharp aesthetic eye.
Everything Barnett turns his attention to is expertly crafted and this debut EP on Computer Club is no exception.

An Gleann Dubh continue to disregard trends to focus on their own thing on Full Dose, presenting an enriching 3 track EP where the listener is submerged in futuristic contrasts, with respect given to the drum in a way that it has been done for thousands of years. '

Instrumental version of debut album from Andrew Hung Will appeal to fans of Fuck Buttons as the first instrumental, electronic and beat driven music by Andrew since 2015.

As co-founder of Fuck Buttons; the highly-influential electronic duo, Andrew Hung has toured extensively with headline shows at the Kentish Town Forum, Glastonbury and Greenman Festivals, been featured on the 2012 Olympics

opening ceremony and all three albums have featured as Best New Music on Pitchfork. His production work has included Zun Zun Egui’s “Shackles Gift” and co-writing/

co-producing the critically acclaimed “Kidsticks” by Beth Orton. In 2016 he soundtracked the multiple-award winning film “The Greasy Strangler”, and was

nominated for Best Soundtrack at the Empire Awards. In 2018 he soundtracked director Jim Hoskins’ follow up to “The Greasy Strangler”; “An Evening with Beverly Luff Linn” starring Aubrey Plaza and Jermaine Clement. His debut solo

album, ‘Realisationship’ was released via Lex Records in 2017.

Repress

A true lowlands collaboration on the Clone jack For Daze Series. Betonkust and Innershades team up for the Benelux Connection EP. Harking back to the days of when New Beat and early Chicago House ruled the Dutch and Belgian dance floors and ravers cruised the Benelux in search of that perfect beat.

David Boulter is a founding member of Tindersticks, he has made over 20 studio albums and film soundtracks with the band. Nottingham born, but based in Prague since 1998, under his own name he has worked on music for many films. These include an eight-part serial Pustina/Wasteland for HBO Europe, the American movie Five Nights In Maine and recently two documentaries with Turkish/Belgian director Volkan Uce. Yarmouth is his first solo LP.

The inspiration for Yarmouth came when David, arrived a day early for a show at the Arts Centre in Norwich, and made an impromptu visit by train to the seaside town where had spent his childhood holidays.

In a year when most of us have been unable to travel, Yarmouth offers an escape to summers past. It recalls the saturated colours of a John Hinde postcard in musical form. With a sound palette based around an old 1970’s Lowrey organ, flutes, violin, vintage tape echo and a Premiere vibraphone, it captures a dreamy side of Yarmouth. Sun- drenched childhood memories, long shadows on the sand, the sound of seagulls and waves breaking on the shore. The magic of the fair - the entrance guarded by a huge mechanical giant, club in hand, while the roller coaster rattles overhead on a backboard of painted mountains peaks. As the sun goes down, noise drifts out from the amusement arcades, and neon flickers on Marine Parade, lighting up the fountains in candy floss colours.

“As I stepped off the train, the weight of time passed hit me. I was overwhelmed by a sense of sadness and loss. As I walked along the streets, looking for Trudy’s, I didn’t expect her, but I did find the house. Slowly, as I recognised buildings, streets, memories. I began to smile. I hadn’t lost anything. Great Yarmouth had changed. So had I. But the warmth of those sunny childhood summers was still there.” David Boulter 2020

Long ago, in the days before Rayna quit drinking, one of her favorite cocktails was something of her own invention called a “Saint Teresa”; iced chamomile tea and gin, usually Crystal Palace brand. To call it a cocktail is ridiculous, considering her technique was to mix it in an old orange juice bottle and carry that around all night. Something about the botanicals used in distilling the gin and mixing the chamomile leaves and flowers produced a mildly psychedelic effect before the inevitable blackout. The drink’s name came from the fascination-bordering-on-obsession Rayna developed for the story and writings of Saint Teresa of Ávila. She sought these out after being shown Bernini’s sculptural rendering of St Teresa’s experience of being penetrated by the Holy Spirit in an art history class in the early 90’s. She often spent most of that class sitting next to her girlfriend so they could fondle each other in the darkened lecture hall; the mix of religious ecstasy, sexuality and attention to detail in the sculpture lodged deeply in her consciousness. As a deeply spiritual and often extremely solitary and private person, her love of the story that animated Bernini’s hand has continued to grow throughout her life, especially after multiple visits in the late 90’s and early 2000’s to the chapel of Santa Maria de la Vittoria in Rome where the sculpture is currently kept. Transverberation sees her returning to that story as a sober woman in her mid 40’s, initiated into several spiritual traditions that specifically work with the energy of saints. The 9 works that comprise this release are also informed by her experiences of quarantine and social distancing. In an environment of enforced solitude and ramping collective horniness, the idea and practice of sexual intimacy with god became deep, complex and necessary.

“Owl Parade” is the result of solo work of Przemysław Adach, having 15 years of experience in sound production, which resulted in a wide range of projects and singles in cooperation with many vocalists, rappers and musicians in the country and outside. This album combines everything at once – ambient, trip-hop, chillout with a large admixture of electronics, while mixing flavors with a cello, electric guitar or dynamic drums

HESITATION is the culmination of a slow-burning penpal friendship between Reckno founder Chris Catlin (aka Yaaard), and Kit Records honcho Richard Greenan (sometimes Devon Loch). Meeting in London in 2016, the pair recorded a woozy slab of improvs, using a battered organ, guitars, a saxophone and whatever else came to hand. These takes were then stitched together into a seven track LP over the following two years.

Veering from shoegaze to crystal clear electronics and fuzzed out jazz, the results pull two ways: slow and fast, meditative and exuberant. Here is a place where time bends and bubbles, drunk synthetic choirs follow an endless skywards pulse, and plaited melodies hover in warm air like motes of dust.

Recommended if you like the heart-on-sleeve whistle alongs of Tenniscoats, Zappa's foggier guitar serpents or the creeping black magic of early Sebadoh. HESITATION is a joint release between Kit Records, Reckno and videogamemusic.

The first imprint on SHERELLE and NAINA’s label Hooversound brings together Surrey based DJ /producer Hyroglifics and Detroit DJ/ producer Sinistarr for an exciting dancefloor-ready EP.

‘BS6’ sees two of the most consistent and exciting names in the underground electronic music scene joining forces on Hooversound’s highly anticipated debut release.

Having both released on iconic labels in the past (Sinistarr with Exit Records, Hospital, Metalheadz whilst Hyroglifics with Critical, Astrophonica, 1985 Music - to name a few), the two producers shine in this new collaborative EP which merges together elements of footwork, jungle and techno.

The EP has two collaborative tracks that stand by two solo tracks from each producer. Electronic pioneer and legend Scratcha DVA brings his GQOM and moody percussion on the official remix.

"InsideInfo - InsideInfo LP" album split.
C/D disc at a discounted price.

A ticking-gear agama, not native to these parts...

Meda Fury is so gassed to welcome Silvestre back for a virtual hug and a 5 track EP of new jams and remix fire! The Lisbon boy done good has been enjoying some well earned praise for his last few releases - his '...is boss EP' on Secretsundaze, 'Girar' on Diskotopia, and 'Yeah' via yours truly. Gigs in Amsterdam, Bristol, Porto, London and Lisbon followed - including his debut on Boiler Room. For this new EP we are served 3 brand new Silvestre tracks and 2 huge remixes from one of the most respected labels in Lisbon - Príncipe! 'Todos Bem' starts as an organ led scratch-fest, with a tight auto-tune vocal from Silvestre himself, before mutating into an anthemic/hedonistic 303 acid and whistle banger! This euphoric string-laden track equally at home in Ibiza or Notting Hill Carnival! 'Paga O Que Deves' is up next; Joao's love of grime and UK bass culture is evident from the drop, twisted synths and breaks recall everyone from Eastman to Wiley. On the flip we find serious remix pressure from Silvestre's friends and contemporaries - the Lisbon crew of Príncipe! DJ Firmeza is up first, pushing the tempo way up on 'Yeah', turning it into a banging kuduro rave monster, propulsive batida drums upping the temperature. DJ Lilocox follows with an intense remix of 'Demónios Na Cabeça', converting it into a percussive trancey big-room bomb. Layers of mixed afro/gqom drums follow a strict samba-like rhythm forcing hands and possibly the ceiling higher.

Der Grammy-nominierte Ninja Tune-Artist Tycho veröffentlicht neues Album mit überarbeiteten Versionen seines 2019’er Albums “Weather"!

Nach der Veröffentlichung seines für den diesjährigen GRAMMY® Award nominierten Albums „Weather“ (2019), ist Tycho mit dem neuen Album „Simulcast“ zurück. Das neue Album enthält mit Spannung erwartete, maßgeschneiderte instrumentale Bearbeitungen von „Weather“-Albumtiteln, die zuvor von der Singer-Songwriterin Saint Sinner gesungen wurden. Tycho hat die Essenz der Originale übernommen und neue, alternative Versionen dieser Aufnahmen aufgenommen, um aus diesen beliebten Stücken neues Material zu schaffen. Diese Veröffentlichung ist für jeden Tycho-Fan unumgänglich. „Weather“, das ab sofort bei Mom + Pop Music x Ninja Tune erhältlich ist, wurde kürzlich mit einer prestigeträchtigen GRAMMY® Award-Nominierung in der Kategorie „Best Dance/ Electronic Album“ geehrt und ist somit Tychos zweite Nominierung hintereinander in dieser Kategorie. Dem Nachfolger des 2016er Charterfolgs und GRAMMY® Award-nominierten Albums „Epoch“, „Weather“, folgt nun das neue Album der Band, „Simulcast“.

* Mirae Arts (founded By Elbert Choi) Is A New Label Based In The Suburban Bowels Of El Cerrito, California, Usa. Elbert Choi, Originally From South Korea, Is Inspired By The Mountainous Landscapes Of Northern California And Is Focused Primarily On Releasing Music With Blissful & Natural Soundscapes.

* The Debut 12' Ep On Mirae Arts Is Called Prayers By The Lake, Produced By Seraphim Rytm. Seraphim Rytm, Based In Belgium, Is The Alias Of Damaskin, The Veteran Master Of Dark Hypnotic Techno Who Has Releases On Esteemed Labels Such As Unknown Precept, Noiztank, And 10 Label (japan). Damaskin Debuted As Seraphim Rytm With A Celestial Album Called Aeterna On Vancouver's Silent Season, Which Was Reviewed By Resident Advisor As Being 'deeper-than-deep Techno Shrouded In The Damp Atmospherics Of The Rainforest'. Prayers By The Lake Continues The Sonic Journey Into The Beautiful Complexities Of Nature And This Time Invoking Images Of An Isolated Lake Surrounded By Mountains In Seasonal Transition. The Ep Consists Of Three High-powered Ceremonious Tracks And Concludes With A Beautiful Ambient Closure.

* The Artwork Is By Landscape Photographer Cody Cobb Who Is Responsible For The Artwork On Haxan Cloak's Breakthrough Album, Excavation (tri Angle). Cody Has Also Worked For Labels Such As Permanent Vacation And 10 Label.

* 180g Vinyl Pressed At The Highly Reputable Gotta Groove Records, Cleveland, Ohio.

The depths of ambiguity will at some point reveal the anonymity of this craze. Who is he? How did we get here and what does it take to "become"? We look up - we look down. This conundrum will guide us to the answer we are all waiting for. When we enter the land of Genam, we shall patiently wait for the Sun.

Alejandro Baltazar Moreno’s (Alex M) debut EP “New Culture” manages to be simultaneously haunting and childlike. The artist pulls inspiration from a multiplicity of cultural anchors- from Marxist class theory to 80’s/90’s video game soundtracks; from Situationist International to social isolation. He creates a sound outside of geographic boundaries that projects vibrations meant for a hidden observer at the edge of a dream. Alex credits artists like Paul Johnson, New Order, Daft Punk, Kraftwerk, and DJ Deeon as some of his earlier influences that helped shape his sound. Despite being from Texas, Alex constructs his own sense of identity through his productions and that is directly reflected throughout his work.

100 limited copies
7inch
Produced by Art Crime
Mastered at Studio Martyrs
Digital mastering by Alexandr Pustynskiy @ajokki
Photo by Melchior Tersen
Design by Art Crime

IFP presents a long-awaited complete version of “Sara Dale's Sensual Massage” OST with 8 exclusive and unheard tracks.
Sara Dale's Sensual Massage was a delightful erotic video with a mystic soundtrack by Coil. Quite unusual for the band dreamy
ambient, almost spa-relaxed soft harmonies, bland tribal rhythms, chimes, and birdsong but still with dark mysterious and
inimitable Coil musick's charm. However, the second part of the album explores more rhythmic structures that remind 'Gay Man's
Guide...' soundtrack. Besides the OST recordings, the edition includes bonus tracks from the "Basilisk prod.'s" era: “Theme From
Blue”, and grandiose "The Hills Are Alive" so badly wanted on vinyl.
Artwork by Steven Stapleton. Mastering by Martin Bowes.