Beats News

London-based Kouslin's Le Chatroom imprint presents LCR003; a percussion-heavy release of four tracks from close friends and affiliates.

Taking inspiration from rhythms around the world and the uproar within the new-gen UK Funky scene, Le Chatroom once again exhibit their ethos of eclecticism that has found them in the record bags of the likes of Ben UFO and Call Super.

Big Brothers' frontman Amor Satyr (also of Parisian collective Boukan Records), channels heavy baile funk on 'Hohohoi', with razor-sharp low-end separation and haunting harmonies.

Soreab (Baroque Sunburst/BeatMachine) serves up a hearty cut of low-slung, tribal drum funk with a groove synonymous of Hessle Audio sets.

Having recently featured on an R&S Records compilation, plus a release on More Time Records, rising artist DJ Tess presents her new “Mala Femmina” alias and offers up a triplet-based 4x4 groove with relentless icy blows and rotating polyrhythms.

Livity Sound's Cando close out with a remix of Soreab's 'Cave Walk'. Racing away with dancefloor panic, the intricacies of the remix shine through via its claustrophobic and pristine mixdown.

The first release on EN.KI.DU.NU (a new project from the mysterious Light Sounds Dark crew), entitled 'Copernicus was my Grandad, Kepler was my Uncle' is a mystical journey to the outer reaches of space and back again, who knows what we'll find during our first mission, but you can be sure there shall be some curiosities along the way.

Yoshinori Hayashi debuted his musical career with 'The End Of The Edge EP' on Going Good Records (UK) in 2015. This release was received with critical acclaim and ended up at #6 in Juno's top 50 Singles of the year. He then dropped two other killer 12s the following year ("Asylum' on Lovers Rock & 'The Forgetting Curve' on JINN Records, the latter included a great remix by DJ Sotofett) Born & based in Tokyo, Yoshinori Hayashi debuts on Disco Halal (Moscoman's already cult imprint) with an out of this world 4 tracker, blending his unique take on house with psychedelic & jazz influences. Disco Halal counts in its catalogue amazing releases by Red Axes, Autarkic, Simple Symmetry, Chaim and many more. Deluxe packaging includes white vinyl & printed innersleeve.

Arcola is proud to present Ascetic, the debut EP from acclaimed artist and DJ Anastasia Kristensen. Having delivered killer remixes and notable productions for various compilations - Anastasia further refines her craft with this debut, continuing to justify her reputation as a leading light within techno.

Proving herself to be equally strong a producer as she is a selector, Ascetic presents four tracks that exemplify the broad spectral soundscapes of Anastasia Kristensen's style. While it may have its roots in techno, Ascetic offers a multitude of audio dimensions to explore.

From the skeletal noise techno of 'LXR Jam', the brazen hardcore flex of 'Ascetic' and its breakbeat counterpart 'Ascetic (In Breaks)' and the industrial/dub tech-noir of 'Donni', Ascetic EP is the perfect accompaniment to the whirlwind of emboldened intensity witnessed at Anastasia's international DJ sets every week.

Set to be one of 2019's strongest debuts, Ascetic's four tracks show that when it comes to genre and composition, Anastasia Kristensen has no intention of staying in one lane.

LP with Gatefold Sleeve and silver hotfoil spine. Short info: Nearing its first birthday, Other People is celebrating the only way it knows how: Work. The label has put out new material every Sunday since it launched with last year's Trust compilation, and the culminating Work comp doesn't break that streak-consisting almost entirely of new material from Other People's artist roster, and a few remixes from some special guests. Work is not, however, an uncooked mash of music. It's sequencing is deliberate and its selection purposefully not encompassing. In fact, Work is more an album than anything else. Kicking off the affair is Soul Keita, whose roots run back to the days of Nicolas Jaar's first label, Clown & Sunset. Dave Harrington follows with a cover of the Nick Drake song 'Things Behind The Sun' with the singer Tamara. His amorphous chords flow right into the tight groove of VISUALS' 'A Pixel', produced by Nico and featuring some guitar by Dave. Darkside also pay their dues with two unreleased tracks from their Psychic sessions-'What They Say' and 'Gone Too Soon'. Putting a nail in the coffin, German pyro-techno duo Ancient Astronaut do battle with a troupe of remixers. The first comes in snarling at the hands of Powell. The second builds gently with the subtle touch of Jenilek. And last comes a deadly dub mix by Francis Harris and Gabriel Hedrick. Work paid off.

Featuring producers who performed during Club Quarantaene 1, our collection begins with Adiel, CcC, Gian, Héctor Oaks, Marcel Dettmann, O-Wells & Solid Blake. The design features architectural motifs of Club Qu. Layers of imagery blended from current and previous Club Qu events. The virtual events past, peaking through the contrasting busy scenes and mirrored negative spaces.

COLLECTING ORDERS FOR RESTOCK!

The recent data dump from DJ house get the remix treatment from Coco Bryce & Desert Sound Colony - "breaks-jungle-house" in the mix! Pressed on limited 12" vinyl 300 copies Worldwide.

After more than 10 years of activity in the B-Boy and Party Funk music scene, Funky Bijou’s Marrrtin & Deheb are back with an ambitious Limited edition LP of 12 tracks. The duo took some time to make another album, because of their full time other projects - Marrrtin had produced soundtrack music for a TV Show, managing his label Stereophonk in the same time, and Deheb worked with Dancers and prepares a new house music project. This New LP comes with many
screen-printed, handmade vinyl versions, 300 ex only, which will certainly satisfy Vinyl and Funky Bijou aficionados. Adventures In the land of Breaks is not the usual Funky Bijou material, and is more composed and organized as a Movie Soundtrack for an imaginary « action and suspense » thriller. It could have been a Tarantino movie or some Pinky Violence soundtrack. All tracks are joined by some dialogues and extracts of the mysterious film. If you are down with Blaxploitation movies, Roy Budd, Lalo schrifrin, KPM library or all 70’s soundtracks, this one is for you! Action Funk, Runaway grooves! Most of the tracks have also been played during the world biggest
Breakdance Events such as Red bull Bc One and many others.
The Track Yekatit Rmx has been made from a track originally composed by Mulatu Astakte, replayed by The Selenites Band, in their LP Ethio Jazz Groove Project.

The multi-media project Kraftwerk was started in Düsseldorf, Germany 1970 by Ralf Hütter and Florian Schneider. They set up their electronic Kling Klang Studio where they conceived and produced all Kraftwerk albums.

Kraftwerk created the soundtrack for the digital age of the 21st century. AUTOBAHN 1974, RADIO-ACTIVITY 1975, TRANS EUROPE EXPRESS 1977, THE MAN-MACHINE 1978, COMPUTER WORLD 1981, TECHNO POP 1986, THE MIX 1991, TOUR DE FRANCE 2003. Their compositions, using innovative techniques, electronic sounds and synthetic voices combined with computerised rhythms, had a major musical influence on Electro, Hip Hop, Techno and Synth-Pop. 

Just Another Label and Kniteforce bring you an absolute classic slice of remastered old skool with this much sought after EP. Perfectly preserved on DAT and now lovingly remastered, these 2 superb anthems from yesteryear are finally available again!

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Akhira Sano's "Penetrating, For Filtration" was manufactured on C60 Super Ferro tape for a low noise floor, high output, and an incredible warm sound. Packaged in a purple tinted case with silver shimmer printing.

Japan's Akhira Sano is a young master of slow, ambient, electro new age music. His compositions are highly organic, growing and flowing with great patience and care. But, like in nature, imperfections and incidentals are allowed to evolve producing sublimely primal and imperfect music. In a world where everything can be made perfect, Sano's work is deliciate, shimmering and electric; abolishing and preserving time simultaneously.

Sano creates painterly music (he is also a painter) based on the themes of error and constraint. He is a visionary sonic architect who sees his musical structures as incomplete; always unfinished. His debut on Sun Ark Records in 2019 was very well received and his demo for Imprec was immediate and compelling. Lose yourself in these two long tape sides on the second official release from Akhira Sano.

Improvised Suites For Analog Machines celebrates the most influential analogue synthesizers of the 70s and 80s. Each track is uniquely dedicated to a different synth, experimenting with the variation of sounds possible to produce while telling a story of their past. The whole album is a mesmerising improvisation demonstrating what each instrument is capable of, while maintaining a wonderful fusion of old and new. Performed and composed by Erik “Keysie” Ritfeld and Arp Frique. TIP!

The totality of the many in one: Cologne Tape, an on and off gathering band from all over the world, did not call their second album "Welt" without reason. The collective incorporates the nucleus of the label Magazine and consists of the artists Ada, Barnt, Jens-Uwe Beyer, Jörg Burger, John Harten, Philipp Janzen, Mario Katz, John Stanier and Axel Willner. All members live scattered between Berlin, Cologne and Hamburg. They meet rarely and abruptly, but each of them always has the feeling that something relevant needs to be done. The ensemble's name represents a city and the musical recordings that are made in it.
Their "rst release, "Render", marked the start of the label Magazine in 2010 and found the way into DJ sets by famed artists like Dixon with music, which does not necessarily have the dance#oor in mind. Subsequently, little, absolutely sublime pieces of Cologne Tape appeared in the public.
Sometimes in the middle of a Magazine mix for London's online magazine Dummy, or on compilations like "My Heart's In My Hand, And My Hand Is Pierced And My Hand's In The Bag, And My Heart Is Caught" a double-vinyl sampler for an exhibition by British video artist Phil Collins.
And now, after six years of more or less overwhelming silence, "Welt" arrives and brings the world eight musical arrangements, all of which answer to the same name and only differ numerically in their title. They were performed and recorded at the Dumbo Studios in Cologne as part of a happening, during which the nine Cologne Tape members gathered in a room to play a solemn concert for themselves without a given frame.
Un"ltered emotions, which were later, re"ned with drums and synth sounds by John Stanier and Axel Willner and then arranged into a dramatic story arc under the direction of Jens-Uwe Beyer. Furthermore some of the recordings feature friends of the collective such as Mexican artist Rebolledo, the guitarist Burkhard Mönnich and the singer Isis Lace, who all happened to be close by and joined the band spontaneously during in their musical ritual. Now the recordings of their time without time will see the light of the day.
They all tell - together and alone - stories of deeply felt musical
experiences, which quickly become profound experiences too for those who listen to Cologne Tape, when they play the grand piano, synthesizer,vibraphone, organ, drums, guitar and more while celebrating afreewheeling ceremony. Panoramic music that enables the listener to enter a world of sounds and rhythms, which all re#ect in depth what Cologne Tape is as a band and a piece of art.

Mannequin Records is elated to present a double-LP compilation of the Dutch industrial-experimental heroes Doxa Sinistra.

Preciously selected by the expert ears of Frank Brinkhuis, head of Trumpett, "Universo" is spanning from 1982 to 1988 through their entire discography.

Doxa Sinistra was formed in Amsterdam, The Netherlands, early 1982. On the strength of live performances at Paradiso and Ultra venue Oktopus, the two piece band was invited by Trumpett to record an album in the Freakowitz & Einstein Studio in Den Burg on Texel. Armed with their Korg MS-10 and Korg MS-20 synths they took the ferry to the West Frisian island, and spent a week recording in the legendary Trumpett HQ. The result, the debut cassette Via Del Latte, was released in June 1982. Just months later band member R. K. kidnapped the band name, formed a new duo and played one live date. After that the project fizzled out.

Until early 1984, when Trumpett and Doxa Sinistra received an invitation from Italian cassette label ADN to record a new album. The invitation was accepted and Doxa Sinistra Mark II was born. Conveyer Belt, recorded between June 1984 and February 1985, appeared as an ADN/Trumpett co-release in August 1985.

After the move of the Trumpett Studios to Amsterdam late 1986, Doxa Sinistra started demoing a new album in the Summer of 1987. California based Undergroud cassette label Ladd-Frith were keen to release the ultimate results. Recorded early 1988, Newsflashes, the group's third and final album, was released as a Ladd-Frith/Trumpett co-release in the Summer of 1988.
Limited edition of 300 copies.

Susanne Dundler a.k.a. Kirsche von Bubach is a contemporary artist whose artistic expression includes video, multimedia installations and sound. She is an active member of the sound collective Dynamische Akustische Forschung (DAF). „Change The Parameters A Little Bit“ is her first release.

Recorded as one take, „Change The Parameters...“ is a rough piece of sound art, evoking reminiscence to the sounds channeled at GRM as well as the general vibe of 80’s tape underground weirdness or bringing to mind contemporaries like Pauwel de Buck (in terms of experimentation) or Jasmine Guffond (in terms of minimalism).

For an example, as much as rhythm and sequencing make up an integral part of Dundler’s playing, she doesn’t aim for a cheap shot and uses it not as a means to organize sound, but more as a specific timbre - creating a certain vibrancy, where intervals of silence are as much of importance as the more audible oscillations in between. Of course, repetition plays a vital role on this journey, but again: you won’t hear pathetic build-ups on this release. It is not about construction, but all about creation. Recorded on a microkorg with minimal setup, this music is completely unsentimental, yet deeply personal and human. It’s like with every new track, she is cartographing new ways to walk, breathe, see. The Kirsche von Bubach is defining a territory of sound while walking through it - carefully, playfully, with open ears and a distinctive sense for phenomena.

Distilled from an hour-long improvisation and sparsely edited and produced, its rough, grainy lo-fi sound aesthetic is what holds these tracks together, as much as they work perfectly as single tracks, which is also owed to Dundler’s narrative titeling. For real - „Dead Silky“ or „Easy Escalator“ would make total sense as essays. Or take „Waking Up Late“: it takes you where it goes, harsh, yet super quirky, fucking with your perception in a super safe and open way - like this is what japanese harsh noise might sound like when you’d blow away all that toxic masculinity.

Also, as the album title suggests, you can read this one as a reflection of right now, a comment on how drastic the turning of a knob slightly into one direction or the other can change a whole system.

The multi-media project Kraftwerk was started in Düsseldorf, Germany 1970 by Ralf Hütter and Florian Schneider. They set up their electronic Kling Klang Studio where they conceived and produced all Kraftwerk albums.

Kraftwerk created the soundtrack for the digital age of the 21st century. AUTOBAHN 1974, RADIO-ACTIVITY 1975, TRANS EUROPE EXPRESS 1977, THE MAN-MACHINE 1978, COMPUTER WORLD 1981, TECHNO POP 1986, THE MIX 1991, TOUR DE FRANCE 2003. Their compositions, using innovative techniques, electronic sounds and synthetic voices combined with computerised rhythms, had a major musical influence on Electro, Hip Hop, Techno and Synth-Pop. 

Clear Vinyl

Parisian lynchpin Krikor Kouchian summons spooked-out radiophonic sounds in his superb, as-yet-unreleased soundtrack for the 2014 redux of Jean Epstein’s pioneering, silent 1920’s avantgarde cinema classic. A must check for fans of Elodie, Kevin Drumm, Mika Vainio, Eliane Radigue.
The 1927 film ’Six Et Demi Onze’ tells the tragic romantic tale of two brothers who, unbeknownst to eachother, fall in love with the same woman. A timeless psychological narrative involving suicide and lies ensues across the film’s grand locations, but on his soundtrack Krikor prefers to home in on the internal thoughts of the film’s central protagonists, outlining a claustrophobic atmosphere in some of his subtlest and most affective soundtrack work, which follows from a panoply of scores for everything from an Arnold Schwarzenegger documentary, to films on Franco-Saudi geopolitics and fantasy sci-fi. It’s arguably Krikor’s finest endeavour in this arena.
Recording for the score was made on portable recorders and laptop, which serve to heighten and intensify a “huis-clos” (“behind closed doors”) effect. Limned in sferic and plasmic tones, the 12 pieces suggest scenes and sensations of intrigue, loss, and paranoia, using specific palettes and particular techniques to connote the internal thoughts for the trio of characters: modified soundfield recordings represent the older brother, while old school radiophonic processing
mirrors the younger sibling’s feelings, and what he terms “advanced time expansion” for the female love interest. The results were pre-planned and mapped to the film’s edits, but ultimately Krikor
improvised the parts, adopting a more classical, non-linear approach with cranky old upright piano for the other scenes, capturing a mix of subliminal instinct and more measured articulation.
The results weigh up as Krikor’s most elusive and haunting solo missive, mirroring a wealth of classic French film music and avant-garde minimalism, and serving to slot neatly on Boomkat Editions’ vinyl series beside soundtrack (and related) works by HTRK, Ø, and Akira Rabelais.

Black Truffle is pleased to present Realejo, the first vinyl release from Brazilian sound artist and composer Manuel Pessoa de Lima. Having composed works for diverse contexts including cinema, contemporary dance, theatre and television, Lima’s live appearances often take the form of self-reflexive lecture performances that combine electro-acoustic sound, red light, video and spoken text, moving unpredictably from the hilarious to the distressing.

Realejo consists of two side-long pieces of highly idiosyncratic electro-acoustic collage, beginning with recordings Lima made of himself playing the organ in the Schloss Solitude Chapel in Stuttgart. Exploring the peculiarities of the instrument’s mechanics, Lima made hours of recordings with the organ stops half-way open, moving from haunting gliding tones to oddly tuned fair-ground melodies reminiscent of the record’s namesake realejo, a hand-cranked organ traditionally found in Brazil as the musical accompaniment to the work of fortune-telling parrots.

To these organ sounds, Lima added recordings of a security guard made in São Paulo: ‘Just before coming to Stuttgart, I started making field recordings of a security guard in São Paulo. It's something pretty common in residential areas: they sit in a chair with a whistle, and use that to signal when people arrive, leave or pass by in the street. This particular security guard, Miguel Viana, works on the same street my parents live, and where I had my childhood, and he has worked there since I was a small child. He has watched the street at night, from 8PM to 6AM, every single day, except Sundays, for over 30 years’.

The poignant sounds of the security guard’s whistles punctuate Lima’s electro-acoustic environment, which also includes raw digital synthesis, recordings of his friends’ infant child, audio lifted from Youtube, and, on the LP’s second side, elements taken from an earlier work, ‘36 English to Portuguese Lessons’. Finely chiselled from dozens of hours of source material into a detail-rich, mercurial structure, Realejo is alternately jarring and seductive, introducing listeners to a young composer with a powerfully individual voice.

Lost PHILIP GLASS Recordings from 1975 - ORTF
The newly discovered and unreleased concert from 1975 recorded by the Philip Glass
Sextet at La Maison de la Radio, Paris.
The sextet is composed of Philip Glass, Jon Gibson, Dickie Landry, Michael Riesman, Joan
La Barbara and Richard Peck.
Music in Twelve Parts is a set of twelve pieces written between 1971 and 1974. This
performance in France includes part 1, 2, 3, 11 and 12 on a double LP.
Also included a very rare Philip Glass interview from 1974 in his NYC loft during the
rehearsals of this piece, produced for the French radio by Daniel Caux - musicologist and
co-founder of Shandar Records.
A never before released -Philip GLASS (1975) live recordings, released in partnership with
the National Audiovisual Institute - INA.
"A new sound and a new chord suddenly break in, with an effect as if one wall of a room
has suddenly disappeared, to reveal a completely new view." - A. Porter

Black/white riso printed Jcard, black tapes screen printed w/ white ink

20th anniversary edition of Stephan Mathieu’s stunning debut album, a hushed introduction to his liminal sensitivities - essential listening if you’re into The Caretaker, Akira Rabelais, David Sylvian.
A proper pearl, this one.
Highlighted for reissue by the brilliantly named Weeding label, the timeless, hypnagogic qualties of this classic album stem from Mathieu’s core interest in vintage, outmoded equipment and their unique fidelities. Sampling 78s and environmental sounds and combing the results with granular processing (and a spectrum of other synth tekkers), he animates their ghosts and spectral infidelities - ravishing crackles, infrasonic hums - in elegantly slow moving, chamber-like arrangements that have become a hallmark of his and subsequently coveted by waves of wistful artists enamoured with his contemporary vision of archaic, arcane audition.
Mathieu’s music finds a unique sensuality in the space between analog and digital textures, most beautifully highlighted here on the anxiety-dissolving crackle and hum of ‘Variation Eins’, and the exquisite touch of ‘Variation Drei’ as it gradiates from Porter Ricks-like subaquatic intensity to Basinski-esque damaged keys. The synths proceed accompanied by filigree spectral electronics a la Coil’s ELpH in the titular closer, a mix of paranoid drone surveillance and funereal pads eliding in thee uncanniest manner that feels very much at home deep into 2020, within a modern field of de/focussed ambient explorers and electro-acoustic composers from Pendant to Bellows and, of course, the Caretaker.

Veteran tech-stepper Trace returns to CNVX with 4 nostalgic steppers, featuring collaborations with Kid Drama & Survey.

7am. Tilburg. Black room. Strobe light. Dutch Soundsystem Wirwar. "Party Like It's '96" celebrates 23 years of musical debauchery, rinsing BPMs and battering bodies in forests, squats or wherever a PA system could be plugged in. Five tracks from five different aliases make up this descent into drum beat battery. Noses are up against sweat drenched wall from the needle drop, the thundering pace of Trippy D's maniacal offering being elbowed in the ribs by Bart Bral's nosebleed inducing "No Shit, Sherlock!" Distortion slices into squalid acid lines in the blazing "Water On Mars" by RAF before broken beats are blended and blitzed by Just So Nah. The night, or morning, comes to an end in Roel's nightmarish fairground ride. "Wurlitzer Express" minces chiptune cuteness with splintered snares, cracked kicks and mutated percussion to leave hearts, minds and souls thoroughly stained.

Alex Cortex delivering the heat!! Mr Cortex is kicking hard with a direct and mental techno tracks! Oscillon, A1, is a bleepy affair, direct and repetitive, but please, play it loud and watch. Rheometric is in the same alley as Oscillon but bringing the bleeps and glitches trip even more in your face. Combined with the fat but quirky bassline, it does the peak time techno thing extremely well. B1's title "Shear Wave" does the track justice. Backed by a fat downtempo beat, the distorted 303-reminiscent synth line cuts through the mix in a way that's impossible to ignore. Strain Rate Tensor rounds up the previous three cuts, also in a very dancefloor-friendly manner. Bubbly main lead and anxiety-inducing pad sneaking in the background seem to be the main thing, until another synth hits you as a counterpoint and flips everything upside down. Proper no-nonsens stuff!! (comes on 180grams vinyl)

xpq?4 was recorded in sessions spring/fall 2019 slap happy heavily mutated outsider cautionary speculative breaks w/ glambient sheen culled from fractal sludge

Dexorcist, aka South London’s Si Brown, has been at the forefront of the UK electro scene since the late 90s – running the seminal Control Tower label with Radioactive Man and producing as part of a number of collaborative projects alongside his solo releases, including as Kronos Device with Bass Junkie.

His ‘Rage Signal’ EP, the first vinyl release on Ecstasy Garage Disco (following digital releases from LMajor and BufoBufo), journeys further back into his musical roots, combining his trademark industrial-strength aesthetic with elements of dub, bleep and hardcore.

‘Rage Signal’ starts the dance, blending rave whoops, slamming breaks, acerbic hoovers and vintage sci-fi samples for a track heavily championed by Local Group, the duo label boss Corporeal Face is part of. The searing bass, booming 808s and urgent bleeps of ‘Centurion’ then underline its gravelly vocal, which aptly attests to the roughness of the 21st century.

‘Don’t Come Cryin’ is another huge slice of thumping 140bpm rave-inspired breaks, Britcore vocals and urgent, winding melody adding chaotic force to the bass and stab lead. ‘Jah’s Comin’ closes out, a prophetic vocal, hefty sub, dubbed out horns and turntablist scratching heralding his arrival – while also signing off an EP that unites electro’s bass weight with the undying energy of rave’s early days.

Back in the game, Fantastic Man returns to Kitjen with a powerful EP of mind-bending, acid workouts. Solar
Surfing is a concise example of the Australian artist’s panache for psychedelically inspired house music with two
dance-floor heavy cuts preceding a contemplative, baseline driven slow jam. The hypnotic and fast paced title
track locks in and moves ever forward, whilst Native Power features the classic sound of Fantastic Man’s 303,
coupled cleverly with the sound of an extraterrestrial bird-song. A drop in tempo rounds off the release with
Avocado Conception, an expertly delivered exploration in slow, chugging nostalgia.'

GEN-Y debuts on BAKK with a release that hits every corner. Four refreshing tracks that dabble in familiar styles without a single concern for tradition. Packed with three tracks by GEN-Y solo and one as G.F. together with Paule Perrier. Whether you like acid breaks, snappy electro, dreamy psychedelica or ghetto house with a twist, GEN-Y got you covered. Comes freshly served in screen printed comicly radiant artwork by the BAKK Catharsis Company.

Listening to Linja’s debut LP makes one think of Polish director Yuri Norstein’s gloomy melancholic (yet playful) movies, or perhaps just of a rainy day, or Chopin.

Velvet Noise is a collection of 7 experimental pieces made by Linja sometime around 2016-2017, using drum ma- chines and a lot of modular synthesisers. The album is woven with Simple melodies that crack through the squeaks and the bleeps, eery pads that fill the voids all sorts of FX. The atmosphere becomes filled with tension when it is playing in the room, as if something is clearly about to happen. Linja’s album is not so easy to describe, and yet due to its coherence and storytelling it has a certain feel and per- sonality of a good book rather than just a record. “It transcends its existence as a record”.

The long-awaited follow up to 2016’s “Hi Vibe” EP, *GCR010# is the code that dumps our inner-space cadets from their deep space stasis and back into our timeline. Hot off the data logger, “Dream Running” – five robust runtimes of creamy electro-ambience and bubbled-over balearica, equally suited to inter-dimensional cryosleep and share house kick ons, coded by hand and compiled with love by Long Body. Defrost your own frozen dreams with this study for guitar and synthesizer in the enduring tradition of Andrew Duffield (Round The Twist) and hot-wire your waking reality today!

Estonian violinist & singer Maarja Nuut & LA's psyche-experimentator Sun Araw hand in gentle, unpolished improvisations on their collaborative album “Fantasias for Violin & Guitar”, recorded live on location by Jackson Bailey aka Tapes.

Brought together by Tallinn’s IDA Radio under the umbrella of a 10-day sound residency in magnificent Narva Art Residency on the border of Estonia & Russia, Maarja Nuut & Sun Araw set up their gear to jump head first into unknown territory of live-improvisation.

Don’t let the title fool you though, as the intro “White Comb” unveils, there’s more here than the old violin & guitar: Buchla magic, entertaining tries to MIDI a violin, gentle glockenspiel fills & ringing bells, occasional bursts of electronica zooming in from unknown sources & Cameron Stallone’s guitar swings all over the place glued together by Maarja’s stellar voice.

Phyzikal Flex delivers four absolute bombs from the vaults on this colabo EP from Doom Chakra and Parallax. The 12" features two revised and polished versions from his 2017 Doom Chakra Tapes album, “Keeping It Real Since 92”, plus two unreleased tracks - available for the first time now on vinyl.

Parallax & Doom Chakra joined forces on this PARADOOM 0001 release in order to finally release these four long-awaited gems on wax. The release will be delivered in a unique hand-sprayed sleeve, each record will be hand-stamped and will also include a batch of collectible stickers from both labels. The record was mastered by Norman Nitzsche @ Calyx Mastering and cut by Phyzikal Flex himself and will be pressed at Optimal Media.

Repress

Third EP from the man Sentiments releasing four 90's inspired tracks, somewhere between detroit house & early idm. Breakbeat & tribal rhythms guaranteed.

Four soulful tracks by four different unknown but respected artists.

Bradley Zero celebrates five years of his Rhythm Section International imprint with 12” compilation SHOUTS Vol. 1 & 2. Vol. 1 represents the more club ready side of the label whilst Vol. 2 explores more mellow territories. Famed by Mixmag as one of the Top Ten DJs of 2019, celebrated as a “figurehead for the exploding south London scene”, and “responsible for spreading the gospel of the city’s new Jazz sound”, it’s clear to see why Bradley Zero is quickly becoming the taste-maker of his generation and Rhythm Section INTL as one of the most respected outlets for authentic global cuts. A go-to label for the
connoisseurs Rhythm Section INTL is a UK staple. The raison d’être has always been to unearth and nurture new talent, not just via the catalogue but through the now established network of radio shows,
concerts and club nights Rhythm Section has become known for. The SHOUTS compilation and accompanying celebratory tour is a continuation of this mission. SHOUTS is a nod to the online radio culture that birthed the movement. SHOUTS is the label using its
voice to amplify its peers. SHOUTS is Five years of Rhythm Section International.

De Lichting is a brand new collaborative project between three key underground labels from Amsterdam namely Yield Records, Native Response and Working Titles. All with their own successful solo projects and well established in what they do, the collaboration is “a coming of age story narrated by a bunch of music heads from the same city.” It is a project that sees seven self-confessed music nerds putting their DIY ideals front and centre and coming together to self-release these 13 new and exciting tracks.

Artists Nathan Surreal, queniv, RDS, Scott Franka, Kaap, Eversines, Human Space Machine and Deltitnu all contribute at least one track each to what will be the first in a new series of releases that follow this same diverse collaborative approach. Musically, the tracks cover many shades of house, ambient and techno across four carefully curated sides of vinyl.

Side A takes in unsettling sci-fi ambiance that turns into spacious and cosmic deep house before dropping back into dreamy, beatless chords. Side B picks up the pace with slippery electro synths and rubbery grooves that journey through the cosmos before ending up on romantic broken beat bliss.

Side C kicks off with menacing and trippy house which turns to deep acid, loose beat workouts and dubby ambiance then last of all, Side D offers supple mind melting techno and sombre minimal dub. Always inventive and atmospheric throughout, this a varied and vital release that both DJs and dancers are sure to love.

When Tim "Avicii" Bergling passed away on April 20, 2018, he was close to completing a new album. He left behind a collection of nearly finished songs, along with notes, email conversations and text messages that painted a picture of what he wanted the music to sound like. The songwriters that Tim was collaborating with on this album have continued the process to get as close to Tim's vision as possible.



Since Tim's passing, the family have been determined not to keep the new music locked away – instead they have wanted to share it with his fans all around the world. The album, titled TIM, will be released on 6th June. Avicii's net proceeds from the album will go to the nonprofit Tim Bergling Foundation and the purposes it will work for, among other things, to prevent mental illness and suicide.

Borai will be instore at Container Records launching the EP, date TBC
Bristol based Borai returns to THEM records with a 4 track EP of 140bpm Jungle and Warehouse Techno. Ruffneck club music for 2018

DJ SUPPORT:
JoeFarr
Manni Dee
Lag
L Major
West Norwood Cassette Library

Come join Spaniard Juan Alberto Arteche Guel and his musical co-adventurers on their good ship Finis Africae on an imagined musical journey along the Amazon. This is a CD and vinyl LP reissue of their 1990 album, a rare and highly sought-after Balearic classic, Guel's masterpiece. Finis Africae was part of the musical flourishing that emerged at the end of the Franco regime, and this album, guided by the visionary Guel, captures the mature results of that era of new-found openness and freedom. Capturing Guel's production skills at their peak, "Amazonia" is informed by Jon Hassell and Brian Eno and their idea of a "fourth world" music. Arrangements which are spacious and fittingly aquatic feature electronic and acoustic instruments in thematic pieces which at times free-flowing and at others ripplingly percussive. Vividly imagined and beautifully recorded, this is a pleasant and memorable journey.

Horrific continues to lead the way with our tenth release. The world's first millennial VINYL ONLY D&B label! This release contains x1 Vinyl 12" in full colour disco jacket sleeve (no holes). Consisting of brand new art works on the front and back cover: created especially from Horrific Studio's East London HQ. On the front, Jessop continues his living colourful/burner 'Subway Fiction series', a fresh fantasy graffiti train rolling through the Bronx... 'Flash Backz' in full wild style, on a so called 'clean train' for graffiti crazy D&B vinyl heads out there.

Flip the cover - monumental & dangerous full bleed drawing by Flava. Horrific recordings setting the trend, with producers creating the art works aswell as beats!!! A 'Serpent' injecting a visual venom to your mind. Both sides of the label on this 12" are hand drawn & designed by Flava.

Side a. 'Music Makes Us One' Flava + Sicknote

Klute played it at the re-opening of FABRIC super set slammer, knocking the dance floor into a 720o spin. Since then, Flava's been blowing up mega hit after hit - example - her massive 2017 vinyl release on Commercial Suicide (Cat 092) 'The Test' & 'From The East'.

Mackie master Sicknote punching sound shock waves (like Mike Tyson), yes! Straight to your chest. From its 1st play at LAUNCH over at Bloc E3 on 10" steel plate its the champion tune of 2017.

Side aa. 'Flash Backz' Sicknote + Horrific James

'Dreamscape its six oclock in the morning' MC Conrad 1992 .

Titled Flash Backz after the lads went vinyl shopping at Flash Backz Vinyl store on Bethnal Green Road and took the shopping bag straight to the Emu Sampler the same evening.

Cut at 168pm, pitches in to mix nicely on your Technics direct drive turntable to smooth groove with any era of Hardcore-Jungle-Drum & Bass!!! 1992-2017 no problem, 25 years riddim track right here, all angles covered, no BPM retro tune mix snookering, yes it mixes any era guaranteed either side of your 'green light'.For all you vinyl DJs #pitchriding. The return of post post Hardcore Hardcore Junglism / Darkrider heads will be feeling this one .Following 2017s Jungle revival, 2018s tipped to be the year of the Hardcore sound revival (we got in early).

3 months on from the release of his debut album, Friske returns to Metalheadz for a one-off single showcasing some of his best work yet. Set to be released this October, Friske displays his much-loved production traits and attitudes towards drum and bass music via the amen-riddled 'Untitled Killa' and the intergalactic journey that is 'Persevere', this is a part of Friske's discography too good to miss.

Counterchange presents 'Eigenlicht' by Portuguese-German multi-instrumentalist, producer and award-winning film composer John Gürtler.

Gently teetering between krautrock-influenced synth mantras and saxophone improvisations, down-tempo electronica, sound design experiments and moments of rich ambience, 'Eigenlicht' is a diverse album of electro-acoustic music. The 11 tracks were recorded between two studios and on location at Berlin's infamous Teufelsberg, the abandoned Cold War era US spy-radio and radar outpost named 'Field Station Berlin', surrounded by forest to the west of the city.

A document of Gürtler's development, many of the pieces here were first laid down in his bunker-like former basement studios at Drontheimer Straße in north Berlin, before he eventually elevated above ground - both physically and musically - building his current Paradox Paradise studio and becoming an established film music composer. In 2019 John won the European Film Academy Award for Best Score, for his soundtrack for Nora Fingscheidt's debut feature 'Systemsprenger' (System Crasher).

In recent years John collaborated on a number of projects with acclaimed German producer and composer Phillip Sollmann aka Efdemin, performing live and releasing the 'Gegen Die Zeit' EP on Sky Walking, a subsidiary of Dial records where he also remixed Efdemin's 'Parallaxis' under the moniker The Borderland State.

In part an ode to the Macbeth Systems M5 modular synthesizer, with its three oscillators, much of the album features the towering instrument, whose uniquely rich tone and rumbling, pure bass end characterises tracks like 'Eigenlicht', 'M5', 'Synthetics' and 'Five Voice'.

"The M5's built in spring reverb and huge sliders and faders - as opposed to all the tiny knobs on Eurorack synths - make it as playable as any acoustic instrument."

John's primary background is in acoustic music, coming from woodwind and keyboard instruments, improvisation and composition. The leap into working with computers and electronic instruments found him exploring ways to make synths and samplers sound as organic as possible.

Frustrated with UK club music's current fixation with tempo, London based artist Kouslin's '2020 Vision' EP delivers four cutting edge, high energy clubs tracks that hover around the 100bpm mark. Drawing on both dancehall influences and the productions of artists such as Harmonic 313 / Mark Pritchard and The Bug, Kouslin carves his own vision for a new decade in UK club music where fine tuned low frequencies and a slower pace can deliver maximum impact.

When he's not working at London's Phonica Records, Kouslin runs the Le Chatroom record label and has a regular slot on London's Balamii radio.

This 12” vinyl release comes with full colour artwork reverse board sleeve with artwork from Tess Redburn.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

Compilation of slow industrial punk EBM edits by Russian duo Olta Karawane. This is their second appearance on Maturre after their previous release on I'm a Cliché last year.

One track taken from Lush Grooves Volume One remastered and another that was meant to be on that original EP but got missed out, so unreleased since 1997. Written and Produced by Paul French who also released on Confetti Records

Untold’ is an experimental electronic LP from multi-disciplinary artist and author Sophia Loizou. Depicting a series of speculative sonic landscapes; animals, ocean waves and weather systems are abstracted into eco-centric cyber-dreams creating powerful ambient compositions that invite us to see the Earth through the eyes of others.

‘Untold’ is not about the natural or the technological but the relationships between the two; sonic textures, breaks and melodies are shaped by the dynamics of a lion’s roar or the rhythm of a dolphin’s echolocation emissions. “I didn’t want to make it human-centric,” explains Sophia. “I wanted to remove my compositional and structural domination, to find ways to make it about the symbiosis of systems I see in the world.”

‘Untold’ is part of a much bigger multi-disciplinary project that also includes a collection of poems with accompanying audio, artworks, an AV show and a lecture performance.

Mastered and cut by Matt Colton @ Metropolis.

'Voices In The Night' is 23rd Underpass' third full-time length album, and Costas Andriopoulos has not lost a bit of his talent to write classy and catchy yet dark synth pop-infused Italo disco tracks. Again aided by Nadia Vassipoulou, John Britsas and Panos Papapetros on vocals, the album is comprised of eight brand new tracks including smash hits 'I Hear Voices In The Night' and 'Together Forever', for you to dance on your favourite disco's dancefloor, alone at home or just to dream away on Costas' haunting melodies.

REPRESS: The world has found itself in a significant hurry. We have also found ourselves in the most distracted period of time in history; finding it tremendously difficult to remain in a moment of stillness, quietude, or allow time for self-reflection. Conversely, our vast universe continues its expansion into infinite development; a climate of deafening silence in a boundless four-dimensional continuum. It remains mesmerizing with a quiet allure that freely suspends in space-time; a true account of the beautiful unknown that sparks hope, reverence, and an awesome realization of impenetrable mystery.

"Stasis Sounds For Long-Distance Space Travel" is audibly rich in its delivery with an array of tranquil billows and patient tones. It is a journey and soundtrack that commences at Earth's thermosphere, gently moving towards the untraveled parts of space, lushly floating on forever.

These arrangements represent a group of celestial transmissions that are delicate in nature and intended for the listener to embrace moments of stillness, quietude and reflection, of which are on a trajectory of extinction at a place we call Earth.

Sasanami" is the result of a dialog between the Japanese photographer Yamamoto Masao and the Japanese musician Uchida Akira (with 
Miu Sakamoto at the voice) initiated by IIKKI, between October 2019 and August 2020.

After to have worked as a saxophonist for several years, Akira Uchida, in 2007 learned piano tuning under Mr. Satoshi Yoshida. Planning and holding "Sound workshop" which is to introduce how to interact with various sounds from the viewpoint of sound turning. In 2015 while he was learning from Mr. Masahiro Adachi, Akira Uchida started to create a Clavichord (keyboard instrument), invented in the 14th century. 
"Making instruments, tuning sounds, being a musician, this flow is essential for me to see the world".

Yamamoto Masao was born in Aichi Prefecture, Japan in 1957. He started to photograph when he was 16 years old. He also studied painting but later chose gelatin silver print as his media. His first gallery show in the U.S. was in 1994 in San Francisco. In 1996 he had a solo exhibition at Yancey Richardson Gallery in New York. His works have been shown in Europe since 2006. Besides Japan, U.S.A., and Europe, his museum and gallery exhibitions were held in Moscow and Sao Paulo. Media coverage includes NY Times and other major art magazines. Yamamoto lives in Yatsugatake Nanroku,Yamanashi Prefecture where he enjoys creating his work while being close to nature.

For its third release Marginal Returns welcomes veteran DJ and producer Controlled Weirdness (London's Neil Keating) to the label. 'Tenth Floor’ showcases Keating's elegant, slanted take on classic techno and electro.

‘Flow State’ is signature Controlled Weirdness - sharp yet perfectly balanced acid-electro, ‘Halfpenny Hatch’ is a sparse but weighty peak-time tool, and the playful UK skip and belltones of ‘Italian Summer’ provides a lighter moment. Detroit meets Deptford on ‘The Art of Blagging’, which concludes the EP masterfully, techno music of the spheres.

Die Form is the legendary post-industrial electronic project leaded by French artist Philippe Fichot and active since the late 70's. Tears of Eros was originally released by the German imprint Hyperium Records in 1993 and shows Die Form on it's most intense and productive years. Sexual deviations, sadomasochism, fetish and domination set to danceable beats with a dark atmosphere.
This mini-album is re-issue for the first time on vinyl including all the original songs plus a different version of Doctor X. Limited to 333 copies with die-cut jacket silk-screen printed on deluxe black paper, printed inner sleeve and numbered card.

Having just celebrated it's 50th release with Photek's 'Closer' 12', Tectonic moves straight into bold new territories, introducing a new artist to the label: namely Distal from Atlanta, USA. His approach to music production is refreshingly dynamic and eclectic, taking elements of the familiar and making it sound obscure while injecting plenty of energy and dancefloor savvy throughout his productions.

MW007, 'Furi', is a collection of tracks from two Berlin-based friends / artists Exael and Arad Acid. The material highlights the commonalities between their individual and collaborative works, moving from boundless and chaotic energy to soft kinetic radiance over the course of seven tracks.

Following 3 maxis on Hilltop Imprint and the label Construct Re-Form, the producer Fareed – formerly of the Society of Silence duo (Versatile, Concrete Music) – returns on the new label, MAZE, dedicated to experimental breaks and cinematic soundscapes.
This first EP, with irregular rhythms and metallic sounds, loses us in the meanders of a jungle and transports us into a world borrowed from mysticism.

GES: Anthology of American Pop Music

Six great pop standards remembered: five pop songs are dissected by sampler, stretched, compressed, and re-collaged. In this way, their identity is lost. What remains is a vague concreteness: flashes of déjà vu and remote echoes that evoke the original.
GES (Gesellschaft zur Emanzipation des Samples)
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Active members: Helmut Schmidt, Jan Jelinek
Founded: 2009
Headquarters: Federal Court of Justice, Karlsruhe, Germany
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GES Glossary

Acoustic Surveillance Series

A 7-inch vinyl record series curated by GES focussing on historical methods of acoustic surveillance. Each record introduces a surveillance system from the past. Starting with Uguisubari in 2017, the series will continue with the release of Orecchio di Dionisio in 2021. GES is open to further suggestions on this subject.

Bundesgerichtshof (German Federal Court of Justice), Karlsruhe

“The use of audio samples as artistic practice may justify the infringement of copyright and intellectual property rights.” (ruling of the German Federal Court of Justice pertaining to Metall auf Metall II, 2016). The court is also the official headquarters of GES.
Circulations

What happens to copyright claims when music from a passing car is captured in a street recording? Is it legal to use this recording freely or is it necessary to obtain licensing rights? Circulations re-enacts this recording situation: audio players are placed in public spaces, where they reproduce the desired sample material. The acoustically choreographed space is then recorded, creating a field recording in which everyday noises circulate together with seemingly incidental music.

Emancipation of Sampling

Fuelled by its criminalization, the act of sampling existing recordings forfeited some of its artistic prestige (see Sampling). GES wishes to rehabilitate and re-emancipate the practice of sampling as a form of art in its own right. Strategy: 1. Name samples and sources explicitly. 2. Choose samples that are as popular and as recognizable as possible (Beatles, Carpenters, etc.). 3. The editing and manipulation of the sample must not compromise its recognizability (negotiable). 4. Use as many samples as possible. 5. Always name more sample sources than were actually used in the composition.

Field Recording

A compositional practice widely used in sound art and ethnomusicology that involves the recording of natural acoustical phenomena. Two additional requirements are usually imposed: The recording process should take place outside a studio environment, i.e. outdoors. And the person recording does not generate any of the acoustic material him/herself. GES expands this definition by introducing the concept of choreographed public space (see Circulations).

Gambling

An acoustic event favoured by GES, already used in numerous sound collages (must take place in public). The most popular option is thimblerig, a cup and ball gambling game commonly played in the street. Compositional instruction by GES: Place an audio playback device in the proximity of a thimblerigger. Play works for orchestra (by Debussy or Mahler). Move slowly towards the gamblers with a microphone.

Helmut Schmidt

Multiple identity and fictional character devised by GES. Figures variously within the semiotic system of GES as member, guest artist or public representative. Following the historical example of Subcommandante Marcos (EZLN).

Kraftwerk

The German band founded by electropop musicians Florian Schneider-Esleben and Ralf Hütter (a.k.a. Die Prozessoren) is the natural enemy of GES. Protected by computer-generated avatars, Kraftwerk operates a quote-hostile cultural hegemony. Their strategy: Install a special brand in the collective consciousness by means of a sophisticated system of quotations and references that may in turn not be quoted by anyone else. Other bands with such delusions of omnipotence: U2, Metallica.

Marcel Duchamp

As the inventor of the readymade, Duchamp may be viewed as a precursor to the art of sampling. However, the artist is appreciated above all for his sonorous qualities, as his vocal silence has often been sampled and processed. It was the inspiration for Jelinek's radio play Zwischen.

Orecchio di Dionisio

This 65-meter-deep limestone cave in the Sicilian town of Syracuse, carved out of a hillside in ancient times, has exceptional acoustics: A person standing at the cave entrance can hear every word whispered deep down inside it. The painter Michelangelo da Caravaggio gave it its name (The Ear of Dionysius) in 1608. The cave indeed resembles an ear and – according to Caravaggio – had a specific function: The tyrant Dionysius I imprisoned his political prisoners in the cave in order to spy on them. Orecchio di Dionisio will be featured in the Acoustic Surveillance Series in the near future.

Sampling

Compositional practice whereby recorded music is fragmented, turned into sound collages and transferred into different contexts of meaning. Since the advent of affordable sampling technology in the 1990s, the music industry has been trying to criminalize and/or promote the practice. Both strategies are driven by the same principle: Profit.

Uguisubari

Sound-making floorboards in Japanese temple and castle complexes, featured in the Acoustic Surveillance Series in 2017. In the Edo period, the “nightingale floor” (literal translation of uguisubari) was a popular acoustic warning system. The principle was straightforward: When someone stepped onto the boards, nails would rub against metal clamps beneath the floor, creating a tell-tale squeaky sound that was said to resemble the chirping of the Japanese nightingale.

Wind

A generator of acoustic events and an amplifier/transmitter of existing sounds. A meteorological form of energy appreciated by the GES on account of its unpredictability. A series about wind as an acoustic phenomenon is planned. Working title: Hotel Corridors.

Zwischen (Between)

Radio play by GES member Jan Jelinek based on recordings of various public interview situations. From the speech of the interviewees (all of them eloquent personalities) the pauses between coherent utterances were extracted and assembled. What we hear is an archaic body language: modes of breathing, word particles and onomatopoeic turmoil. A key question for GES: Which comes first, personal rights or artistic freedom? For Zwischen, Jelinek used only recordings by public figures that were already available to the public.

Aber mich macht’s traurig ("But It Makes Me Sad") is Kai Althoff’s first regular release after several records as Fanal and before with his band Workshop. The music for the double album was recorded by Kai Althoff between 2016 and 2019 with numerous instruments - including synthesizers and various flutes, guitars and African drums, rattles, cymbals, ratchets and Japanese string instruments.

"Nobody had to bear this music, neither was it thought out by anyone, played by none, nor dedicated to someone. Also, one no longer is, and therefore this utterance generates itself and is music to nobody’s ears.

Organizing the entombed power structures, paving alongside the most beautiful nettle-seamed trickle of remembered civilization on one’s own authority, which eventually gives in to its assumption; its mouth pasted (over) with the dried-up vomit of its intentions, never to open again. It carries this desparate melancholy, always ready to ridicule all of its (own) forms, to get to the bottom of all matter. Poking in the flesh of doggedly pursued gnosis with fingers, with weary despisement, deflating to crinkly tissue after life’s bloating :Oh, seriously! How could I be sad, the way they carry themselves and sing as they do that Alas, those whose fingers these are, just take those flutes and instruments! —- in liberation without the Idol, to no longer play something."
A.M.

Loraine James follows up 2019's acclaimed 'For You And I' album with a new four track EP, `Nothing'. Her chosen collaborators empathetically extend the feeling in her music with their own unique energies; Uruguayan singer and producer Lila Tirdo a Violeta, Farsi language rapper Tardast, and HTRK front-woman Jonnine Standish. The arc of the EP starts with Lila Tirdo's numb, repeated vocal on the title track. On `Marg', meaning "death" in Farsi, the tense drama of Tardast's despairing poetry describes the hopelessness of refugee experience, cold chords rolling sympathetically around his words. Jonnine shifts the mood with `Don't You See It?', recounting a moment of clarity which allowed her to leave a destructive relationship, Final track `The Starting Point` finds Loraine solo, with punched in bass and chaotic drums pushed through fxs that settle into a plaintive piano melody, the first and only instrument she says she's able to play "properly".

Tape / Cassette

Maatsethe’s solo output is all about ambient and sound collage. Loads of processed guitars & samples meander between walls of sound, intimate harmonies and a kind of melancholic cinematic landscape. Stoic basslines are surrounded by soft and gentle spheres. A bit of post-rock feel every now and then, always wrapped up in a meditative monotony, slightly interrupted by small epic narratives to gaze up.

Maatsethe (Matthias Neuefeind, Berlin) curates the KeplarRev series with vinyl reissues of essential electronic albums from the 90’s and 00’s, he plays in the band Fonoda and is part of the project Washer, Zimmer & the Guitar People.

Tracks 1, 2, 3, 4, 6 composed by Maatsethe
Tracks 5, 7 composed by Fonoda
All tracks recorded by Maatsethe
Mastering by Edgar Medina
Artwork by Daniel Castrejón

Ruutu Poiss, the Amsterdam/Tallinn based expert in glistening psychedelic electronics, arrives on the first outing for Wake Dream (A new label run by Amsterdam’s Orpheu The Wizard).

After releasing several 7”s, 12”s and EP’s on Levels, International Major Label, Rets Records and features on various compilations from Fasaan Rec. and Porridge Bullet, Ruutu Poiss lands at Wake Dream to release his first full length album (WADR002), scheduled for late summer 2020.

Leading up to the album, this untitled three tracker gives you a taste of his unique spectrum of kaleidoscopic modular dance music, futuristic synth funk and emotionally charged experimental cuts. These three tracks are not featured on the album and are exclusive only to this pre-release!

We are proud to welcome back San Francisco based DJ and producer Sepehr Alimagham for his debut album ‘Shaytoon’. Drenched in nostalgia from his upbringing, ‘Shaytoon’ pays homage to 1970s Iranian albums that were on rotation throughout his youth. Eight tracks of twisted acid, left-of center electro, sludgy psychedelia, and things-you-can-maybe-call-techno are a few of the sonic elements found within. Regular listeners will find Sepehr’s signature perspiratory dance-floor vibe, but some songs also showcase a low-slung, cerebral approach. Sepehr's unique sonic palette carves an interesting space in the dance music world by harnessing the spirit of his cultural ancestors. The artwork pays tribute to ‘70s Iranian pop and funk albums with bold Farsi calligraphy and portraits by Sahra Jajarmikhayat. In relation to the music, the album cover creates a dichotomy much like Throbbing Gristle's ’20 Funk Jazz Greats’. Berakhs (Dance).

Tape / Cassette

As one half of Phantom Horse, his long-serving electronic duo with Ulf Schütte, Niklas Dommaschk co-produces beautifully muted, Kraut-inspired jams that seem to soundtrack fictitious TV ads for wondrous imaginary household appliances, e.g. a calmly efficient, if slightly unsettling kitchen robot with an integrated lava lamp feature.

In contrast, Shapes cuts tracks down to size – nothing here is longer than five-and-a-half minutes. Also, Dommaschk has turned up the treble, the prominence of the higher frequency spectrum adding bite and menace to these deceptively simple synth polyrhythms.
Whereas opening track “Benzin” (German for “Petrol”) manages to conjure the paradoxical image of something or someone meandering with urgency, “Einzeller” (German for “single-celled organism”) channels a John-Carpenter-style pulse, complete with horror sound effects. “Interference” is a truly effective representation of the term, with piercing, but quiet tinnitus frequencies set above a beat as sparse as it is crunchy. “Two Stones”, by contrast, offers a kind of robotic wistfulness whereas closing piece “Energies of the mind” fizzes out like a jumble of toy keyboards attempting to score a science programme - and failing, but instead revealing some much grander emotional truth.

This is the sound of breaking some kind of inner lockdown, of turning inwards and then projecting parts of murky inner shadows outward, as well-defined and sometimes lurid shapes, individually clear, but still in the process of becoming organized into a complete whole. The unfinished is what excites us the most. May the shapes never find their slot in the jigsaw puzzle.

All songs by Niklas Dommaschk
Recorded between 2017 and 2020 in Berlin and Nijmegen
Mastering by Edgar Medina
Artwork by Daniel Castrejón

On a collision course with earth from the furthest reaches of the universe, The Colours That Rise announce their debut album “Grey Doubt’ on the inimitable Rhythm Section International. Comprised of producer duo Simeon Jones and Nathanael Williams, The Colours That Rise have previously turned heads with 2017’s “2020” EP released on Breaker Breaker (the label credited with breaking Ross From Friends).
Returning with their most accomplished offering to date, “Grey Doubt” features acclaimed guests such as Yazmin Lacey, Yussef Dayes and Andrew Ashong, each respectively complementing the incredible musicianship on display here, capturing the true zeitgeist of present day UK. Combining live instrumentation and analogue synths, intricate, intertwining textures and melodies run deep throughout this beautifully crafted afrofuturist voyage, exploring the darkest recesses of the galaxy, through weatherbeaten and asteroid damaged synth waves and broken drum patterns reverberating out into the vastness of space.
Pre-announcement single ‘Home Time’ has picked up steam with support across BBC 6 Music and 1Xtra through the likes of Benji B, Tom Ravenscroft, Jamz Supernova and Mary Anne Hobbs, who awarded it as her ‘Near Future’ track. The duo are also set for a live performance at Rhythm Section’s showcase at SXSW 2020.

Wow !

A bona fide genius from the formative 12" remix era of NYC's Disco explosion opens up his secret vault !!

These are previously unreleased gems from one of the pioneers
Super limited...

HTS005 bring East Man & Walton back together for another collaborative single.
The A side, ‘Screw Face’, is a hard as nails square wave 8 bar banger with a big bad bass line that makes you want to screw up your face and jump around the dance floor.

The B side is a hard stepper that plods along at a seemingly glacial pace. ‘Don’t Speak’ brings a mix of off kilter percussion and chest rattling sub bass that when combined bring a deep meditative quality to the track. This is one for the head nodders in the dark corners of the dance.

MUSIC & POWER presents EMANCIPATION AVENUE (KAREGA ANI & SWATARA OLUSHOLA). This group pays tribute to the great history & tradition of real R&B music with their debut release "OLD SCHOOL SONG". This highly sought after composition has become a classic on worldwide with RON TRENT'S remix!

In the years before ​Hunter Lombard​ perfected the gentle art of juxtaposing mega breakbeats with lush synth hooks, the New Yorker was an active rock musician. Citing the afterglow of her guitar background as a big influence for her current melodies and timbre, Lombard inhabits a sparsely populated intersection in dance music. For ​Schloss’​ third release, Lombard connects the dots between sweet rave nostalgia and clublands latest wrinkle. She has previously released on Volvox and John Barera’s label Jack Dept, and can often be found behind the decks at Elsewhere, Good Room or Bossa Nova Civic Club.
Slow Foam​ is mixed and mastered by Matt Karmil.

Our second release this year yet again explores the deep side genres of electronic music and deep house.
The man SMBD aka Simbad has been on our wish list for quite a while now and we are super delighted that It finally worked out to welcome him for a full release on our label after his contribution to the first Dampé Ep we did last year. After a string of releases on labels like Apron, Freerange and BBE there is not much introduction needed for this house veteran.
These five tracks range from soulful house to darker break beat material and ambient soundscapes. Especially the great title track “Purple Winds” is a beautiful emotional piece of music. The closing track “Man Madol” for us is very reminiscent to early Detroit electronic music. “Piano Lick” and “Glory” are packed with soul, funk, disco and basically just good times on the dancefloor while the moody and acid break beat excursion “ – 8 – “ is winding deeper and deeper and deeper …
Not much more needed to be said here, we will let the music speak and let you enjoy these excellent tunes!

- LIMITED EDITION COLOURED VINYL -

Legendary UK outfit Future Sound Of London kicks off with a trippy head jam to soothe the mind of electronic dreamers. Berlin's Monolake aka Robert Henke follows with a beat-driven and heavy industrial piece of clattering sounds and whirring rhythm mechanics. David Morley completes this sixth EP of the 10 years series in style: "Traytor" brims with depth and floaty atmospherics pushed further by low range beat parts. Real endorphin material.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Alchemy Mastering, pressed on 180 grams vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

Broken techno and jungle cuts from Manchesters Thodén

Killer Compilation That Sheds Light On Oddball Tunes Made In Australia And New Zealand During The 70's And 80's.. Tipp
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For Musicians Inhabiting The Antipodean Countries Of Australia And New Zealand During The 70's And 80's, It Was A Geographically And Culturally Isolating Environment. Boutique Shops, Community Radio And Mail Order Exchanges Championed Independent And Contemporary Music From Across The Globe. It Was, However, This Isolation That Caused A Number Of Small Community-focused Scenes To Evolve, Creating Their Own Unique Interpretation And Reappropriation Of Outside Influences. Through Both These Scenes And Government Initiatives, A Vast Amount Of Music Emerged On Self-released And Independent Labels.

Yet, Even Among Small Scenes That Were Creating Unique Sounds, A Number Of Artists Seemed To Be Making Music That Was Neither Here Nor There, Often Meshing Together Numerous Genres And Influences To Create Anomalous Sounds. Artists Like Olev Muska Along With Ingrid Slamer Meshed Traditional Folk Songs Of Their Estonian Heritage With Cutting Edge Computer Technology. Ngahiwi Apanui Used His Native Language Of Te Reo And A cheap Drum Machine' To Create A Pulsating Tale That Highlights The Creation Of Aotearoa (the Maori Name For New Zealand), While The Free Radicals Would Sing Through Pvc Pipes To Construct Their Vision Of Post-apocalyptic Tribal Music. Sydney's Nic Lyon Used His Classical Training To Craft A Distinctive Gem Which Matched Eastern And African Influenced Instruments With Synchopated Drum Machines, While Artists Like Delaney Venn And Toy Division Managed To Challenge Their Post-punk Sensibilities By Blending Both Dub And Atmospheric Sounds Respectively.

Compiled By: Chris Bonato And Umut Turkeri

Various Artists: Introduction to Dungeon Rap ushers in a new movement in underground hip-hop. With a sound pulled from war time machinery, rituals and ancient runes, this 7" sampler pulls together cuts from the long sold-out tape release, with tracks coming from DJ Armok, Pillbox and DJ Bishop.

Known for blurring the lines of conventional traveling with adventurous parties, the Berlin/Brazil-based collective O MATO opens a new chapter in their history. The first release of O MATO Recordings reflects on a broad spectrum of tastes, representing not only the crew’s diverse musical aspirations but also the many faces of the worldwide family circle that has been gathered carefully over the years. What begun in the Amazon rainforest as an experiment with ambiguous outcome now finds its way back pressed into vinyl: A piece of sonic nostalgia, from the jungle to your turntables and beyond.

O MATO Recordings 001 compiles nine unreleased tracks from contemporary fellow artists as well as two KPM library pieces and a 1996 beat by the Long Beach G-Funk crew Foesum. Special thanks to our friends from Childhood Intelligence for connecting the dots.

Released digitally last year, the idea for Skin Teeth's debut release Nebulous was the culmination of years of raving and listening to tapes from that golden era in UK Rave - early nineties.

Distance feels ingrained in how we all navigate the world at the moment, we’re hoping to bring you a little closer together with iota’s new release on Pure Space. It feels like exactly what we’ve been craving; a moment of calm, rhythms to soothe, sit back and get carried away to.

Having self-released a number of EP’s in the past year iota has pricked up the ears of the Australian music community with his take on minimal tek, electro and acid. His debut release on Pure Space delivers three original tracks spanning the breadth of minimal club music. Accompanying the release are two remixes, one from Melbourne's famed lizard Reptant and another from IDM producer DBR.

On the A-side iota kicks it off with ‘Terminus’, here deep under a tight electro beat lurks a staunch bassline intertwined with playful pads and soft acid-like tones. It’s a textural and delicately refined track, with each sound finding its perfect place within the piece. Up next is ‘Cloudtek’; where gentle percussion dances softly on a bed of textured sampling that truly takes the edge off the stomping 4/4 beat..

Flipping to the B-side you will find ‘Noxi’, a lurking, moody atmospheric track. Curious psy-inspired samples follow you through the piece and a continual shift in the percussion builds tension and a sense of movement to ensue.

Complementing the release Melbourne’s Reptant puts a deeper electro-acid take on ‘Terminus’. His Lizard-Tech mix plays up the acid elements of the original and sits on the darker end of the scale. The acid drones demand attention and the new baseline brings the beat to the forefront of your mind.

Tangerine Dreams Livekonzerte waren in ihrer 1970er Hochphase improvisierte Klangerlebnisse, die mit geringem oder gar keinem Bezug auf ihre ebenfalls esoterischen Hitalben Abend für Abend anders klangen. In den 1980ern konkretisierte sich ihr Sound zu erkennbaren Strukturen, wodurch die Band Soundtrack-Erfolge für einige der grössten Filmproduktionen des Jahrzehnts (Risky Business, Firestarter, Near Dark, Thief, Sorcerer) erzielen konnte. Heutzutage kehren die bestehenden Mitglieder Thorsten Quaeschning, Ulrich Schnauss, Paul Frick (Brandt Brauer Frick) und Hoshiko Yamane zur Improvisationsmethode der frühen Tage zurück und spielen Livesessions als Konzert oder per Stream, von denen die besten Aufnahmen in der "Sessions" Albenserie erscheinen, die im Herbst 2020 mit Vol. II und III fortgesetzt wird. Beide neuen Veröffentlichungen wurden vom prämierten Vinyl-Toningenieur Miles Showell (The Beatles, Queen, ABBA, Amy Winehouse, The Rolling Stones, The Who, Lana Del Rey, Dido, Underworld) in den Londoner Abbey Road Studios gemastered.

Wheez-ie joins Craigie Knowes offshoot C-KNOW-EVIL with bone-shakin' breaks, piercing synths and flavours channeled from 90s UK rave-culture. 'ONLY HUMAN' sets the record straight with chopped and distorted breaks laden with carefully selected voice clips and samples - building a haunting wall-shaker built for any dancefloor willing enough to test their stamina. 'WEAPONIZED' continues in a similar vein, injecting acid into the heart of the signature Wheez-ie sound. A record for the bolt of heart, stray carefully.

The music of Black To Comm is as powerfully intoxicating as it is subtly unnerving. The solo project of shapeshifting German producer and sound artist Marc Richter, his mastery of sonic manipulation is matched only by his astounding clarity of vision.

Following the acclaimed ‘Seven Horses For Seven Kings’ released just a year ago, ‘Oocyte Oil & Stolen Androgens’ applies Richter’s wild imagination to an exploration of the human voice, standing as some of his most immediate and affecting music to date.

Each of his phantasmagoric works is meticulously constructed from an omnivorous array of smudged samples and other sonic detritus, painstakingly collected by Richter from across the history of recorded music or his immediate environment and altered into beguiling new shapes. Sound sources seem tantalizingly familiar and yet often just out of reach, flickering at the edges of the subconscious.

Available on CD, translucent green vinyl and black vinyl. All vinyl packaged with digital download card.

Emotional Response is delighted to present a special project, a collection of music from Bartosz Kruczynski, recorded for "Selected Media" and presented here as a time-piece of his continuing works.

Initially known as one half of sample based project Ptaki (The Very Polish Cut Outs / Transatlantyk), Kruczynski first appeared for Emotional Response as The Phantom for the first series of SchleiBen in 2015. Featuring two works of deep 'fourth world' sounds, they highlighted a shift to more mellow, synthetic and hazy compositions.

His break out came, however, when he explored this sound further on his eponymous album Baltic Beat, for the acclaimed Growing Bin Records. This has been augmented with the recent club based music as one half of the wonderful Earth Trax (Rhythm Section International / Phonica Records) project.

Here though, Kruczynski returns to the ambient and ethereal - plus a touch of dub techno - to showcase his expansive collaborative work with Polish studio, TVP Culture. Given free artistic license, the 15 'short form' recordings included here were for programming, in the main, on modern Polish Art including the likes of Magdalena Abakanowicz, Miroslaw Balka and Tadeusz Kantor, as well as some international aspects for Enrico Prampolini, Ai Weiwei and Monica Bonvicini.

Taken from over 70 episodes the material included recollects imagery, video and memory to present a series of short vignettes that together create one whole. Minimal and hazy ambience (V, VII, VIII, XI, XII) envisages classic melodies and chords and is accompanied by further 'fourth world' pieces (I, II, III, VII, X) that present an oeuvre that is recognisably the music of Kruczynski, while remaining fresh and perfectly meditative.

A counter can be found in the atmospheric dub works (IV, IX, XIV) that hint at echo chamber environs to get infinitely lost in. As an album then, "Selected Media" can be heard as a snapshot to Kruczynski's music journey, a meeting of art and music that is oft overlooked but very much essential.

Straight from the Mediterranean Sea, the Greek Duo Bonnie and Klein have landed at MM Discos to present “ROOF GARDEN”, an EP where the balearic beats and downtempo takes over the control and where the “2 Balearica devotes” invite us to enjoy an amazing trip from the Ionian coast thru the Aegean beaches until Myrtle Sea.
Bonnie & Klein are no longer unknown after being working the last 4 years for well renown labels as “Leng”, “Music for Dreams” and “Is It Balearic?” among others. Following their previous releases, B&K stay loyal to their own personal vision of “Chillout”.

Highly influenced by the architecture and culture from Greece, George & Thanasis build beat after beat an amazing work where their “Laid Back Style” will be the main character on this story, a long with haunting keys, wicked percussions, and sounds and melodies that will remind to “Far East”.

Fresh filets to go,LP3 is on the menu

Repress!

Cropper has returned to Blah Blah Blah Records to follow up his world wide smash 'Forever'. Since marking BBB's tenth release in 2013 'Forever' has been snapped up by Universal, racked up half a million plays worldwide and played on Radio 1 by Pete Tong. To some such success may seem common place, or not that remarkable, however for artist and label these were very proud moments, not to mention moral boosting confirmations in their personal belief in the music they were presenting. A belief that has brought them back together for one more record. 'Sunlight FT. A.Z' is a hauntingly beautiful record with live double bass, searching strings, Jazz like keys and a whispy yet penetrating vocal all conspiring to dazzle the senses with its thought provoking beauty. Not your typical club record, but we're hoping that shouldn't matter. Following Sunlight is 'Shade' and like the title suggests there is a commonality as much as there is a stark difference between the two. An African spoken word sample sets the tone, as crisp weighty drums groove another 3am curveball straight into your record box. To be heard, not pontificated about with flowery words. Rounding out the package is a remix from the rather enigmatic and elusive Hackman. Hackman takes things down a slightly more linear route as he chops and reorganises the main elements to compliment his own engaging melodic interpretation of the source material.

180g

Dexta and Crypticz are delighted to announce their long awaited 12" single, 'Together', featuring two remixes from Munich-based Danny Scrilla. Two years in the making, the project will finally see the light of day on 10th November 2017 via Diffrent Music.

A fusion of Drum & Bass, Jungle, House and Garage, 'Together' is built for the dancefloor. The track borrows vocals and breaks from the early '90s, while blending drum machines, bass samples and vintage effect processes crafted by Dexta & Crypticz.

Danny Scrilla debuts on the label with a pair of remixes. The 'Reslice', is a great example of signature Scrilla, manipulating the original parts into an exploration of dubby, half time soundsystem music. His 'Reflop', meanwhile, is a 140bpm re-think, splicing chopped up breaks and bass stabs from the original along with strong percussion lines and weird vocal edits.

Since his outing on Hospital Records in 2015, and his debut 'SE4 EP' on Diffrent Music last year, Dexta - otherwise known as Londoner Chris Royle - has released the third part in an ongoing series for None60 Recordings, honing tracks for dancefloors and stereos alike.

Somerset's Crypticz (aka Jordan Parsons) has had quite an eventful 12 months, with his 'Echo Sound EP' on Doc Scott's 31 Recordings, and more recently the 'Forever EP' Om Unit's Cosmic Bridge imprint, while evolving his club performance from a DJ set to a custom live show consisting solely of his own music and explorations in sound design. This single comes two weeks after his latest release, the 'Access You EP', also on Diffrent Music, which set a new benchmark for Jordan, refining his sound to its highest quality.

Danny Scrilla (born Daniel Pirkl) has gone from strength to strength this year, dropping a cassette tape project on Cosmic Bridge, compiled of 16 synth and hardware-led experiments. Last month Dan also released a collaborative 12" with Sam Binga called 'Weird In Munich' - a superb effort, pushing boundaries from both their usual styles - before putting out an EP for Amit's AMAR imprint in early September.

'Together' will be available as a limited 300 run of 180gsm coloured 12" vinyl, and will be officially released on 10th November 2017. An exclusive small batch will be available at the Clashmouth D&B Label Market on 28th October 2017 at Cafe 1001 on London s Brick Lane.

As so many great schemes do, it started with a conversation in a pub. After several sporadic releases on Diffrent Music, including his renowned 2013 debut "Tongues", label boss Dexta wanted more music from Fearful. One thing led to another, and suddenly an album was in the works.

The result is "Interference"; a body of work that is reflective not only of the personal idiosyncrasies and aspirations of its London-based producer, but of an artist who has truly been set free of expectations.

Harnessing his own inbuilt need to defy convention, and looking to influences such as classical game soundtracks, experimental mastermind Amon Tobin, and the brooding tones of Akkord and Lorn, Fearful has crafted an album that's unpredictable yet cohesive, and definitive of his aim as an artist.

From the menacing ambient opener "Rocinante", through the glitchy techno of "The Traveler", skewed drum & bass of "Pulse 0" and "Through The Mist", to the roaring drone and pounding metal-inspired drumwork of closer "Gold To Dust", it's an album that demands full attention and repeat listening.

Nowhere is this free-roaming but pull-no-punches attitude summed up better than the title track. Building through eerie, twisted atmospherics - samples of electromagnetic interference, which can be found throughout the album - it clatters into a domineering breakbeat, before collapsing into a guttural, tribalist techno roller.

Where much of dance music draws on repetition, the concept of "Interference" is simple: progression. Whether that be changing motifs within tracks, switching genres within the album, or developing upon Fearful's own artistic strengths, it's an idea never more at home than on Diffrent Music, and we are very proud to present it.

Somewhere over western Europe, an un-identified falling object crashed landed causing a massive bang, and a ginormous Banana shaped smoke cloud. Frederic, a local artistic young chap was so inspired by this hilariously funny giant cloud that covered the whole sky as far as he could see; he ran indoors to take cover, and wrote a little summer step d&b beat, called 'Laughing at Clouds' - which seemed to draw a lot of attention. Out of the studio window, Frederic could see what seemed to be a pink giraffe giving it some serious head-nodding action. By the second drop Leonard (The pink giraffe) was dancing so heavily that he caused a small tremor somewhere over in the states, where young up & coming producer Melo seemed to pick up the transmission. While in his sonic laboratory he managed to transfer his latest project (Affirmation) through the current, where Frederic decided to make his first remix project, which pretty much made Leonard pass out after all the summer stepping....

ORANGE VINYL

The music of Emil Amos is at once intimate and expansive. Under the name Holy Sons, as well as with bands Om, Grails and Lilacs and Champagne, Amos harnesses boundless sonic textures to
embellish delicately crafted songs, he plays the bulk of the instruments and sings the majority of the vocals throughout the album and is joined on a few pieces by drummer Steve Shelley (Sonic
Youth).

His music balances cues from classic and indie rock traditions with tenderness and sense of foreboding through unparalleled artistry. Holy Sons’ ‘Raw and Disfigured’ showcases Amos’ mastery of songcraft through a seemingly impossible combination of subtle yet potent gestures, bold arrangements and resolute vulnerability.

Recorded at Sonic Youth’s studio Echo Canyon West, ‘Raw and Disfigured’ stands as Amos’ most ambitious and comprehensive album yet, a panoramic gallery of songs as beautiful as they are
crushing.

“Delicately impressive” - Under The Radar

Available on CD and as a double LP with colour insert in either translucent orange or standard black vinyl. All vinyl packaged with a digital download card.

Classic orchestral grime from one of the pioneers of grime music.

MS054, the 2nd part of Moonshine Recordings vocal series is ready. This time including Parly B on the mic and Bukkha, Dubbing Sun & Mystic Pulse on the production duties.

Sense MC has teamed up with Diffrent Music to bring you "The Elephant In The Room LP", the debut album from Sense MC, produced by a hand picked selection of artists associated with the label and a few extra people who've worked with Sense in the past. It's been three years in the making, but is finally ready to be unleashed, #BuyTheAlbum

'Orchestral Studies Collectanea' consists of seven previously unreleased orchestral movements (Tracks 1-7) in addition to remastered variations of arrangements that originally appeared on, 'Orchestral Tape Studies' and 'Orchestral Tape Studies Tyresta Reworks'. Orchestral Studies Collectanea is a compilation arranged and produced by zake with additional production by close friend Tyresta. OSC is a group of richly layered movements of fragmented orchestral loops, paying homage to minimalist symphonic composers and orchestras. zake and Tyresta incorporate field recordings and faint drone billows to accompany these selected samples of orchestral loops. With an emphasis on tone and recurrent murmurs, these arrangements offer approximately 48 minutes of delicate repetition, reticent sound treatments, and subtle manipulations. OSC is intended for low-volume listening.