Beats News

Maurizio Martinucci (aka TeZ) is being warmly welcomed back into the Frigio fold. Following his work with Most Significant Beat, a partnership with Saverio Evangelista of Esplendor Geometrico, this Italian artist, and member of Clock DVA since 2010, is flying solo on new wings: Pragma.Martinucci examines, scrutinises and magnifies mechanics. And under such inspection all things change. Drums blossom into serrating melodies. Snares, hi hats, toms blur into one as they are distilled into a heady brew. At times this reduction is sour and sharp, as in the cruel cud of 'Ospel', at others its strangely smooth like in 'Dusk.' The lines that divide electronics and techno all but disappear, dissolved into insignificance under Pragma ´s barren palette. 'Espex' is stripped. Percussion is dipped in distortion, bass bleached by hiss as the reductionist manifesto is applied. An artist cut from the same caustic clothe closes.Arturo Lanz of Esplendor Geometrico amplifies the fuzz and static of 'Espex', shaving away all decoration to leave all but a harrowing husk of cables, wires and pain.

Rian Treanor returns to Planet Mu for his raw and energetic second album "File Under UK Metaplasm". The enigmatic, sweaty energy of Tanzanian singeli and Chicago footwork are juxtaposed with slick, high-def bass weight which sits at the centre of the album. Opening track 'Hypnic Jerks' is the perfect example of this, with crinkled percussive loops cut through by machine-gun kicks and acidic wobbles. Elsewhere, 'Vacuum Angle' takes Sheffield's Warp-ed legacy and brings it crashing into the future, with rhythms collapsing into static and noise but never deconstructing or losing the flow. 'Debouncing' meanwhile folds gliding square synths into rattling dancehall kicks, joining the dots between SND, Equiknoxx and Wiley with a neon Sharpie. "It's using all those formulaic dance structures but just slightly mangled or messed up," he says. "I'm still focused on making dance music for clubs, but how far can you push that before it's just no."

Bournemouth-UK based Record Label focusing on the darker roots breaks side of Jungle and Drum & Bass Music.
The Rotation Audio Record Label has been founded through love and dedication to electronic music. Rotation will aim to showcase some of the rawest, well known and underground talent, in the Drum & Bass and Jungle scene with forthcoming releases from the likes of DJinn, Mono, & Overlook, focussing on the darker roots breaks side of the music. Our first release brings you two massive names in the game right now - Sicknote and Drum Cypha.

Sicknote's 'Someday' creates an emotional journey through high defined musical gestures portraying life's cycle until you eventually reach the light. Rolling drum breaks throughout the track build a progressive movement until the bassline and vocal takes hold on the drop. A belter in the form of a beauty of a track from the man like Sicknote.

Drum Cypha's 'Centaurs' is another hard hitting track. Atmospheric sustained melodies lead to rolling crunchy amens that pave way to a breakdown where the second drop lifts off and hits you right in the face. The track has a Sci Wax feel about it and is a serious club banger bound to get the crowd rolling. Amen smasher from the main man Drum Cypha.

Part two of the remix series starts with Dave Hoax taking on the Jungle influenced Without Purpose originally by Earl Grey. The signature pads set the background as Dave turns up the distortion on the drum breaks. The sub is low and rattling and the variations and edits on the rhythm are frequent.

Relapse's rolling eight minute Drumfunk track from 2011 is transformed by Shins-K into a 4/4 grungy Techno track. The original drum break is splintered with filters and pitch shifts layered over the kick drums. The distorted pads surge in aggressively and then thin out into the background.

Fushara takes the title track from the Temnota EP in an uplifting introspective direction by adding new harmonies. As the number of layers in the harmony grows more complex, the percussion switches rapidly between the different drum kits.

12 Sweet jazzy tracks to chill out to.

For its latest release, Weirdest Dream has landed on Dopeness Galore for a supernova of atmospheric sounds called White Worms.
.
Weirdest Dream is the moniker and playground of Stockholm-based galactic explorers Daniel Fagerström & Luciano Leiva. With a history of releases on 'RVNG' and 'Permanent Vacation', the duo plays around in a constellation of all analog and early digital synthesizers such as the TR-909, Waldorf Microwave, Yamaha DX7,
Roland Juno-60 and Akai MPCs.

An ambient cloud of sonic surrealism, White Worms is a curious exploration of the celestial sphere through echoes of Patrick Cowley, Sensations Fix and Tangerine Dream.'

Until the day breaks
And the shadows flee

'Chronos' is the debut album of Berlin-based trio AUSKLANG. Presenting a perfect blend of ambient and post-rock music, Chronos traces all the veins of rock, from a grandiose ensemble sound of a cinematic soundtrack to the delicate natures of ambient soundscapes. Each song has its own pulse and signature, giving a new feeling each time.

From the mouldy basements that Zygos inhabited, TRUSIK turns eastward to Back to Chill cohort and recent GourmetBeats artist, CITY1, for a brand new three track EP that pushes dubstep beyond its current 808 and trap leanings into something far more interesting.

The title track “Buluu” shimmers and glides effortlessly with a hang-drum melodic rhythm that surrounds itself against cascading snares and hi-hats that echo off into infinity for a meditative voyage towards Takamagahara.

“Bega”, on the other hand, leads us down a cybernetic tunnel of pneumatic sub-bass concussions that thrust the listener into a deeper, more augmented version of the world comprised from lines of computer code.

As the dust settles, CITY1 initiates “Cosmic Chant” which has a soft, lulling piano figure rising upward from what is left of the ruins until it cracks into a staggering construction of melodic bleeping and fluctuating sub-bass lines that roll and crest like the waves of the Pacific Ocean.

On the visual side of this release, TRUSIK has brought onboard Japanese artist Hisanori Yagi whose surreal, yet familiar artwork evokes and compliments the mystical sonic world that CITY1 has created for our seventh record.

Recorded in London by David Ros, 12th March 2019

Mastered by Simon Scott @ SPS Mastering

CIA Records is an imprint who has remained at the centre of drum & basses history, with esteemed producers Total Science creating it during the genre's formative years in 1997.

The forthcoming EP on CIA, Field's 'Intention Dub', highlights the eclectic mix of artists who have joined the roster since its first release. Featuring a variety of collaborative producers, the six-track EP exemplifies the talented intricacies of Fields and his masterful song compositions. The names that run alongside Fields stand out within their own right, with underground stalwarts Mako, and McLeod, roller top dog Break, frequent partner Villem (who go under their pseudonym Mute) and Forren, who also makes an appearance. As a collective, they represent many of the artists who helped CIA build their impressive back catalogue.

Fields, Break, Villem & McLeod produce a heavyweight formula through 'Intention Dub', an energetic roller which flips between its ingenious use of instrumentals and flicking bass stabs. Its beginning drum rolls create a formation of what's to come from such a formidable outfit of artists, warming up the track for its full audio assault as it breaks. 'Takashi' moves forward with the help of Forren, kicking into play amongst cackling snares and lunging kick drums. Following 'Takashi' is 'Full Court Press', drawing in the straight-cut production style and methodically chiselled compositions which make this EP such a stand out offering. The like of Fields' and Mako's 'Price of Imagination' pushes you through thoroughly built channels with shifting under layers of hi-hats and shattering snare. Its bassline provides a throbbing undercurrent, which offers a weightier edge. Villem then joins Fields for their next collaboration 'Kryos', which is stepped down but still states it presence with every clambering break. 'City Soul' is an individual release from Fields focusing on the same percussive atmosphere and it streams throughout its mix. It sets a backdrop for early mornings and late night sets, drawing for the minimalistic style which has helped propel his career. One prevalent throughout his 'Intention Dub' EP.

The package stands for what CIA deliver time after time, pivotal music releases which have remained of the highest standards for over two decades. And Fields has helped them achieve this yet again with another incredible EP.

Remastered original 1990's mix and 1993 Remix plus Mallorca Lee's Don't Panic Remix (Single Sided Bonus Disc).

While quite a few people are obviously still dwelling in the achievements of Munich's disco era during the 1980s, it seems that another major part of the cities partying scene travels to the same clubs every weekend. Here they are getting fed with the plasticized Beatport Tech House trax that everybody wants, drinking Vodka Red Bull until they almost pass out and walk - if they are still able to - home happily, oversaturated by non-inventive, but good selling music. So far the cliché. Fortunately, reality looks a bit different, at least for the lovers of UK Bass.

In order to make people aware of the city's flourishing developments in this scene, the grandmasters of Ruffhouse and Jahmoni Records have teamed up for a limited 10".

On the A-side, Ruffhouse's no. 1 mobster and Lacoste track suit model Top Shotta shows us his "Power Reserve". Kicking off with a straight and technoid bass drum, surrounded by delayed echos and industrial patterns, the track unfolds his way into the ear and body of the listener. Later on, the beat transforms into a half-stepped, Post-Electro hybrid, well accompanied and bedded in by the carefully selected percussions. Without a doubt a more dark approach to the recently released first Ruffhouse EP of his buddy Pastiche, that fits well with the manifest destiny of this young and delightfully fresh label.

Jahmoni's boss and sound magician BELP delivers the flip, rather an AA-Side. "Queen of Darkness" needs no further explanation. Just like in his previous works, his avant-garde take on UK Bass results in a sinister, mean kicking monster. Layered drum sounds, nastily rattling percussions and effects define the sonic signature of BELP, whose love for drone and glitch sounds is constantly shining through in every second of this track. "Queen of Darkness" is a little prequel to "Hippopotamus", which is going to be released later this year and that will furthermore define BELP's very own interpretation of Afro-Futurism and Tribal Spiritualism.

With labels like Jahmoni and Ruffhouse, people will no longer have to be afraid of Munich's musical future - it has already arrived.

4th release from Foamplate's Plantpower label.

Forthcoming Repress

Pre-order is essential !

2LP is mastered for Exceptional Sound LTD Edition includes : 2LP + Book + OCard + Clear PVC Sleeve CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN MIXING BY NICOLAS JAAR AND PATRICK HIGGINS * In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins’ Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s. 8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music 8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole 9/10 Loud & Quiet - Jaar’s music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar’s first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He’s showing us now. NICOLAS JAAR BIOGRAPHY NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path. For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others). In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d’Or at Cannes 2015). In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio sta

a a1. Nucleus & Paradox - Love Her rm*

Sicknote and Dissect are welcomed to the label via their collaborative effort 'Reset It'. Opening on a sparkling pad, the track builds through layers of vocals and breaks before descending into thunderous junglist mayhem. Hypnotic melodies and rave stabs join the fray to complete the old-school aesthetic, while maintaining the London-based producers' signature dancefloor feel. Dispensing with anything close to subtlety, Mike and Lewis opt for brute force over intricate break edits to present a classic Summertime anthem.

For the flip, Total Science are tasked with remix duties. Joining forces with Detrimental for the first time, the legendary duo deliver bending the original sounds around their trademark snarling bass lines to devastating effect. Pushing into much deeper territory, the track rolls out with a furious energy and closes out the second drop with a hook that would feel right at home in a dark basement at 4am.

With a side for any mood, this very limited 12' marks the return of Detrimental Audio after a year-long hiatus.

Phreak is a party and label based in Tokyo.First release “UTAKATA EP” is written and produced by Takashi Himeoka.

Shiro is the Samurai Music offshoot created specifically for emerging artists first solo release on vinyl.

Torn is a new face to the Samurai camp and our first signing from Russia. A St Petersburg native, Torn has been developing over recent years into one of the most interesting producers in the half step community with his tracks featuring heavily in the sets of many of the scenes most prominent DJ's including Homemade Weapons, Loxy, Clarity & Presha.

The Grethen EP is a gateway to the Torn sound. 'Stagnation' is the most traditional Drum and Bass of the EP with it's bouncing, grunting lurch. 'Grethen' goes down low and deep, while 'Self Reflection' is the tune bound to populate many DJ sets with it's tribal percussion. 'Insomnia' ups the intensity with frantic, restless energy to close the EP. More Torn music to come on Samurai later in 2017..

Diffrent Music is proud to welcome Type - the UK junglist and MPC jedi master behind the Tube Digga YouTube channel - to the SweetBox family.

On the A-side, a classic flavour meets a classic sound. ‘Cola Cubes’ is ruffneck jungle business of the highest order; all overdriven, high-octane choppage and gully b-line action that’s guaranteed to cause untold damage in any set.

On the flip, ‘Vibration’ sees Type in murky steppa mode. Leading in with the signature psychedelic time-stretching of the Akai S950, this one delivers the kind of overwhelming bass weight that’ll have your chest rattling into next week.

Black Uni Cover with Artwork Print

‘Evolve’ is the first full length album from composer, music producer and violinist Vito Gatto, a concept album that guides the listener on a one-way journey through the various phases of an imaginary evolutionary process. Gatto graduated in Violin from the Milan Conservatory of Music, his research starts from the unconventional application of a classical background into both making music in the studio, and live performances. For this work, Vito decided to put himself in a restricted composing and technical environment; all the arpeggiated sounds on the album are made from one single violin note that Vito sampled. He transforms the same note throughout the entire album, using the different treatment of this micro sample and the arpeggiator programming as the construction of a mutating and evolving structure. The album is Instinctively executed, almost improvised, and elements like distorted bass lines, hardcore inspired percussions, whistles and alienating string melodies represent unexpected alterations. Vito decided to keep these instinctive additions clean from excessive control as a representation of the beauty of the unpredictable. The album track list is an expression of evolutionary phases. From the minimalistic piano piece ‘Decomposition’ to ‘Quiete’ which expresses the state of calm after a shift has occurred, ‘Nostalgia’ and ‘Stasi’ represent a hazy trance like state. Vito challenges the listener to ask questions like ’am I in the right place? Is this who I set out to become? Do I have to keep evolving, or should I try to regress?’ ‘Evolve’ creates continuous connections between traditional and experimental music, creating dialogue between classical instruments and industrial techno, ambient, noise and de-constructed sounds. The Album will be released in both digital and vinyl formats via NeMu, a fresh new label founded by Vito Gatto himself. The label will focus on experimental projects based on the exchange between acoustic, concrete and electronic sources. The Artwork is part of ‘Jewels’, a series of ceramic sculptures by Benni Bosetto, courtesy of the artist and ADA Project, Rome

If you ever been to a Dubstep rave in the past 4 years you probably heard Under Control being smashed through the system. Nearly every DJ in the scene supported the original and it still holds it own to this day. A true dubstep classic that will not be forgotten so easily. Truth, The Widdler and the main man himself went in and delivered 3 mind blowing remixes that do the original so much justice. Something that doesnt happen very often some might say. Relive this Dubstep classic through the eyes of Truth, The Widdler and of course it's creator Bukez Finezt.

Breaks/Bleep bombs, limited pressing of 200 copies.

chincy

Etymologyedit

chince + -y

adjective

of poor quality; "cheap" (figurative) Tastelessly showy; cheap, gaudy, or tacky.

Chincy was made on a kitchen table using an Akai MPC3000, Moog Sub37 and a Korg Minilogue for hardware; plugged into a Midas Venice mixer, Crane Song STC-1, Thermionic Culture Rooster and Focusrite pre-amps for recording. Vocals by Chicago. Subs by car system tests. 808 by 808. Fingers by Landstrumm, bottoms by Brazil.

New Boddika EP on Nonplus Records

Almost a year on from his debut Metalheadz EP, HLZ presents the 'Amethyst EP' on Metalheadz Platinum due for release on vinyl this September.

The Italian-born, London-based producer encapsulates the modern day Metalheadz sound across 4 sublime solo tracks, from the effortless fluidity of the title track to the raucous vibrations of 'Break The Rules'. There's a familiar tastefulness from start to finish, full of thrills, twists and turns but also very raw in nature, something HLZ continues to execute throughout his impressively growing discography.

Ryan James Ford kicks off IDA's newly launched Savy Records with a versatile and banging four track release. A sign of what's to come from Savy in the future, the Canadian-born, Berlin-based producer's 'Six Stair' EP is a dynamic, commanding take on break beat infused emotive techno, a flawless blend of old and new.

Adred retains the huge momentum gained off the back of his main label debut to drop a stunning 4 track EP for Metalheadz Platinum. The ‘Captivate EP’ is headed up by a remix from Marcus Intalex who we’re honoured to be still featuring on Metalheadz, whilst later excursions on the release include collaborations with Ant TC1 (following on from ‘Stuck in a Loop’) and fellow New Yorker Dave Owen. Now a firm member of the Metalheadz family, Adred has delivered 2 quick-fire releases that showcase his musical intentions at their best.


a a1 Adred - Captivate ft. Robert Manos (Marcus Intalex Rmx

Future Archive Recordings is extremely proud and excited to present new material from BLOCKHEAD. The internationally renowned NYC producer has released 10 albums over the past 15 years, including four acclaimed records for Ninja Tune and numerous production jobs including notable works with Aesop Rock. He is regarded as one of the modern masters of instrumental hip-hop, and the forthcoming new album sees him return to record-label-released music with the bold and exciting roster at Future Archive Recordings (co-founded by artists Arms and Sleepers, Sun Glitters, Little People and CNJR, and also co-run by Mark McGlinchey).

Tresor's newest release features BNJMN on Body Reflections Pt. 1.

The four track EP captures a uniquely subdued mood that resides at the nexus of ambient dance music, and that integrates seamlessly with Tresor's penchant for restrained and dub-inflected techno.

Each track on the EP introduces symmetry and rhythm in the form of organic percussion. "Overskies" and "Enceladus" are more lethargic and ethereal, each blanketed with discordant melodies and arcing synth lines. "Hadal Zone" is more dance-oriented - here, a sophisticated interplay of percussive elements loop over plaintive vocals and soft harmonies. "Syzygy" then brings the EP to a techno-focused close with driving kicks, oscillating synths, and repeating minor chords.

Body Reflections Pt. 1 is deeply illustrative of BNJMN's affinity for creating nuanced and delicately balanced layers, and a culmination of his vast experience.

Do you have the skills to become the galaxy’s number-one DJ?
Boosterpack©
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Brazilian D&B producer Bungle has dropped new EP ‘Runaway, out 1st September via the rising Eloisa Records.

The three track EP begins with title track ‘Runaway’ that see’s a rolling and grit fuelled bassline interject superbly with sharp and snappy percussion. Things take a deeper and darker turn with ‘Unleashed’ as technical and expansive atmospherics run rampant throughout the tune as the drums chop and change exquisitely. Seeing things home is an industrial growler, and not one for the faint hearted. The aptly name ‘Articulate’ is Bungle at his best and will no doubt be a choice cut for DJs across the drum & bass spectrum.

Collector is the solo project of Jason Campbell who resides in Newcastle, Australia. Forced Extraction is his first release for Beat Concern following an LP on the Melbourne-based Drawing Heat, and tapes for seminal labels, Night People and Clan Destine Records. Campbell has honed his unique take on experimental techno over the last few years by building compositions with all analogue hardware and modular synthesis. Forced Extraction sees Collector at his most incisive, carving out four pummelling tracks across the 12". Piercing feedback, foreboding synth movements and bass drones are anchored by rigid drum programming with an attention to heavy industrial rhythms. An exciting peek into the coal-face of underground Australian electronics.

A lost ambient cosmic gem from Liquid Liquid founding member Dennis Young is getting a long-overdue vinyl reissue! Young, the percussionist and marimba player in the seminal New York art-wave group, recorded a series of cassette-only releases in the '80s after Liquid Liquid disbanded. A couple of these were picked up at the time for Korean release, which is where Daehan Electronics, a South Korea-based label dedicated to tracing the history of electronic music in the land of the morning calm, comes in.

Quest was one of these albums, part of a biorithmically-aligned New Age serie, each album meant to be heard on specific days of the week. DE has worked with Young to remaster the the album for this new release, bringing out the full warmth of the analog synthesizers used to create it. It is the first in a series of projected collaborations with Young, which will delve deeply into both the scarce cassette issues and other, unreleased material newly discovered on tapes. Liner notes outline the history of the record and include Young's own look back at the making of Quest.

DJCJ returns to his home on West End Communications, after a solid 4-tracker released on the the SMS digital series earlier this year. Powerful and energetic tracks to start, balanced with electro/ambient cuts on the flip."

DJCJ (real name Craig Johnston, CJ) (22 years young) has also released with my friends over at Craigie Knowes, both solo and under the Highfield Casuals alias as a collab project with our very own The Burrell Connection.

With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of »using the studio as a compositional tool« and recorded and released three Dome albums on their own label in the space of 12 months: »Dome« (July 1980), »Dome 2« (October 1980) and »Dome 3« (October 1981). A final fourth album, »Will You Speak this World: Dome 4« was released on the Norwegian Uniton label in May 1983.

These albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.

One of Detroit Electro's most unique producers Erik Travis is back!

Some more semi live machine tickling by DSG, this time 6 rough & ready tracks.

Red Vinyl

Originally released as the A-side of The Psychology EP on Another Planet Records, with the B-side by a group called Dimension. But due to not being able to locate any of the members of Dimension for over a year, the decision was made to just release the A-side of this amazing EP and add the 1992 remix of ‘Free Your Mind’ that came out the following year on Another Planet. Since the release of this record though, Dimension have made contact with Vinyl Fanatiks and their tracks will also soon be set for releasing.

‘Free Your Mind’ is the hardcore purist’s favourite tune and light years ahead of the rest when it was originally released in 1991, 29 years ago! We at Vinyl Fanatiks are super excited to let you hear these 4 tracks together on one piece of vinyl for the first time.

Released in a Vinyl Fanatiks housebag on 180 gram heavyweight RED vinyl.

When the world slipped into madness last month, the ESP Institute put most releases on the back-burner to await brighter days, but then we thought again; why not approach these odd circumstances the way we do most realities, positively and head-on? We’re committed to a community that builds new worlds — this is fundamental to our creative and spiritual relationship with Osaka-born, cosmos-straggling artist, Ground — and while temporarily we can’t physically congregate to uplift each other, its our responsibility as an institution to maintain a platform for prolific creative pioneers, our cherished cartographers of cognitive escape. 'Wakusei' is wonderfully confusing and disorienting music, a follow-up EP to 2018’s critically acclaimed album 'Sunizm', not created specifically for life under lockdown, but nonetheless aptly suited to help release angst, guide meditation, and assist in making this moment in history more interesting if not transcendental. Whereas 'Sunizm' relied on field recordings gathered from rainforests, percussions learned from imaginary ancient civilizations, and the somehow organic freneticism of a mission control meltdown, the aesthetic of 'Wakusei' reduces this abstract instrumentation one step further to a more base-level array of gurgling synth scraps, accelerating engine friction and static-bound phonetic mistakes, all scrubbed into dust by a Brillo pad of white noise. The cliché of “great art is born out of hard times” is not lost upon us — of course the world will look back to this turmoil and its residual contributions to culture — but we see today's art as an immediate coping mechanism, and artists like Ground helping to unlock and navigate internal utopias. We’re already indoors, let’s delve inside.

On August 21st rising DJ/producer Haider presents the ‘Endless Clouds’ EP on his own label Breaker Breaker, where pristine future electro meets high tech funk and raw, jacking house. This new release follows praise from a wide selection of world-class DJs and media for his past 12”s, not to mention achievements as label owner, party promoter, canny early spotter of talent and general proactive instigator. Now based in Berlin but originally from Sheffield via a stint in London, there’s a commonality throughout all of Haider Masroor’s music that links both thematically and geographically. His
productions recall both Steel City bleep and its distant younger cousin bassline, using only sparse elements, with beats and bass at the fore, to deadly effect. London is audible too via
the spiky energy of grime and the swinging shuffle of UK funky, and so is Berlin, evident in the sleek sheen and efficient precision.
On ‘Maracuja’ lush pads, pitched-up vocal snippets, bleeps and proper electro beats ride atop a deep, purring bassline that unfurls like giant waves, with sub bass punctuation adding further hefty depth.
The bouncy, punchy beats and pristine gleam of ‘I Came To Destroy’ are somewhere between celestial Miami bass and the aquatic grooves of Drexciya, again propelled by gigantic slo-mo bass tones.
A modern take on the cut-up samples of 90s house, on ‘Grove Street’ Haider mixes elements of classic French touch, Chicago rawness and low fi outsider grit, to create something very enticing indeed.

Good Company Records awakens from a deep slumber to present two new West Coast dreamscapes, proudly written and recorded on Noongar boodja (its local country). Up first is GCR009, the debut LP from Leaving (Rupert Thomas), featuring deep drones and gutsy ambience recorded between 2013 and 2017 - available digitally and as a limited edition 12” (release forthcoming). Thomas’ inimitable wavescaping is complemented by local photographer Duncan Wright’s aerial landscape on the cover, and speaks to the record’s special connection to its country – sound and image forming the perfect package for a cheeky meditation on your morning commute, first brew of the day in hand, or cuddled up somewhere comfy, resonating harmoniously with your beloved.

Originally issued in 1984 by Electrecord, the only record label in communist-era Romania. Sub Rosa brings these two fantastic avant-garde electronic compositions back on vinyl in their Early Electronic Series!

Octavian Nemescu was born in Pascani (Romania) in 1940. He studied composition with Mihail Jora at University of Music in Bucharest. As he was still a student, he imposed himself as part of avant-garde movement in Romanian compositional music. After 1965 he achieves works of the "open creation" type, of conceptual and environmental music. He involves himself after 1967 into the Romanian spectral trend. Starting with the work Concentric (1969), his creation has got archetypal vocation by cultivating an aesthetic of the essentializing.

Octavian Nemescu cultivated the archetypal goals on all parameters and musical forms. He is the author of implosive music and of imaginary music. He composed multi-, post-, non- and pre-symphonies. Lately he is interested by music with initiation character, developed in a non-spectacular, ritualic atmosphere, as a chance to revigorate the old mysteries and as a modality of awakening from the biological, mental and spiritual sleep.

Gradeatia was composed in 1982. This piece was commissioned by the Electroacoustic Music Studio in Gent (Belgium) where it was elaborated. It was conceived as ambient music for Voronet Monastery (Moldavia), as an electronic-audio fresco paralleling the existing one, of mural-visual consistency. It happened in a historic moment when the communist regime in Romania demolished many churches. And this piece was conceived as a protest to these actions.

Natural was composed in 1973 but finalzied in 1983. This music has a spectral aesthetic orientation and at the same time, processual and archetypal orientations.

Delving deeper into the Oubys universe, beyond known and unknown territory. A true trip from start to finish, and backwards!

ALL TRACKS WRITTEN & PRODUCED BY RENALDO AND THE LOAF

COVER DESIGN & LAYOUT BY NIK VOID

ORIGINAL ALBUM ARTWORK BY GARY PANTER

RE-MASTERED FOR VINYL AND CUT BY RASHAD BECKER AT D&M, BERLIN, NOV 2018

LARVAE RECORDED AT ODD TIMES AT SNEFF'S SURGERY BETWEEN NOV. 1979 & NOV 1980

ORIGINAL MIXED AT ELEPHANT STUDIOS, LONDON NOV 1980

SURGERY SELECTIONS RECORDED DURING 1980 AND 1981

© ROTCOD PRODUCTIONS 1981 & 2013

THIS VINYL REISSUE MANUFACTURED & RELEASED BY EDITIONS MEGO, 2019

A biomedical scientist and an architect form a band in the early 70's with nothing by the way of traditional musical talent or skill but with endless enthusiasm and their own unique musical sensibility.

The ensuing career and creative output of this ongoing home studio / bedroom band remains one of the most significant song based 'outre' catalogues ever produced in the United Kingdom. This comprehensive 2 LP (+7" for first 300 copies) set contains their first official LP (originally released on The Residents legendary Ralph records label) along with an extra album of different versions and extra tracks which reside here for the first time on vinyl.

The duo Renaldo & The Loaf, originally Portsmouth based, now in Portsmouth and Mid-Wales, remain an enigma whilst amassing an enormous cult following worldwide. Their singular take on music encompasses wit, strange melodic construction and an off kilter

sensibility which successfully rendered them engaging for each emerging generation. The ability of Renaldo & The Loaf to unnerve and entertain in equal measure is what binds these songs to a musical universe outside of all other forms that existed around the time of release. The Residents are obvious spiritual heirs.

Songs For Swinging Larvae is a classic collection of confounding songs which lead the listener into a surreal world of twisted tunes and perverted pop. Songs from the Surgery is made up of improvisations, early/alternative versions of various Larvae tracks and unreleased

pieces from the same period.

The results leave one laughing through a thick veil of unease. As the original Ralph records press release said of Songs For Swinging Larvae: "This is an album of primitive modernism, energetic obnoxious noises, manic high pitched vocals and sweet brilliance





























27. The Hydrophile
| 28. Gone to Gondwana (Original Version)
29. Token Nudity
[~] 30. N2O (Going Under) [Alternative Mix]
[] 31. It Is What It Is (Really)
[€] 32. Father Always Kept His Hand Closed
[] 33. Ldi – 1
[‚] 34. Ldi – 2 + Untitled Voice & Guitar Piece
[ƒ] 35. Ldi – 3
[„] 36. Ldi – 4
[…] 37. Ldi – 5



























[] 27. The Hydrophile
[|] 28. Gone to Gondwana (Original Version)
[] 29. Token Nudity
[~] 30. N2O (Going Under) [Alternative Mix]
[] 31. It Is What It Is (Really)
[€] 32. Father Always Kept His Hand Closed
[] 33. Ldi – 1
[‚] 34. Ldi – 2 + Untitled Voice & Guitar Piece
[ƒ] 35. Ldi – 3
[„] 36. Ldi – 4
[…] 37. Ldi – 5






























[Alternative Mix]

Welcome To Unreality Records Has The Pleasure To Presents For The First Release Dean Dennis Aka Sector.
Selected Tracks From The Sector Debut. Made In Sheffield During 1993-1994, Having Finally Left Clock Dva In Late 1992, Guy Fawkes Night To Be Exact.
A Mix Of Techno, Downtempo And Drum'n'bass That Makes This Ep A Trip Into The Uk Electronic Music Scene Of The 90's.

The album includes the most direct and propulsive Shinoby material yet. There is a functional connection to dance music here, honing in on the celestial bliss's human element embedded within a sound fraught with inhumanity.The music is emotional, hostile, dark, grungy, dissenting, acidic and energetic. Mostly based on repetitive patterns, the distorted yet perfectly balanced percussion drills through the concrete warehouse walls long into the night. The not occasional use of distortion brings the dense atmosphere to near suffocating limits.

Der einzigartige Sound der beiden irischstämmigen Zwillingsschwestern Georgina & Una McGeough aka Song Sung aus New York klingt hypnotisch, mysteriös und hymnisch, wie von einer Girlgroup aus dem Weltraumzeitalter. Was kein Wunder ist, entstand doch ihr Debütalbum "The Ascension Is Ours" in Kooperation mit dem irischen Top-Produzenten David Holmes (Noel Gallagher, Killing Eve OST) und seinem Unloved-Duo-Partner, dem US-Filmkomponisten Keefus Ciancia (True Detectives OST), die zu Lyrics und Vocalmelodien von Song Sung die Arrangements beisteuerten.

J.Derwort (15/07/1952 - 11/02/2019) left all his flutes, old guitars, strange percussion and some weird found objects at the Chi Factory studio. Hanyo van Oosterom went back to Patmos in April 2019 to visit all the magic places where Chi once started. He recorded the basics for ‘Travel in Peace’. Playing and recording these handmade bamboo flutes without the master himself being there was a lonely and emotional journey. But along the way the magic connection returned and the last Chi Factory album was born. On ‘Santa Fe’ and ‘Last Breath’ samples were used of J.Derwort during his last weeks in Santa Fe, Spain. The Chi circle is now closed. Chi Factory will move on as ‘Sons of Chi’. A new platform for different collabs and new adventures in sound. The legacy will live on, so will we.

Hanyo: As J.Derwort explained by a dream he is now in a wonderful place far away and still so close. The dream came during the recordings when I asked him how he is and where he is. I saw beautiful and ever changing constructions of plants. Nothing else. No words and just a simple explanation: everything is created and connected by intuitive vegetable intelligence. The opening piece ‘Bless You’ is the last track I recorded, it reflects the memory of my dream the most. I almost decided to start all over again, but I did not. Hope you like the last Chi Factory album, thx for all your support, also to my good friend and soul brother J.Derwort this meant a lot. One love!

Newest Episode On Cdt & La Chinerie's "nation Techno" Special Series. Like It Was Done On Sister "nation House", It'was Time To Focus On Italy.

This Compilation Of 8 Tracks By 8 Artists Gives Us An Overview Of The Italian Scene And Its Different Components.

From The Finest "italian" Techno With It's Atmospheric Pads, Repetitive, Progressive And Mental Sequences To More Audacious Stuff Between Techno, Idm, Electro, Breakbeat & Breakcore.

Josey Rebelle is the deserving recipient of many accolades and awards, though heraccomplishments are, as with all great artists, unquantifiable. Just as herstyle doesn’t fit neatly into a few-word package, Josey In Space combines classic and current sensibilities with a selection of exclusive and elusivemusic to elevate this mix beyond the ephemeral to the eternal.

Drawing from a kaleidoscope of deeply felt and understood sounds, Josey studies and collocates history as well as directing it's course.

With her sets on the air & in the club, Josey urges you to listen close to the story, to feel the energetic shifts in style, sound, speed, mix; up, down, rough and smooth.

Josey’s sets are motivated by the ineffable and inevitable dance, mess and sweat oflife: “eclectic,” an oft-applied catchall, just scrapes the surface of this scope and vividness.

The reciprocal relationship between radio and club DJing are integral to Josey’s practice. Joining Rinse FM in 2011 with a covert 3-5 am Thursday slot, her now venerated weekly Sunday show delivers a universe in two hours, filled with selections from across the spectrum - house and techno, breaks, jazz, soul and analogous electronic music, to start- and carries the voices of emerging artists & their communities.

Evincing a lifelong commitment to ravenous, compulsory listening, and encouraging this in others, Josey furthers a localized lineage
tracing back to the golden era of Londonpirate radio.

Plenty of lore is out there about Josey’s journey as a club DJ with a glinting reputation the world over. Her style is broadly and essentially UK (especially from a US vantage), in content and mixing. But she doesn’t simply follow a school; her methods are always responsive to the track at hand. Josey lets “the tunes speak – or shout, or whisper – for themselves giving them space to breathe.” Within this framework she allows tracks with both complementary and dissonant elements to meet, run over each other, break apart, or just brush each other by.

Josey in Space reflects this finesse and versatility across twenty selections, a number of which will see their digital debut inside and outside of Josey’s mix as standalone cuts. DJ Marcelle’s outre dub clatter bookends the plot, featuring up-and-comers of club sound like rRoxymore, AFRODEUTSCHE and Molinaro alongside consistent innovators like Titonton Duvante, Nubian Mindz, Hieroglyphic Being, Uschi Classen and Robert Owens.

Tenesha The Wordsmith’s afro-futurist visioning and poetic eulogy “I Dream So Loud” invokes a healing mantra at the outset, and emphasizes an imaginative resilience embedded in the unequivocally black history of dance music. Moving knowledgeably through this unfolding history, Josey in Space celebrates US house- and techno history along with UK soulful bass, breaks and beyond as in Loraine James’ “Glitch Bitch,” or the second-to-last tenderly offered “Praises” from Lex Amor.

On the 12” Version, fouressential tracks are lifted from the mix for DJready use: Fotomachine’s spectral techno transporter “BBoy”; the warm, broken-beat sashay of Shy One’s “Route II Romeos”; Access 58’s 1999 instigator “Jazz Drama”; and the uplifting jungle tune “Dance Of The Sarooes (Nookie Remix)” from Rogue Unit.

Available as a track-focused 12”, mixed CD & mixed, - unmixed digital version, Josey in Space is the second outing in a new "Beats in Space" series celebrating dancemusic’s form & informality- and the selectors guiding it's evolution.

vtgnike is danil avramov, born in Vladimir,russia. started actively
making music in 2010 after moving to moscow. after releasing couple of
eps under different monikers, got a few vtgnike d.i.y. cds(one of
those probably got into nico's ears in NY) i've got beautifull DUBNA
LP on other people(yes really still think its a great record) and few
month after its release got in jail because of drug charges dated
2009. long story here. im 100% on weed legalization and
decriminalization of other drugs in a logically gentle and mentally
stable sociaty(and the world is not equal, its diversed and i respect
all non violent cultures :-). got free in 2016(THANKS TO EVERYONE
INVOLVED AND NICO) and got another album with a gostzvuk fam.
i am a proud resident of NII club.
in producing i've been switching music genres all my life ) electronic
music that has a flow in it, dosnt need to be glued to any specific
range of bpm, etc.

Then one of Med School’s youngest ever signings with his compilation feature ‘No More’, drum & bass head turner Whiney has stepped up to the plate for his first solo release since officially joining the Hospital Records roster.

Reputable for supplying heavy duty sonics, ‘Bubblers Part One’ is a supreme development of the 25-year old’s highly sought signature sound. Home to four fresh cuts marking the start of his trailblazing new three-part ‘Bubblers’ series, Whiney’s latest EP proves he’s got the technique and flair to be a lead player in the scene Jungle-infused gritty stepper ‘No Good’ gets things rolling with old-school soundscapes and a captivating R&B style vocal. A fierce ascending bassline accompanied by raw breaks and crisp percussion hits explode into play, setting the track up to be a future classic that continues to carry the foundations of drum & bass into the sounds of today. Featuring the vocals of mic veteran MC GQ, ‘Guernsey Airport Bubbler’ is straight-talking and deadly. Written in the lounge of Guernsey Airport amidst his busy touring schedule pre-lockdown, this quirky heavy hitter comes close to being a textbook audible representation of a true bubbler. Minimal sounding and darker in vibe, ‘Black Ice’ offers a copious amount of distorted swells, a throbbing sub line and snappy drums which keep the tune swinging throughout. Icey by name but extremely hot in nature - proceed with caution! ‘November’ rounds off the EP as it draws closer to Whiney’s trip-hop
and future bass oriented inspirations. Thumping kick drums, high pitched vocal chops and dreamy synth work are projected into a glistening beacon showcasing the far reaching ability of his skill as a creator. With an impressive collection of releases under his belt on the recently closed Med School imprint, including ‘Stop The Clock / Breadcrumbs (feat. BOP)’, his ‘Waystone’ LP and debut album ‘Talisman’, it’s now time for Whiney to officially join the Hospital Records roster with his first solo release on the label as he continues to pave his way to becoming one of the most respected artists within
drum & bass.

The Death of Rave is over the moon to present ‘Perfect Oracle’, a staggering debut EP of
hyperpresent dancefloor dread and aerobic-mystic torque by Athenian artist Xyn Cabal.
Years in the works, the 5-track ‘Perfect Oracle’ EP finds Xyn Cabal poetically turning the pressures
of life in Athens and the modern world into diamond-cut but deliquescent future club music.
It’s a cuttingly critical exploration of dance music dramaturgy, crystallising fluid tessellations
of dembow, gqom, weightless grime and kuduro rhythms with emotive, bittersweet melodic
arrangements.
Hailing from Athens, Xyn Cabal’s music is perhaps unavoidably influenced by a timeless and deeply
rooted conception of the syncretic, fractious culture and politics that plays out in his everyday
life in between his studies of mathematical logic - a form of metamathematics closely connected
to theoretical computer science - and the riots which occur on exactly the same city streets
most weeks since the 2008 financial crash. From this heightened yet hyper-normalised state of
mind, Xyn Cabal’s music speaks to feelings of tempered rage and frustration as much as ideas of
reconciliation and transcendence.
With ‘Perfect Oracle’ Xyn Cabal takes the dancefloor as an ideal arena or TAZ for parsing or
modelling this push and pull of physical, noumenal, and virtual forces. On the A-side his 9 minute
blinder ‘E’ traverses a post-apocalyptic playground of brittle but shatterproof dembow drums,
minor key synths and black hole trance breakdowns, before ‘Nowei’ unfurls a grimy cinematic
elegy for the dispossessed. On the B-side, his permutations of Arabic vocals and subbass
loops synch with upended drums in the EP’s titular highlight, while ‘Veil Ordnance’ pushes his
rhythm programming to breathtaking, spiralling im/possibilities begging to be interpreted by
contemporary dance companies, and ‘MSF Venom’ sounds the riot with slow motion Molotov
drops turned into a noisy reggaeton beast.
The results resonate with music from TCF and Æ thru to Total Freedom, Arca and Croww, but
crucially and uniquely, Xyn Cabal’s music strives to consolidate a much broader set of reference
points, navigating mathematically psychedelic, emotive, and remarkably meta routes between
hyperlocal, rhizomatic, and cosmic nodes of the world’s dancefloor.

A multi-platform production that explores the overlap between the digital and the organic through field recordings of Inuit throat singing may sound, on surface level, to be something that is a rather niche. However, Zoe Mc Pherson's exploration of this world on String Figures is a deeply rhythmic, immersive and forward-thinking piece of electronic- leaning music that remains just as danceable as it does experimental.
The album is fundamentally one of duality, exploring the traditional and the contemporary, organic and electronic, audio and visual, history and the future. Rooted in this duality is also a core theme around string being one of the most ancient and playful art forms and the seemingly infinite possibilities it offers in terms of shapes, structures and figures lines up with this as a trans-global art project. One that over time will involve video art, choreography, 3D motion design, macro film, instrumental and electronic sound. Although for now is being presented through an AV performance, films and a record with Mc Pherson collaborating with director Alessandra Leone.!
Over the seven tracks (which are laid out as chapters) the record explores glitchy electronics, dub-tinged grooves, polyrhythms, and a huge array of instruments that takes in quiet blasts of atonal sax alongside wonky synths. This of course cross-pollinates with the throat singing and experimental field recordings to create an utterly inimitable sonic sphere. For Mc Pherson it's about mixing worlds, histories and timeframes and she uses a 1991 quote from Laurie Spiegel to hit home how she has elaborated upon this original thought of history and future overlapping. 'Folk music is considered anonymous common property in a culture and that's what a lot of computer music and other kinds of music data may end up becoming.' However, there's also a purer reason for the exploration of these worlds and colliding them together. 'Basically I thought that electronic music that is only digital is a bit boring and as I'm connected to jazz music for many reasons, I wanted it to sound organic: real instrumentation, field recordings.'

Chicagoan Brian Case is returning to Hands in the Dark with his fourth release under his own name, Parallel Voices.

In a sense, the album is elliptical: Whilst, musically speaking, the American artist comes back to the start of his solo work by producing a fully instrumental album, he also delivers a story which informs the landscape Case lives in now, and always imbibes it with a sense of tension and dark undercurrents. You might think at first that the voice he uses is abstract, however the work leads us to realise that music is the language itself, delivering a concrete narrative through the album. The message flows freely, with a palpable friction bubbling at the surface all the way through, mirroring the tense and disturbing atmosphere that has settled across the globe over the last few months.

Brian Case takes us in a new artistic direction with his most personal album to date, in the form of an urgent and poignant testimony.

The title of Miki Yui’s seventh solo album Aperio! is derived from the latin origin of April, "aperire" meaning “to open” or “to reveal”. Hinting at the way her music unveils another reality which is hidden beneath the surface. The title also reflects the aperiodic character of the music, its irregularity. Like a magic word to reveal the mysterious cosmos, each song opens up another intimate world of wonders.

„All my work emerges from my physical experience, the inspiration often comes much later though, after the experience is digested and almost forgotten, then it crystallises and becomes a source for my music.“

It is indeed no accident that the first track of Aperio! is entitled „Listening (oneness)“: it vibrates for ten full minutes with and within
us. It reflects the art of Miki Yui coming into existence. The Düsseldorf based Japanese artist approaches the world around her from a sensual perspective rather than in an analytic-logical way, still both paradigms of art production manifest their influence on the process. Miki Yui says: „In my music, I play the game of turning the abstract into concrete and vice versa.“

This is obvious in all of the compositions on Aperio!. Her music combines otherworldly and dream world experiences, creating environments of multiple atmospheres, both warm and inviting but at times irritatingly cold and airless. They stimulate all kinds of feelings in us: astonishment, sadness, yearning, wondering, and hope. For her it does not matter where the elements of her cobweb originate: from field recordings to abstract and artificial creations to electroacoustic sounds. She remarks, “revealing the source would only limit the imagination of the listeners. My sounds exist to trigger their own imagination“
Miki Yui is born in Tokyo, based in Düsseldorf. Crossing the boundary of music and fine art, she is known for her unique minimalistic and organic approach towards music since 1999 exploring the grey zone of our perception and imagination. Since 2008, parallel to her own work, she is in charge of the Klaus Dinger Archive, who was her partner.

Maybe these titles, torn as they are from cinema screens and the pages of literature and philosophy, give a feeling of romantic or sexual love or some dark pool of nostalgia but that’s not it, or it could be if you want it for yourself but not for me, not now; for me it’s about the teeming proliferation of complex events in the world, their vivid, hyperreal intensity as this human life steps closer to its end and their sense of fading, like a mist that thins out to leave not a clear bright day but almost nothing of substance as all that beauty is crushed, burned, dug up, wiped out, to be replaced by banality, so it’s about a language of love and desire in which we speak openly to all the unknowns, the speculative, the ancestral, the forgotten, the different, the extinct, the unimaginably distant and vast, the incomprehensibly small and intimately close, the fast or the slow, as if as we spoke we were becalmed in a wooden galleon off the coast of Java, sleeping microscopically in soil of a thousand years hence, hearing the voice of a dead person from the rim of a vibrating cup, gliding backwards and weightless through the alleyways of a city unrecognisable yet heartbreaking in its poverty, speaking in conference with winged and amphibious beings, crouching in a cavern whose opening only reveals the spectre of many wonders now apprehended as memories of the skin, heard through cheekbones, nostrils, the crepitation as a neck turns, pains of the knee and thumb and some not yet fully understood sensation within the throat which suggests a way of comprehending that which is being lost of this magical place. All I desire is what already exists or once existed, now falling asleep outside the world.

Don’t ask me about genre or consistency. Who cares? Half the world is drowning; the other half is in flames. Each story is an animal, a plant, something you drink, a surface you touch, a faint line, some memory emanating from a cardboard box. “’Things’ in themselves are only events that for a while are monotonous,” wrote Carlo Rovelli in The Order of Time. Maybe sounds are melting ‘things’, tired of the monotonous real.

Apparition painting is the term used to describe a certain type of ancient Chinese painting of the twelfth and thirteenth centuries. In these works, often associated with Chan (Zen) teachings, the ink used to depict the subject was exceptionally pale, the background lacking in any detail. As Yukio Lippit has written: “This combination results in remarkably self-dissembling images that somehow compromise their own visibility. Apparition painting appears to capture its subjects in mid-fade, as if managing to preserve only a dimly translucent afterimage of a bygone entity.”

– David Toop

Four Ghetto UK bangers including a featuring with the king of the Chicago ghetto house Paul Johnson. Fucking bass in your face. Hard twerk & cantona kick in your club.

Hotspring presents the LP ‘Obit For Sunshade’ on Mood Hut Records.

Obit For Sunshade is digital technology half buried in the soil, transparent emotion in the intertidal zone; ferns growing by night out of a 4x4 flatbed. Brought to you by Scott Gailey.

Must have new Label from Detroit. You may know Meftah from remixing Amp Fiddler on Mahogani Music alongside Jahn Cloud, but this is him self on hoiw own new label. “Music That Excites Me” gives word on what is happening here. Addictive, seductive trips through deepest jazz-inflected house, dusty keys, live bass and loose, expressive percussion intertwine in a mellow, bluesy haze it´s all there reminding among many other on Theo Parrish & Kdj but with a very own , very unique notaton. Needless to say we have only a very limited initial ampount at hand

East London record shop World of Echo debuts on the other side of the counter with a reissue of Two Wishes, the solitary 12" by Anglo-German collective, Mutabor!. Seemingly lost to time, Mutabor! were first brought to World of Echo's attention when drummer/singer, Gary Asquith, played at the shop's first birthday celebrations while promoting one of his other bands, Rema Rema. And so the story goes...

Mutabor! emerged wraith-like from the monochromatic grit of Berlin's art punk underground late in 1981 when Asquith left London to set up temporary residence in the city following a chance meeting with Malaria's Bettina Koster backstage at a Birthday Party gig at the Lyceum earlier that year. Beguiled by the possibilities of collaboration, musical and otherwise, he was soon to make his own contributions to what was an already fecund scene. Partnering with Koster, and Gudrun Gut and Manon Duursma also of Malaria!, Mutabor! were publicly birthed via an impromptu performance at punk rock polestar the Risiko. Asquith found himself playing percussion in what would be a first, while the rest of the band ossified in front of him in typically idealistic post-punk democracy. Little documentation of the performance survives beyond that which exists in the memories of those playing - that itself shaky enough - though there was clearly sufficient encouragement for them to commit to a recording session.

Later that winter, the four booked time at Music Lab, the studio operated by Harris Johns, for what would ultimately be their only studio visit. Two songs were laid to tape, and soon after a photoshoot was to take place at Koster's flat, resulting in a handful of images that, along with the music, comprise the sum total evidence of the band's existence. 1001 Nights and Treats both found their way to Peter Kent, a co-founder of 4AD who had recently left the label with the ambition of starting his own imprint. Entitled Two Wishes, the two track 12" was to be the first and only release on Loaded. It seems that Mutabor! were to represent a series of firsts and lasts, a trend that continues now as they open the World of Echo imprint.

It's fitting to think of Mutabor! in these prescient terms given how they sounded. Berlin at that time shared a spiritual axis with New York, the conceptual & aesthetic discordance of no wave and a nascent off-beat dance culture underpinning much of the respective creative activity. There are shared signifiers, but even in that context, Two Wishes sounds oddly out of step, moving to its own unusual rhythm. 1001 Nights stutters along on a tribal beat that seems to run independent of skronking sax, spidery guitar lines and deadpan vocal incantations, the ghosts of two songs meeting in some kind of incompatible voodoo union. On the reverse, Treats slows down and dims the lights further, as Asquith sardonically recites desirous threats as an increasingly malevolent sax and guitar grinds behind him. No surprise the darkness within the music given the parent bands and the backdrop of a crepuscular early 80s Berlin, though there remains a complex compositional element to these songs that suggests a broader spectrum of emotion - desire, romance, and ultimately, infinite possibility.

Recut and mastered, Two Wishes is now presented with the original front cover artwork alongside additional imagery, including a 16 page booklet, all culled from Asquith's own archive. A brief bolt of energy at a crucial juncture in music history, Mutabor!'s story is emblematic of the mutli-verse of post-punk and the creativity its ideology necessitated.

Philipp Hülsenbeck and Michael Schönheit entered their collaborative space, the Great Hall of Gewandhaus Leipzig, in spring 2019, in order to explore the sonic potential of the Schuke organ juxtaposed with unrestrained electronic synthesis and otherworldy digital processing. With ease, clarity and fruitful respect towards the others craft, they composed Reaping From The Conflux, an hour long work of music, condensed in a synergy of opposing musical aesthetics, teetering between acoustic instrumentation and digital manipulation — a push and pull between discordance and tranquility. Intermingling the organic with the inorganic in an unbiased exchange, Hülsenbeck and Schönheit created a dense work shifting from sombre to celestial, leaving enough space in the room to allow sound to breathe. In order to interweave digital and material realms, Hülsenbeck’s software synthesizers blasting into the concert hall were given the same attention as the 6.845 pipes making up the gigantic organ, an instrument often referred to as the queen of instruments.

The sharp, synth-driven Peak Independence is counterpointed by the serenity that inhabits the repeating Basso Ostinato in Entities as well as Hülsenbeck’s piano playing on Now Smile. The latter two pieces feature contributions by Schönheit’s wife Katharina Dargel (Gewandhausorchester Leipzig) on viola, Tsepo Kolitsoe Pooe (The Miagi Orchestra, The String Archestra) on cello and Johannes Weber (Unguarded, Jungstötter) on double bass.

After his studies in conducting, piano and organ, Michael Schönheit started his first organist position in 1985, just one year before being appointed Gewandhausorganist in Leipzig in 1986. In this position he assumes artistic responsibility for the Gewandhaus organ concerts and thematic cycles, as well as collaborating with members of the Gewandhaus Orchestra in the chamber music series and appearing as soloist with the Orchestra. Michael Schönheit has been Artistic Director of the Merseburg Organ Festival since 1994, assuming the additional role of Merseburg Cathedral Organist in 1996. He is in great demand as soloist the world over, appearing across Europe, the USA and Japan. He has performed as soloist with orchestras such as the Gewandhaus Orchestra, Sächsische Staatskapelle Dresden, Munich Philharmonic and New York Philharmonic, to name but a few.

Philipp Hülsenbeck started his musical career as part of the experimental pop outfit Sizarr. Between 2009 and 2016, they released two albums, Psycho Boy Happy and Nurture, played tours across Europe with festival appearances in the USA, Iceland and Spain. After the band went on hiatus in 2017, he started focusing on his solo works, conceiving his solo debut Garden Of Stone, released in 2018 via Altin Village & Mine. Since 2017, he has been working with Fabian Altstötter as part of his project Jungstötter. Together with long-time collaborator Tim Roth (1k Flowers, Sin Maldita) he runs the record label and art platform Unguarded.

Reaping From The Conflux was commissioned by Gewandhaus Leipzig in 2019 as part of their collaborative program Two Play To Play. The event series Two Play To Play is initiated and produced by Gewandhaus Leipzig, since 2017. It is designed to bring together musicians from the free scene with ensembles of Gewandhausorchestra, to encourage a creative process over the course of a playtime and provide the basic requirements for a collaborative work to emerge from the process. Two Play To Play offers the participant musicians time and space to experiment with new ways of collaborating. The process is accompanied by portrait concerts, talks, public rehearsals and a blog documenting and showcasing the creative process. Through the program Gewandhausorchestra wants to nurture and intensify the cooperation between the orchestra and the free scene, give the audience an entrance to new musical forms, while providing the space for independent musical works to originate from it.

Clara! and Pearson Sound make their debut collaboration with 'Mi Cuerpo' (My Body), recorded remotely in Brussels and London in early 2020. Driven by Pearson's sharp snares, spiky FM synths and a rattling sub bassline, Clara's lyrics describe being lost in music yet in control of your own body movements; dancing alone without the gaze of others. At its midpoint the track builds to a frenzy, reaching a crescendo with the repeated chant of 'poco pudor y mucho sudor' (Don't be embarrassed, Get sweaty), and finally closing out with snippets of whispered vocals and gasps. Accompanying the main vocal mix is an extended instrumental version for the club, as well as a 3D video by Amsterdam-based Juliette Lizotte and Philip Ullman. DJ support from Joy O, Ben UFO + more

Plastic Ivy, who has made a name for herself in the underground spheres of analog synth experimentation, has released her first full length for Kraftjerkz, entitled “Spots of Time.” The album is as much a lyrical treasure as it is an analog synth dream, brought to life through abundant melodies and arpeggiations, alluring vocals, and a somber emotional tone that courses through the veins of the album.

Plastic Ivy’s influences are wide ranging; sonically, the nod to cold wave, the new romantics, and early indie is clear. Lyrically, the album draws influence from William Wordsworth to historian Timothy Snyder to jazz composer Billy Strayhorn. “Spots of Time” should be listened to with an ear held close to the lyrics, which are earnest yet detached, cooly crooned, and above all else—poetic. Standout tracks like “Images,” and “New Eyes” are entirely dance-worthy. Plastic Ivy casts a range of emotions in these new pieces: from vulnerable, lonely, and contemplative to nostalgic, romantic and transcendent. Overall, “Spots of Time” is an exquisite example of experimental synth pop.

Plastic Ivy, who has made a name for herself in the underground spheres of analog synth experimentation, has released her first full length for Kraftjerkz, entitled “Spots of Time.” The album is as much a lyrical treasure as it is an analog synth dream, brought to life through abundant melodies and arpeggiations, alluring vocals, and a somber emotional tone that courses through the veins of the album.

Plastic Ivy’s influences are wide ranging; sonically, the nod to cold wave, the new romantics, and early indie is clear. Lyrically, the album draws influence from William Wordsworth to historian Timothy Snyder to jazz composer Billy Strayhorn. “Spots of Time” should be listened to with an ear held close to the lyrics, which are earnest yet detached, cooly crooned, and above all else—poetic. Standout tracks like “Images,” and “New Eyes” are entirely dance-worthy. Plastic Ivy casts a range of emotions in these new pieces: from vulnerable, lonely, and contemplative to nostalgic, romantic and transcendent. Overall, “Spots of Time” is an exquisite example of experimental synth pop.

Label head Moopie and digger extraordinaire Bayu shine light on a set of gems excavated from a curious period of IDM-electronica. The sentimental sequel to their stunning I Won't Have To Think About You compilation, the ten tracks float in melancholic space yet sound beautifully human. Neo Ouija alumni Bauri and Plod meet deFocus' own Lackluster, while Abfahrt Hinwil, the legendary duo of Toytronic boss Chris Cunningham and Martin Haidinger exchange a letter of melody with Multiplex. Includes a previously minidisc-only (!) track by Proem and a superb cut by Merck Records' own MD, aka Jaakko Manninen. Full-colour, reverse-card sleeve with printed insert.

Zero makes his debut in Faith Discipline with an electronic album composed of wonderful landscapes with some ethnic influences. Great discovery

Rua debutant Arcane arrives with a 4 track EP of jungle infused, bass driven goodness high on melodic content and drum intricacy. Premiered on Sherelle's BBCR1 show (31 Aug).

Title track – Labyrinth - hits that jungle funny bone from the outset, with ripplingly programmed drum flushes knitting together chimes, pads and chord progressions, all on top of 808s. For fans of Good Looking Records and Sully's modern output.

"Planet X", a collab with Samurai Breaks, provides dancefloor energy as old school jungle staples meet modern production manoeuvres. The pace here is unrelenting, the bass full frontal, and the energy undeniably soundsystem centred, while maintain the melodic signatures that tie the EP together,

"Voyages" harks back to earlier Rua Sound adventures - a collage of genres, infectious halfsteppin' beat, deep subs & refined dancefloor pressure. What feels in the early stages like a beat tape track gradually builds into a dubby, bass-driven half-stepper for the beat heads.

"Temples" moves in a more drumfunk direction. A lurking low end underpins a furious drum workout, twisting and turning through several chapters. Arcane truly showing the flexibility of his production standard here, as well as his ability to merge old & new. Fire!

Purple Vinyl
"A place of reflection, remembrance, and new beginnings. For my first LP, I wanted to express diversity across many styles and forms, and give you a sense of my various influences in music infused with my own sound. For this Project I had the amazing privilege to collaborate with a number of artists that I hold great respect for: Monuman, Craze, Subp Yao, Survey, and Kilo. I can't thank you all enough."

IDAVOLLUR
As mentioned in the Poetic Edda

The gods in Idavollur meet together,

Lueur is the new full-length release from Icelandic composer / sound artist Bjarni Gunnarsson. The record consists of four electroacoustic compositions; the product of unfolding and unpredictable generative processes, spread across 38 minutes. This is music that follows its own logic, challenging and confounding the expectations of the listener.

An exploration of process as much as tone and texture, Gunnarsson guides the record through a series of ever-changing movements, interweaving dense low passages and abrupt changes of atmosphere and sound. It is a record that rewards close and repeated listening.

Mastered by Erik Nystrom, the record is housed in a custom sleeve, screenprinted in two-colours with procedurally-generated artwork by Luke Twyman. Variations of each layer are combined to make 16 unique sleeve designs, with a further screenprint on the inner sleeve/record. The record is released in an edition of 200.

Bjarni Gunnarsson has previously released the solo works Safn 2006-2009 (2010), Processes & Potentials (2013) and Paths (2016). He is currently based in The Hague, teaching algorithmic composition and computer based music at the Institute of Sonology.

In the words of Gunnarsson "the music is derived from generative processes that often appear directly entangled, that are set in motion and activated while maintaining their own degree of autonomy. It takes a certain time for a process to manifest itself. To express its time-varying qualities.

How it unfolds resembles a certain kind of evolution, a becoming that does not have a clear goal but that is based on a constant renewal and recreation. The title refers to faint, quiet but unsteady light sources. Brightness that disperses and refracts at different angles and unfolds through a series of connected developments. Processes that continuously produce output implying a 'tending towards' characteristic where certain elements endure while others fade away.

The idea is to uncover details, to introduce something very specific that expands and develops through two important layers of temporal experience, a very direct action-oriented perception and the slower experience of a past that folds into the present."

LA’s Cromie joins Detroit imprint Clave House to release four mesmerizing cuts entitled ‘Root Bulb’.

A familiar face in the Los Angeles house scene, Nikola Hlady aka Cromie has established himself through his talents and graft in the studio showcasing his distinctive deep house rhythms, clever chord progressions and focus on charismatic sound design. His previous releases on Material Image, Amadeus Records and These Things Take Time join hypnotically driven atmospheres with captivating rhythms creating forward- thinking yet classically-minded sonics. His ‘Root Bulb’ EP sees the LA producer join the Clave House family accompanying artists such as Ali Berger, Pascäal, 外神 deepspace, Appian, Gerald Norton, Segv and Berndt.

Cromie's ‘Root Bulb’ EP picks up where his 2018 releases left off, taking inspiration from the Southern California landscape that surrounds him, with its juxtaposition of endless expanses of concrete amidst its staggeringly diverse flora and famous sunshine.
‘Root Bulb’ kicks things off with absorbing pads layered over rough and raw percussion with angelic textures in the distance before ‘Lilac’ delivers breaks-tinged drums, a catchy, buried sample, infectious synth notes and warming melodies inviting the listener’s focus.

‘Aristocrat Motel’ maintains the enrapturing ambience by fusing pulsating bass shoots, alleviating tones and charming, earworm keys offering a club-focussed yet introspective track until ‘Root Bulb (Grove Mix)’ rounds off proceedings with downtempo broken-beat grooves, tantalising vibrations and undulating, cosmic elements.

Once lost, but now found unreleased Jungle from 2 Underground Legends. Vol 5 of the 'Lost Dats' series, is an essential DJ Tool 'must have' for any DJ wanting to mix up Classic breakbeats.
Don't miss out on this limited press of Rare Authentic Jungle!

Double O back on AKO Beatz with a 3 track solo 12"
AKO beatz are very excited to give you 3 killer tracks from Rupture very own Double O..

Ekin Fil is the solo moniker of Ekin Üzeltüzenci from Istanbul and 'KOMA' is her first release on Stockholm imprint Possible Motive.

'KOMA is an album which is based on the combination of separate songs made in various times in the last two years. Songs that sometimes include unwanted noises caused by my broken sound card, songs that I left unfinished with the intention of finishing later. The sleepy and still mood that's all over the 8 tracks may be the response to the hard times that I was not able to react sober to until recently.'

Ekin has been releasing albums on LP/digital and cassette formats on American and European labels under her moniker Ekin Fil since 2007. She was awarded 'Best Original Film Music' for her first Soundtrack 'Kaygi' at SIYAD, 2017 and 'Best Film Music' for the Soundtrack of 'Korfez - The Gulf' at Turkisches Film Festival in Frankfurt, 2018.

Side A. Amen London
Deep Dubwise Rumbling Intro Moves - Stepping Drums Swiftly, Spacious Mysterious Atmospherics Touching Down With The Hardcore, For The New School 'acid Junglist's' Drop Hits !!! Hard Straight To Ya Chest Yes %%% Slam Down In Comes The Goldie Sampled Live On Toronto Radio 1992 ! Rarness For You ( Love A Hockey Shirt) Screaming Out Full Of Vibes ' This Is The Brand New Sound Of Inner City London...' , Whack Smash - Booming In Comes The Killer Amen . Hyper Active 1992 'terminater' Shock Out Mentazm's Rough Stylee + 'future' 92 Sample Used To Maxiumum Effect . Amen London Hit The Crowd Hard @ Function:al Lightbox London On Record Store Saturday 2018.

Side Aa. The Mystic Tune
Written, Produced , Engineered + Mixed By Horrific James @ Horrific Studio's London. Hand Drawn Label Artwork Well 'hardcore Innit' Made For This Side By James Jessop Under The Invisible Man's Magic Influential Spell The Originator Dr G ( Big Respects To Graham Full Moons Ahoy) .

Recorded In Fish Island Village E3 ! East London Posse In Da Place $$$ . Horrific James Went To His First Rave In 1992 ( Dreamscape Ii) Age 17 = The 'horrific Sound' Deep Rooted In His Uk Life Long Raving Passion/heart On Sleeve Approach. 1992 Vetrans Heritage Society.

93 Style Break Beats Quantised Raw And Gritty Rolling @ 174bpm Remote Controlling Exs24 Cru Get Raw . Since Late 1999 Total Science / Phantom Audio Showed The Way For 174bpm Vinyl Post Hardcore Junglism... Darkness Returned Phew :-).

James Builds Using Fm8 Atmospherics + Soundscapes Crafted / Layerd Up. An Epic Vocal Hits The Drop 'oh No No...' Drums Switch To 'rough To The Smooth' Flavours, One Of The Rarer Break Beats Cut Up Bites In For The Drum Heads . Stabs Created Fresh In Massive Sampler & Bassline From The Massive Clean = Something Fresh & Unique To Your Ears In This Current Over Sampling Moment In Time ,cooking Up Some Freshness For Your Ears /// This First Of Many Solo Projects Forthcoming From Mr Horrific . In An Era When There's No Secrets Left On How To Make This Special Music Left. Soul/hyper Active Mind Cannot Be Taught Via Youtube Tutorial, Vibes Come From Within.

Hailing from Brighton, exciting young producer Ilk is already making his presence felt on the D&B circuit, with forthcoming track "The Heather" getting support from the likes of Om unit, Clarity, Mark System and Bailey to name a few. Coming early summer 2017, Ilk serves up two very different tracks for Repertoires 11th vinyl release.

Fours
The Heavy hitter of the two - Fours carries on where The Heather left off, with eerie pads, crushing bass stabs and hard amen-layered drums.

Return To Swanborough
The Claustrophobic Return To Swanborough twists and turns through an array of drum patterns and basslines, all underpinned by a hypnotic pad every 16 bars.

Jules Etienne, formerly known as J.E.E.P. is an imaginative multi-instrumentalist. The french artist has been collaborating different times with label owner Massimiliano Pagliara and you might remember "Egyptian Nipples", their duo project that came out on A personal Music not long ago. Funnuvojere is proud now to present his "Biscotte" a little jewel of beautiful harmonies. This EP takes its inspiration from a range of disparate elements.If the funky house groove of the title track and A2 "MS20 (The Answer)" stage a colourful dance party winking to Klein and MBO's glitterballs; B1 "Pyongyang Blues" dives deep into the night with an acid throb embellished by bells and cosmic pads.The EP closes up with "Thyle II" a calming luxuriant balearic composition. An ear pleaser in pure Funnuvojere style.

Vanish is Julia Reidy’s yearning, fat debut for Editions Mego. Since 2019, Julia’s bubbling 12-string guitar work - sighing streams of crystal plucks drawn closer or echoing on - has moored a tactile, ever-lusher sound. On ‘Guitar’, the Australian, Berlin-based musician melts down sharp synths; electric fuzz and flex; uncanny found sounds; and autotuned voice and harmonica in a heady, overpowering potion.

Reidy’s music sweeps you up. It’s restless, always travelling on. Lonesome tones into machine chorales into hesitant hum. The LP’s side-long cuts sway between scenes but are always rooted: Julia’s guitar and vocal lines seem mapped to the natural ebb and flow of breath and thought, they lull you as they push through vast and secret spaces.

Vanish completes a trio of releases begun with last year’s ‘brace, brace’ (Slip) and ‘In Real Life’ (Black Truffle). The delicious unease, the anxious burning of the preceding volumes has settled, becoming more wide-eyed and resolute. For all its poise, the album’s sense of build - electric licks rasping into glistening synths, punctured by distant kicks - feels freshest. When 'Oh Boy'’s smudged whistle comes, it has fought its way out of the thickets, and hits like heartbreak.

* Mirae Arts presents Hush Residence. We are joined by old friends and new comrades from the Kantō underground.

* C-Kay is co-founder of the Tokyo-based collective Space Baghdad and resident DJ of Constant Value. C-Kay is typically busy shaking dance floors with her hypnotic DJ sets, but also producing music for experimental labels such as Subsist Records and Constant Value Records.

* Saraam is a Tokyo-based sound artist, performer, and DJ under the Constant Value banner. Saraam is also a resident of the yearly Tokyo Festival of Modular.

* Katsunori Sawa and Damaskin return to Mirae Arts in their usual noisy disguises.

* Hush Residence is a compilation featuring four experimental techno tracks from Katsunori Sawa, C-Kay, Damaskin, and Saraam. Mastered by James Plotkin.

* Artwork illustration is done by Sydney based architect, Patti Bai.

* Vinyl pressed at the highly reputable Gotta Groove Records, Cleveland, Ohio.

* Comes with polybag packaging

A Blade Runner feeling of anxiety blends with playful basses or haunting flanger sounds. Hope flashes from time to time and strong piano events moderate the energetic Hyper Jazz, released in two parts on Lockertmatik as the first. Recommended!!

Starting this year with a lethal debut in the 'Venomous EP', Bristol based Kyrist returns with the remedy this November for her sophomore Dispatch release; the 'Antidote EP'.

With a profound ability to create stripped back beats with unsurmountable energy, Kyrist has mastered the balance of essential minimal grooves, perfectly catered to the big stage.

Forging her unique sound at an alarming rate, Kyrist presents four tracks delivered with panache; distinctively callous to the core, but constantly building with playful progression.

Concluding an impressive year with a busy touring schedule, Kyrist seals 2017 in style.





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Lucas Croon half of Bar and also known for his work with Duesseldorf projects like Stabil Elite and our uncle Themes For Great Cities delivers a four track EP full of downtempo synth and rhythm excursions. It's starting slow with a travel through the human spinal chord shaking it at a Suzuka Grandprix After Party in 1984 where you were praying on your knees in front of the Spiritus Sanctus because of too much champaign. You got me All tracks recorded at Pferdestrken Studio Dsseldorf. Cover artwork by Holger Kurt Jaeger, Layout by Jannes Becherer.

Kniteforce head honcho Luna-C once again teams up Kniteforce Radio manager and all round oddball the Lowercase for a follow up to their well received Heavy Beats EP. This time, moving on to a more 92/93 sound, and cleverly crafting an EP that has 4 tracks while also having 5 tracks. It will take a skilled Dj to work it out though! All 4 (5) tracks are proper old skool, built almost entirely on hardware, and lovingly crafted for the discerning hardcore ear!

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

Depth & Weight out of Ireland deliver with 4 fresh across the board tracks fitting house, electro, experimental and leftfield guises. With support across the board among the underground key players in 2018, DW001 is a various artist release representing the sound that started the journey of Depth & Weight. Lovingly mastered by Sven Weisemann, Berlin.
Not previously available in stores.

Pale Springs Records proudly presents its second release 'The Suburbs EP'. Label boss Niles Cooper is back with a four-tracker, this time stepping into the realms of breakbeat and dub techno.

A1 is a laidback 90's type breakbeat groove, lush with ethereal pads and flutes.

A2 is an atmospheric dub track, with punchy drums and heavy chord stabs. Layered on top is a gospel vocal that loops in and out of the groove.

B1 is a moody techno track with a rolling kickdrum and celestial pads. Distorted horns and nostalgic vocal snippets emerge from the murky depths, making it an emotional ten minute ride.

B2 closes off the EP on an eerie vibe. Dusty breakbeat drums are layered with an ominous pad and distorted leads. Airy vocals cry out on top of sizzling hi-hats, while white noise crackles swoop in and out. Vinyl only.

Jon Tye and Pete Fowler have been making music as Seahawks for a decade now. Given the sounds they’ve been exploring over those ten years it was a cosmic inevitability that they would be asked to contribute to the catalogue of the legendary library label KPM.

They replied with Island Visions, an exploration of sound for vision where they construct “audio micro-worlds to explore and inhabit”. A way to transport the listener away from the everyday without the bother of getting on an aeroplane. Mind travel is space travel after all, and much better for the environment.

Mostly recorded at The Centre Of Sound in Cornwall, with additional recording at Studio 34 in London, Jon and Pete’s travelling companions on this particular trip were boogie wunderkind Sven Atterton on fretless bass and keys, Nick Mackrory on percussion and the Seahawks live team of Dan Hillman and Alik Peters-Deacon.

From the grooves of Brian Bennett to the moog vibrations of Mike Vickers, the lush textures of Les Baxter to the experimental sounds of Delia Deryshire and David Vorhaus, this new music channels sounds and moods from across the KPM universe.

The spacious “Hot Sand Shuffle” opens the record with some of Seahawks’ familiar “deck-shoegaze”. The slinky digi-dub of “Sky Blue Sky” follows, gently encouraging us to lay back and relax. “Mystic Beach” is a refreshing ocean spray of a synthetic groove that clears the head, priming a pathway to receive “Crystal Forest”, a new age house groove of birds and flutes.

Dense, deep and dreamlike, “Distant Shore” is ambient rainforest house with a 90s vibe, its dense foliage clearing to let us bask in the shimmer and shine of “River Run”. Hang drum, electric gamelan, flute and loon close side A.

Side B bounces into being with “Catch A Wave”, an upbeat beach groover of synthetic guitar, effervescent synth and snappy drums. Equatorial bubbler “Paradise Bird Bath” soon glides in with marimba, crisp beats and fat synth bass. Fender rhodes, space echo and fretless bass make “Smooth Runnings” a laid-back poolside groove.

“Spirits Have Flown” conjures a hazy vibe with marimba, sax, synth funk bass and chilled beats before “Rolling Deep” serves up a light cocktail of sultry rhythms, refreshing textures, cooling sax and fretless bass. Almost-title track “Island Blues” brings the horizontal poolside feels with melodic chimes, oboe and more fretless bass for maximum vibrations. The marina drone of modular electronics, celestial trumpet and jungle ambience pay the album’s final respects to the cosmos on “Sun Salute”.

Like many KPM suites, this is a record of two distinct sides. The sunrise of side A brings a deep meditation, a journey within to renew the jaded self. Side B refreshes with cocktails by the pool and a chance to groove away the evening at some sunset beach party before dancing under the stars in the house of dreams.

Pete’s front cover for the LP is part map, part postcard: “the record has five different sections and I wanted to reference those in the worlds they created, musically and physically. From beach campfire, to poolside hanging and nighttime dancing. A kind of portal to those places and the pictures they inspired in my mind. All places we’d like to be in this turbulent year”. The track descriptions on the back help guide the way.

2020 marks 10 years since Ocean Trippin’, the first Seahawks release, and Island Visions is the perfect distillation of the sounds, sights, textures and moods that Jon and Pete have been exploring over the last decade. Sunrise to sunset condensed to two sides of an LP. The normal rules of space and time don’t apply here.

This is the first time Be With has worked with Seahawks, but individually Jon and Pete have been members of the extended Be With family since forever (Pete did those posters for our Ned Doheny tour and we worked with Jon on the vinyl version of Hatchback’s Colors Of The Sun). Of course we were going to put this out on vinyl.

Mastered by balearic engineer of choice (and Be With’s regular audio co-pilot) Simon Francis, cut by the legendary Pete Norman and pressed in the Netherlands by Record Industry, the sonic frequencies of these Island Visions have been precision tuned and encoded for optimum travelling conditions. Take the trip.