Beats News

DRUMIRA features four heavyweight tracks by Stefan Schneider, ghanaian drummer Nicholas Addo Nettey and percussionist Sven Kacirek (Hamburg).

Nicholas Addo-Nettey was a former percussionist with Fela Kuti and his famous Africa 70 band during the most legendary years of his career. He has left band in 1979 in Berlin where he has been living ever since. His early solo album PAX NICHOLAS from 1971 has gained fame through a reissue in 2009.

It is interesting to note that DRUMIRA was first released anonymously in 2011 in a minuscule private pressing edition which only had a Spiegelmotiv hand stamp on the sleeve. Due to legal issues in 2009 with some of the mapstation releases, Stefan Schneider decided to put his project on hold until things got cleared. After nine years the record finally finds a place in the mapstation catalogue and gives full credit to all musicians involved. The EP comes with a luxurious hand assembled sleeve in a small edition.

Music-wise this EP is most distinguished by the combination of slow paced dark electronics and inimitable percussion patterns by Nicholas Addo-Nettey.

Nicholas Addo-Nettey: Percussion
Stefan Schneider: Electronics
Sven Kacirek: additional percussion

It was time for us to make a move into the world of ambient new age music. Released only on cassette and CD in 1986, Paul & Mark made Quiet Water from a single guitar and a Yamaha DX synth.

Quiet Water consists of the amazing 'Summer Daydream' and 'Restful Sleep' that clocks in over 20 minutes. Cover is recreated from the original cassette and extended by hand painting by the original artist, Danny Flynn.

We recommend you put this on the turntable and just relax. Prepare for a musical journey. A journey that you probably never have been on before. We cannot recommend this release enough.

Officially licensed, remastered for vinyl, only 500 pressed.

Leipzig's Salomo - who caught attention with his contribution to the labels previous compilation is now releasing his full solo LP via VARY. 12 tracker that provides an organic transition from house to ambient - suitable for club play, your next pool party or as a birthday gift to your mother in law. Conscious of it's inspirations, the record is a slight nod in the direction of contemporary electronic music from London, Vancouver and Detroit that still strikes with integrity & originality.

About This Time’ is an excellent piece of ‘ambient’ electroacoustic music that grips you immediately, and upon scratching its surface it clearly conveys very distinct emotional states and processes, rather than the more ambiguous ones often associated with the notion of ambiance. Tehran-based composer Shahin Souri made these works inspired by feelings and events that came about as a result of the death of his best friend, and other unexpected tragic events following it. He describes it as dealing with ‘the vertigo of the death and life tango’.

Souri has released music on a number of labels with his more rhythmically driven project Rhonchus before, but this marks the first release under his own name. We at Moloton are honored to have gotten the chance to present it.

Unglued’s reputation for producing serious bassweight across the D+B spectrum continues in 2020 with his ‘Zen’ EP. He spans through silky smooth sounds on ‘Zen’ ft. Cimone, bouncy funk on ‘Mic Strangler’ with the legendary MC GQ, sharp-edged grizzle on GLXY collaboration ‘Algorithm’, and tearout heat on the soundsystem slayer ‘Datafile’. Setting things in motion is the lyrical weapon ‘Mic Strangler’, with OG host and MC extraordinaire GQ, who’s spent three decades leading the game. Unglued deals out damage on the beat with MC GQ’s playful twists, wrapped up in a big bruiser of a bassline.

Title track ‘Zen’ is a mesmeric stream of atmospherics, rolled out in perfect tandem with the angelic vocals of rising singer/songwriter, Cimone. GLXY joins the fold for ‘Algorithm’ - a techy rattler that’s stripped back in design but packs a punch. Rounding off the EP is the darkest addition, ‘Datafile’, Unglued takes no prisoners as he unleashes this lethal stepper. Unglued has had a steep and steady rise in drum & bass after signing to Hospital Records and releasing his sought after solo material, as well as his iconic remix of High Contrast’s anthem ‘If We Ever’.

This infamous rewiring caught the attention of major players, from Andy C to Annie Mac - who also selected his track ‘Born In ‘94’ as her Hottest Record in 2019 on BBC Radio 1. Unglued’s jungle knowledge has him in regular international demand, in 2019 alone he tore up sets at Glastonbury, Rampage, Boomtown, Let It Roll, ADE and on Med School’s final tour across Australia and New Zealand. He’s showing no signs of slowing down in 2020 with back-to-back bookings, including support at Wilkinson’s London headline show, Kings Of The Rollers’ Printworks Royal Rumble showdown and Hospitality On The Beach 2020.

Abyss once again drops a masterclass in Amen manipulation, with shattering bass and proper jungle vibes. Hitting that sweet spot between original old skool and classic styled amen trickery is a trick tried by many, but none in the current scene comes close to matching him. This EP drops HEAVY and gives the dancefloor no time to recover.

Dance Regular are proud to present FOOTSHOOTER - Libations
& Movement EP, hot off the back of his SAUL project on Rhythm Section, this EP is a perfect blend of Brokenbeat, Jazz, House and spoken word.

The EP takes you on an epic musical journey from start to finish from the skippy broken drums, synth stabs and live trumpet by Wilf Petherbridge in the opening track ‘Catch My Breath’ to the laid back snappy drums, sultry vocals of Jaisal and rap by South Londons Slam The Poet on ‘Head Down’. The final track ‘Slipped Back’ is a beautiful heartfelt song by Izzy Risk that flows effortlessly over Footshooter’s signature drum programming with additional trumpets once again from Wilf Petherbridge.

This release works both on the dance floor and at home on the sofa! Amazingly detailed and produced to the highest standard! An absolute classic and must have for any discerning jazz or broken beat head! Don’t sleep!


DJ Support:

IG Culture, Gilles Peterson Worldwide FM, Tuck Shop Music, Alex Nut (Eglo Records), Don Pascal.

Absorbing new album from this very special artist. Hand printed sleeves. Very limited edition.

Marta De Pascalis is an italian composer living and working in Berlin. Her solo works employ analog synthesis and tape loops, incorporating free playing into steady, repetitive patterns. She has produced two albums of Berlin School minimal synth excursions: the self-released Quitratue (2014) and Anzar (The Tapeworm, 2016). Her new piece ‘Her Core’ has been published on spring 2018 by The Wormhole. Marta creates densely layered collages of glowing melodic shards and growling bass lines, her hypnotic minimal synth figures warping and whirling around each other before dissolving into entropic oblivion. For her compositions she uses improvisation on a tape-loop system, in which patterns of repetition create a sense of a dense, dynamic and cathartic distance.

All music by Marta De Pascalis Recorded at WORM Sound Studios in Rotterdam, artist's studio and Big Snuff Studio in Berlin, between 2019 and 2020. Mastered by Giuseppe Ielasi. Artwork by Lorenzo Mazon Studio. All rights reserved to the respective owners. doser039LP - Morphine Records 2020

Since the release of his debut album Crate Six Seven, that received support from liquid pioneers Technimatic, Makoto, Etherwood and BCee, Mitekiss has been cooking up his latest venture with Hospital Records, the Objects To Push EP. Consisting of four sublime tracks that explore the soulful, deeper domains of drum & bass. The musicality and versatility of Mitekiss production are brought to light once more, drawing for his love of jazz, disco and 174 beats.

Matter (Feat. Vonné) Eases In With Elegant Melodies, Soothing Piano Flourishes And The Eloquent Vocal Hooks Of London Based Singer-Songwriter Vonné. Named After Dark Matter, Which Represents The Lyrics Gravity Pulling Me Under, Explains Mitekiss. Smooth Liquid-Jazz Bubbler Tonic Follows, As Hypnotising Pads And Sophisticated Piano Licks Rest Delicately Upon A Blues-Style Upright Bassline And Rolling Breakbeats.

Teaming Up With Bristols Ruth Royall, Magic Adds A Touch Of Undeniable Euphoria To The EP. A Classic Feel-Good Drum & Bass Anthem That Pays Homage To Mitekiss Love For All Things Uplifting And Heartfelt. Last But Certainly Not Least, Charter Brings The EP To A Close. Darker, Spellbinding Atmospherics And Hard Hitting Bass Stabs Are A Clear Demonstration Of The Depths Of The EP.

With Objects To Push Mitekiss Has Continued To Develop His Soulful, Liquid-Jazz Sound, Further Cementing His Unique Standing In Drum & Bass Territory. The Successes Of His Contributions To The Scene Include His Regular Mitekast Podcast And Weekly Rhythm Roulette Tutorial Series, As Well As Releases On Shogun Audio, Skankandbass And His Own Imprint Goldfat Records, That Have Seen Mitekiss Appraised As A Producers Producer Who Is Here To Stay.


Sound files to follow when available

"Nicolas Gaunin's surreal sound experiments lift you out of the everyday and transport you to an off-world Tiki lounge set high amongst the tree tops of a tropical rainforest, where you're surrounded by bizarre, colourful creatures and weird psychotropic plants. Noa Noa Noa is modern Dada, a neon soundtrack to your most outlandish fever dreams.
Nicolas Gaunin is the alter ego of Nicola Sanguin, part of the vibrant experimental music scene around Padua, Italy where he plays in outsider rock groups The Lay Llamas and Orange Car Crash. Nicolas Gaunin is his solo electronic project, a bright and playful cosmic mash-up that uses the rhythms of traditional African percussion groups and skews them slightly to create unsettling, off-kilter grooves. These drum machine experiments are laid over a teeming microscopic sound world of bird calls, insect chatter and weird jingles reminiscent of advertising earworms or video game soundtracks.
Noa Noa Noa takes its influences from music from around the world, and inspiration from high and low culture; from composer Gyorgy Ligeti to the cosmic sounds of Italian DJ Danielle Baldelli, from the experimental music of Moondog or Harry Partch to the playful sounds of Francis Bebey or the exotica of Martin Denny, from Iannis Xenakis to 8-bit video game music. Noa Noa Noa ends up sounding something like the imaginary soundtrack to the Nintendo Gameboy version of a lost William S. Burroughs novel.
Incredibly, most of the tracks on Noa Noa Noa were recorded live in one take with the express intention of creating music that is, in contrast to much of today's electronic music, bright, sunny, light-hearted and mischevious. The resulting album is both totally essential and also completely throwaway.
These tracks were originally released in 2018 by Artetetra Records (Italy) as Noa Noa (cassette & digital) and Danse de l'Oiseau (digital only). Hive Mind Records are proud to present Noa Noa Noa on vinyl for the first time."

Astrophonica maintain pace in 2020 as Philip D Kick returns to the label with the 6 track “As We Continue”. Following 2018’s “Pathways” Jim Coles aka Om Unit aka Philip D Kick adds some shine and sparkle to his already near perfect and persistent formula. Coles remains dedicated to blurring the lines and joining the dots. As we continue . . .

Hypersonic tunes and (un)danceable break-beat rhythms. A new hero has landed on Land Of Dance.

Electro, Techno and Ambient works from Super Hexagon co-founder Jacob Wiltshire. Each created with a nod to the past and the future.

With Quarter To Quarter, Amsterdam-based record label The North Quarter delivers its first compilation album: a manifesto and its most ambitious project to date.

The 14 track project features prominent vocalists IAMDDB and Azekel, Bass Music legends Total Science and Break and all the core artists that have made Lenzman’s boutique label the breath of fresh air it is today.

The North Quarter is a collective of artists from around the globe, brought together through a shared love for the authentic. The imprint has become a household name in just a short space of time through ambitious and highly detailed artist projects. With Quarter to Quarter, a compilation of cutting edge Drum & Bass music, the label further solidifies its reputation and unique vision.

Never doing things the fast and easy way, the album was put together and nurtured by A&R and founder Lenzman over the course of 18 months.

Lenzman explains: “Way back when I first got into music, I wanted to share that magic with others. Today that same urge still endures within me. With this album I've tried to bring together a group of artists with whom I have shared values, who have never been brought together in this way, and create a timeless statement of intent.

Stu Chapman has been one of the most well regarded producers in the old skool and hardcore breaks scene for many years, and teaming up with legendary Perth Dj Rob Fender, he drops this awesome debut EP. Three tracks loaded with a deep underground sound for the proper raves from back in the day.

Repress

Digital Hardcore-artist Chrisoph De Babalon returns with a spectacular set of Breakbeats, Drum 'n Bass, nightmarish scapes, metallic patterns / serious basslines.

Nine tracks of classic Muslimgauze material: Tribal and percussive, mixed with tape loops, ambigue atmospheres and some noisy edginess. Bryn Jones originally recorded and mixed this album at the Abraham Mosque in Manchester. It was then released in 1995 on CD (in an edition of circa 1800 copies) via the Portland based Soleilmoon Recordings, which was a sister company to Staalplaat back then. The nine tracks have been remastered for this reissue, that also comes with a new artwork.

All tracks written and played by Muslimgauze.
Recorded and mixed at the Abraham Mosque, Manchester.
Engineered by John Delf.
Re-mastered by C-drik.
Artwork concept and photography by Dmytro Fedorenko.
Artwork design by Zavoloka.

For their sixth release London based record label and clubnight Snap, Crackle & Pop return with another slice of the post punk and kraut influenced electro/techno sounds that are coming to define the label. The latest release comes from Niv Ast and it serves as a follow up to his appearence on this summers Relish compilation. The EP leads with an ice cold slab of post punk swagger in the form of Quebec / Makolet which gets the remix treatment from previous collaborators Khidja, the Romanian duo strip the percussion back for the dancefloor and tease out the track's darker side with more than a hint of acidic malevolence. For the B-Side Disco Monroe offers a nostalgic slice of pitched down French Electro undoubtedly influence by the Djs recent residencies in Paris. Optimo Music's Mr TC rounds off the EP with his unmistakably left field vision to give the track a dark tropical re-imagining.

The Humble Bee & Offthesky come back with a second opus after their first one on IIKKI in 2019. Including Rin Howell for the voice and Cody Yantis on sax like previously. This second album is a perfect continuity with their first collaboration, a delicate and detailed piece with a dusty out of time atmosphere.

Originally from Kentucky, since 15 years, Offthesky is the prolific musician Jason Corder who currently resides in Denver, Colorado in the United States. His catalogue shows over 70 albums which have been released by a number of labels such as Databloem, Dronarivm, Eilean Rec., Hibernate, Home Normal, Rural Colours, SEM Label, Wist Rec.

The Humble Bee is the solo project from Craig Tattersall, a former member of The Remote Viewer and Famous Boyfriend bandmate Andrew Johnson. Tattersall's music can be found these days more often under his alias The Humble Bee; as a founder member of The Boats; and in his collaborative works with the likes of Bill Seaman in The Seaman And The Tattered Sail. He has run the wonderful label Cotton Goods from 2008 to 2015 and since 2009 he has recorded 11 albums on his moniker The Humble Bee.

The long awaited third album from much loved vintage synth maestros Billy Bainbridge and Mike Johnston, finally finds its home on Ghost Box Records. This is unironically joyful and melodic electronica; informed by library music, music for children’s TV and a deep passion for the history of music technology.

Plone are very much part of Ghost Box’s DNA. They were a central part of the 90s retro-futuristic scene in Birmingham that included Broadcast and Pram and to which the label has always had strong ties through graphic designer and co-manager, Julian House. They are also cited by the label’s other boss, Jim Jupp, as a major influence on his work as Belbury Poly.

The band was formed as a three-piece in the mid-90s and their debut single, Press a Key, was championed by John Peel. The first album, For Beginner Piano, was released on Warp Records in 1999. Their warm, witty and unfunky music stood out from the crowd, almost in defiance of the moody and masculine post-rave electronica of their contemporaries.

A selection of bootlegged demos from the early 00s was rumoured to be the follow up album, but it never materialised. After that Billy went on to tour with Broadcast and later formed Seeland with another former band member Tim Felton (also of Ghost Box’s Hintermass). Meanwhile Mike formed the ZX Spectrum Orchestra, released solo singles as Mike in Mono and was a member of The Modified Toy Orchestra.

Twenty years on and Plone have reconvened as a duo with a third album, Puzzlewood. It’s compiled from material recorded at various points since the “lost album”, right up to the present day.

7"
Limited to 300 handmade copies!
We only knew Pop's (Steven) singing voice as a whistle. He whistled while he worked, and he worked all the time. But not even a whistle accompanied him on the guitar. A woodworker by day, he brought his craftsmanship home, softly picking his patient melodies. Those few tunes were played over and over again, becoming smooth and refined as a carefully finished armoire.
It wasn't until Christmas 2008 that we really heard him sing. Our mother pulled out an old cassette tape labeled Steve at Marco's, a brief recording session from 1979. The first thing we heard was the song. The only song. Blue. A thick delay over the entire mix told us he was shy even back then. But then came that voice, which, underneath the wash, wasn't shy at all.
Blue, and the stream of short instrumentals following, seemed a rare capture at the heart of our origin with music. And as we shared these recordings with friends, we soon realized it wasn't just us who found them so warm and beautiful.
A proper closet musician, Pop would never share this music on his own accord, so we've taken the liberty of doing it for him. - Heather & Peter Broderick, August 2011

For the second release on Snowflake Soundtracks we introduce the mysterious Lineal. All three tracks in his Static EP share the same hypnotic stride towards a distant universe of atmospheric soundscapes and unfolding synth patterns. A masterful composition that already sounds like a classic.

The Esoteric roller express repressed!!

The ageing process has you firmly in its ever increasing grasp if you never feel the urge to deliver the goods even harder. London-based DJ, producer and engineer Jason Cambridge aka A Sides just celebrated his 50th birthday, and it’s fair to state that he’s far from being tired to add essential musical footprints to an already impressive discography of epic proportions.

Hot off the heels of an extended SUNANDBASS tour through Australia and New Zealand earlier this year - together with Patife, Delicat and Stamina MC - A Sides now makes a glorious return to the festival’s very own label with a four-track EP that sees him in deadly form. Aptly titled “Fours EP“, this particular release isn’t only working as a showcase of A Sides’ undisputed prowess in the studio and his versatile musical nature, but as an urgent reminder why you fell in love with this music - and the annual SUNANDBASS festival on Sardinia that sees its 17th edition this year - in the first place: massive basslines, delicate melodies, skilled programming and a hi-def production form an entity with blustering impact. Add MC Fats’ unique, soothing vocal style to this list, and you know you’re in for a musical treat you simply can’t get enough of.

“Being drafted in to do this project was something special for me, as I hold my SUNANDBASS memories close to my heart. When I created this EP I wanted to use these festival experiences as forms of inspiration, which enabled me to experiment in different sub genres of drum & bass. “Arctic“ is very deep, emotional and rather special as I also feature MC Fats on vocals. “Follower“ is more of a reggae influence roller, “Need“ is liquid funk inspired by house music, and “Conscious Dub“ leans heavily on my dub/reggae influences“.

“Fours EP“ is serving up a stunning investigation of state of the art drum and bass and beyond, which comfortably sits between the angular and the alluring. Floor-filling guaranteed.

Alpha Omega returns with a serious LP of some of his previously unreleased music and we are proud to have this on the label.

Alpha Omega fans will remember his album on Reinforced Records The 9th Level, when Alpha Omega returns to the 9th level with a stunning lp that cover most genre in jungle / DnB. Alpha Omega was so ahead of his time and his music still sounds fresh today.

The album will have 8 tracks that span across the DNB genres on 2 pieces of black vinyl.

Repress!

Following his versatile Alone With Everybody EP, FD returns to The North Quarter with a stunning 16 track debut album: Better Days.

Largely written in a three month window, FDs (real name Freddie Dixon) new long player on The NQ undoubtedly brings the best of the Zurich-based/London-born producer. Better Days is an album that delivers a rare synergy of drive, harmony between subtle & raw and just sheer fun. A versatile yet coherent project drawn from a large pool of sketches, finalised in intricate detail with focused studio dedication.

Drawing influences from Dub, Jazz, Hip Hop, Soul and the Mid 90's Drum & Bass “GoldenAge”, Better Days bridges the gap between genres, as FD enlists carefully considered vocal collaborations. Manchester donny Fox shines on the dubbed out Better Man and Washington DC soul diva Cecily shows shades of Minnie Riperton on Sycamore. Meanwhile Ribs is lifted to one of the album's stand out tracks with Maverick Soul on the keys and the enigmatic Issac Rosie on the boards.

For some the better days in life are in their childhood memories: nostalgia-infused wonderings of the mind to a care-free time without today's online distractions. Although FD’s debut album 'Better Days' is inspired and informed by a period earlier in life, his best days musically are definitely in the present. To put it into the man's own words:

"I’ve been wanting to do an album for quite a while now, but the circumstance never felt right. Once I started working with The North Quarter that all changed – it feels like being part of a team all pushing in the same direction, all supporting one another, all wanting to do the best for each other. Once we’d done the first EP together, for me, it was only a question of when."

786 Recordings launch another series from a new roster addition: ISKELETOR
The 78666 is a series born with the idea of having NO RULES AT ALL. Every BPM / Track Length / Structures is admitted. What’s important? Music have to come directly from your worst nightmares.

Leif presents the third instalment of his 10" vinyl series exploring off-kilter, shimmering rhythmic and melodic abstractions

Limited edition of 300 copies of Natureboy Flako's all new 4-track EP "Besito".

Dario Rojo Guerra aka Natureboy Flako is set to release a unique musical room shaker. Picking up the energy of productions such as “Kuku” from his debut album, these four new banging tracks invite to dance and have fun while bouncing them out loud. The title track “Besito” is carrying a sincere message of love with an unmistaken production quality, also found on his previous release entitled “Theme For A Dream” which explores the boundaries of music, science and spirituality. His rather unpredictable but inspiring output will be continued with a full length album of library-like songs & soundscapes which is set to be released before summer also. But for now level up the energy and enjoy singing along to “Besito”.

“WOW I’m happy you are still making such incredible heat! I actually lost my fucking mind as well as the rest of the club.” - Gaslamp Killer

Infernal Sounds welcome back Taiko to the fold as they celebrate their 20th release on the label with a stinking 3-track EP from the Sheffield-based producer. Having previously featured on IFS009 with Darkimh on the track 'Unwarp', it's time for him to take centre stage and unleash this all-rounded release, showcasing exactly why he's one of the most sought after producers under the 140 spectrum. The 'Giant Big Man' EP delivers all of the known traits from Taiko's productions - a dynamic percussion, intricate use of vocal snips, laced with grimey undertones. The EP is pressed on 180g vinyl, and finished with a full sleeve design from returning illustrator, Emily Dayson.

Having received major support from the likes of Sicaria Sound, N-Type and Truth, amongst many other top drawer DJ's, this is a must-own piece of art to add to your collection.

Jazzy Couscous founder Alixkun comes back with a 2nd volume of "Kumo No Muko", 12 Japanese music gems from the 80s exploring Ambient & Synth-Pop atmospheres. It opens with Miwako Saito's "12 No Garnet", a soft, slow paced and dreamy piece of synth-pop. Following are Yoshio Suzuki's "Touch Of Rain" and Ayuo Takahashi's "Mizu Iro No Kagami", both flirting with Jazz, Ambient & New Age influences. Traces of YMO members can be found with Hosono produced Tomoko Yasuno's "Sur La Terra" & Flat Face's "Hibi No Awa", released on Sakamoto's related label. While going through more exotic vibes with Shi-Shonen's "Harvest (Long Size)", Alixkun doesn't forget more chill out ambiances: Toru Hatano's "Kanki" is a singular mind trip led by a guitar solo a la Pink Floyd. The project closes with Mio Fou's "Picasso No Ao", a moody track illustrated by a combination of acoustic guitar and solo piano.

Acid Waxa are thrilled to present the debut release of AYU Acid aka Sheffield laddies Christopher Rave and Tich Off Me Nut in this Crystal Maze EP of highly infectious, feel good acid bangers!

Holy shit! If it isn’t three unheard 1960s and 1970s reels from the unreal and unreleased Basil Kirchin Tape Archive. Sublime pastoral jazz, autistic children screaming, spooky vocals, experimental tape manipulation and more from the master of such thing.

HISTORY:
The three parts of this new Basil Kirchin album come from three very different tapes from his archive. All parts were unreleased until now.

“Pat’s Pigs” actually sounds to me like a Basil bird recording, slowed and treated, mixed with simple improvisation. But it could well be pigs. Pat’s pigs. This whole tape recording may have been an early experiment towards what was to become Worlds Within Worlds Parts I and II. A lot of Basil’s work was headed in that direction.

“Electronic” – first of all this is not that electronic. There are elements of the classic Kirchin drone sound here, mixed with multiple and treated recordings of the autistic children of Schurmatt, along with Esther, his wife, singing. I remember speaking to Basil many years ago about his Schurmatt recordings. Esther worked as a nurse with the children, Basil got to know many of them, and became fascinated by the extreme musical noises they would make with their voices. This recording is not necessarily for the faint hearted, but makes for extraordinary listening, based on the fact this would have been made and mixed, simply as a classic and progressive Kirchin experiment, back in the late 1960s/ early 1970s. This also has untreated elements that would eventually contribute towards Quantum, his preferred version of the W W W concept.

“The Suspended Fourth” comes across like a soundtrack, so it could well be part of what Basil called his “imaginary film music period”. It has a very distinctive and pastoral Kirchin style leitmotif that repeats along its glorious and slightly disturbed 21 minutes. It’s very well produced, possibly built up and improvised over a few days, could well have been an experiment, a pitch or just something that had to come out in the groovy studio. The tape itself states that this is The Suspended Forth with a subtitle: “The Musical Study Of A Mind, Part 1 Schizophrenia”. It therefore could even be something to do with a soundtrack he was asked to make for a mental heath conference for psychiatrists at Earls Court in the late 1960s (see States Of Mind, JBH005LP – the British jazz musical line seems like it could well be the very same). But who knows for sure? I shall continue looking in the archive for other possible parts.

Before I go, the original title for this album and the artwork come from an empty tape box in the archive, which I think sums up all sorts of things about Basil, his awesome music and the tape archive all at the same time.

More reel discoveries will follow. Thanks for listening as always.

After a little break, infiltrate is back dropping there 3rd release, a serious electro workout.

The second album to be reissued by Mannequin and Platform 23 Records of the music from Bourbonese Qualk, Hope saw the politically active musical entity expand on their mix of music, art and politics.

Staunchly independent, doing the recording and design via their Recloose Organisation label, by 1984 the group had occupied a large disused building on the Old Kent Road, becoming the base for the band's activities as well as other creative and political activism.

Recorded at the Ambulance Station, Hope is full of unceasing drum machine rhythms, electro pulses, echoing samples and lo-fi synths matched with strummed guitars and dub bass. The accompanying drones and snarled vocals go beyond any early 80's industrial tag to be something more unique, with the uncompromising, conceptual and avant flashes showing a more experimental buzz, an awkward quasi-funk noisy nuisance.

Remastered by Rude 66, this is music as much for then and today, a radical, revolutionary cultural force that acts as a positive social charge.

Break is back with new material for 2020, kicking off the year with his new single on Symmetry. Armed with a with a plethora of new material for the decade, this release is the first instalment of Break tunes and remixes set to drop this year.

Digging out some old equipment and combining this with new outboard studio toys Got A Feelin’ was created with a minimal but big sounding approach. Giant wobble bass and grinding 808’s keep this stepper moving through the sub switches and vocal stings.

Sesame Seeds pays homage to the famous jungle break heard on countless records but utilising many of the unused and unheard variations of the original breakbeat. Starting from scratch combining new edits and patterns, this subby Jungle roller has a reminiscent sound, but with a sonic twist keeping things fresh.

Carl Finlow returns with a double vinyl 8 track album, following a prolific run of singles for Lone Romantic, Electrix, Craigie Knowes and Orson. Apparatus is a forward thinking album that reflects Finlow's return to live touring with many tracks hitting harder and darker, pushing his electro sound into new directions and soundscapes. Flawless production is something we have come to expect from Mr.Finlow yet he has managed to raise his game yet again with Apparatus. The album means business from the start, kicking off with the title track, 'Apparatus', a no-nonsense assault on the system with fast tight drum programming, heavily vocoded vocals and powerful synths. The pace continues on the record with 'Bind' and 'Carbon Deposits', Structure' but there are also pure electro cuts like 'Differential' and moody grooves in 'Ampere' and 'Viroids'.
Finlow has been on a staggering run of form and Apparatus continues this remarkable purple patch with a new lease of electro energy. It's not surprising that every credible electronic master on the planet from Weatherall and Craig Richards to Dixon and Maceo Plex are all fans of his work.

The music of Chel White is celebrated in Automaton, a collection of mostly unreleased recordings from 1985 to 1991, by this innovative animator, film maker and visual artist.

Having studied music theory in grade school, White taught himself drumming and played in a new wave band until, in 1981, together with Dan Gediman, they formed the minimal wave duo Process Blue (Alternative Funk, 1985 / Dark Entries, 2018). Here their experimentation went way beyond playing drums.

His interest in industrial music, fostered in the late '70s and early '80s while working in factories as a way to put himself through college, informed his use of electronic instruments, tape manipulation, noise and unconventional percussion.

By 1985, as a now solo artist buoyed by newly affordable audio sampling technology, White tapped into his earlier teenage fascination with the art and films of both the Surrealist and Dada movements - in particular their disparate and fragmented imagery and sound - as a means to create striking new sonic palettes.

Science & Industry - a track largely influenced by Balinese monkey chanting and the consumer excess of American in the 1980's - is a clear example of "music collage". Photocopy Cha Cha, made for the short animation film Choreography for Copy Machine (Berlin International Film Festival, 1992 / Sundance Film Festival, 2001) moved his music into the realm of early multi-media.

Experimenting further, tracks like Liquid Shadows and Pensive provide minimalist moments, before the drone-like Dream #630 and Forest Song point to a future that included music video works (David Lynch/Thom Yorke).

UPFRONT HEAT
A short story soundtracked by Consulate:
Track 1 - skipping into the rave, reefer on the go, and you're just about to hit a tab...!
Track 2 - you stumble into the blue room, gun shots going off!!! locking and loading all over the place..? f*!!
Track 3 - huh? sounds like the DJ is playing a lost Photek production at half speed - oh wait...I'm tripping, good sh*t though!
Track 4 - you're out the other side, pure rave/ euphoria..."I love my m8's, now where did I leave them?!"

A short description:
4 dubbed-out cuts in deep rave mode...


DJ Support
Gerd Janson, FaltyDL, Happa, Pugilist, The Black Madonna, Ronan, Claire Morgan, Neil Barnes (Leftfield), Yushh, DJ bwin, Extrawelt, Vera, Darwin, Stacey Sexton, William Djoko, Butter Sessions, Matthew Herbert, ItaloJohnson, Animals Dancing, Danny Daze, Karima F, Object Blue, Sherelle, Amy Becker, Andy Garvey, Upsammy, Kikelomo, Nina Kraviz, Chris Farrell, Marco Zenker, Gigsta, Vladimir Ivkovic, Photonz, DJ Barely Legal, Asquith, Dogpatrol, Breaka, Jossy Mitsu, Ciel, Mad Miran, Nick Craddock, JD Twitch, Mosca, Mark Archer, Lovefingers + more to follow

Uniformity of Nature, the second release on Prague based Detach Recordings, marks an exciting collaboration between Romanian producer DYL (re:st, Alpha Cutauri, Skutta) and Germany's Senking (Raster Noton, Karaoke Kalk).

DYL pushes the bounderies of his sound beyond his 170 roots, with the powerful electronics of 'Phrases' and the electrifying team-up with Senking on 'Destroyed City Lights'. Two tracks see DYL in the more familiar peripheries of D&B. The percussive 'Words', with its curious background atmospherics, and the driving, hypnotic collaboration with DB1 on the title track 'Uniformity of Nature'. 'Launch' sees Senking slow the tempo down and delve into a more murky space, yet still highly-charged with razor-sharp sound design.

DYL closes the EP with the abstract 'Semantics', a further excursion into experimental electronics. The record comes housed in a screen-printed transparent sleeve, with a limited edition insert by Romanian artist Teodora Gavrila.

Franck Collin, a.k.a. Fleck E.S.C, brings some excellent winter-time electro to the London-based label untitled (recs) for their third u(r)blue record. The French-born, Tokyo-based producer has received praise from the likes of Jensen Interceptor, Dave Clarke, Laurent Garnier, and Helena Hauff. This record takes cues from several sci-fi soundtracks, and taps into Fleck's wider thoughts on cinema. After having studied film and worked in movie production for several years, he believes that movies need to be a kind of fairy tale usually a poisonous one. Likewise, u(r)blue003 delivers a capacious blend of texturesiat times delicate and expansive (e.g. 'Shelters', 'Skins & Scales'), at others assertive and grinding (e.g. 'KVFM, 'Roundup'). Together, this strikes a balance between deep club cuts and listening session tracks. Thanks to the mastering of Aphex Twin-collaborator Beau Thomas, these textures really stand out. Listen loud!

After successful releases on Black Orpheus and Oscillate Tracks, UK rising talent and Super
Hexagon boss, J.Wiltshire returns to MUSAR for his debut album ‘Resa’, a pure listening experience of ambient soundscapes and forward-thinking sci-fi cuts, the second release
in MUSAR's new limited Cassette Tape series, that focusing on producers edgy sides.
'Resa' finds Wiltshire sharing 11 sci-fi and futuristic ambient gems, blends melancholic
movements with rich layers of harmonics, resulting in a sequence of slowly unfurling tracks
that sounds brilliant first time around, but also reveal more intricate details once you've listened a few times.
Listening through from start to finish, where it comes on like a genuine soundtrack to a
melancholic, space film, it's an evocative musical journey that stirs the senses and toys with
your emotions.
Opener 'Barefoot Pilgrim' is a welcoming hazy warm-up atmospheric piece, together with
'Lumb' and 'In The Position' reflects on how Wiltshire maps human calm and tranquillity onto
the softer parts of the natural world, a place where everything sounds calm and peaceful, in
his own words: "I was using music composition for a creative release but mainly as a tool for
calming anxiety."
There are also intense ambient moments and post-IDM dreamscapes inside, such as - 'Dismantlers' and 'Denied', It is in turns icy, futuristic, introspective and blindingly picturesque.
'Other Fruits Resplit' is a particularly standout highlighted track of a sharp and catchy vocal
chop melody, while 'Same Thing Twice' and 'No Longer Concerning' are gorgeously melancholic.

The Hong Kong based Homesick team are back with their yearly release of quality reworks that has made the label sought after since their first release back in 2014. For the 7th opus they've worked with Indonesian artist Jonathan Kusuma (Previously on Cocktail D'Amore and I'm a Cliche) for two reworks that have been thoroughly tried on Asia's dance floors for the past two years.

Produced by Digital.

This EP produced by Noise Factory in 1993 expresses the full on depths of Junglistic Hardcore at its best and was driven by the rare groove of the sample patterns we like to call it of jungle with a groove.

These are unreleased tracks by S. McCutcheon (Syko) & R. Haigh (Omni-Trio) under the name 'Persons Unknown'. These group of artists collaborated on a number of tracks which were released on the Candidate Records label (a sublabel of Rob’s in-house label, Parliament Music). However, there were a number of unfinished, archived and VIP remixed tracks that are now scheduled for release on Blueskinbadger Records”

Rave had become hardcore – from which a strand called breakbeat house developed. This morphed into breakbeat techno, which became jungle techno. And I turned around to find myself part of a movement that was now known as drum & bass. This further splintered into (labeled by journalists) jump-up and “intelligent drum & bass,” darkcore, artcore, and so on. But the point was that it was always pushing forward; trying out new ideas, never settling on one definable style...” - Rob Haigh

Emotional Response presents the final recordings of the Saint Petersburg Disco Spin Club, a loose band alias of Kirill Sergeew aka Kito Jempere. Principally active for just a few years, these recordings were never finalised - lost as such, until now.

Growing out of Kito's productions, the 8-piece band, including friends Lipelis (Public Possession / Animals Dancing) and Sergey Lipsky (Simple Symmetry), was developed to create live transformations of his music.

The EP captures SPDSC at their peak; working with a desire to experiment via live improvisation. Can't You See Me, their version of an earlier studio release, morphs the original's melodic 4/4 in to an expansive, surround sound slo-mo Balearic funk experience for the heavens.

This is backed with a remix by Auf Togo Meets Becker & Mukai. After EPs on Leng, Aug Togo, aka Clement Cachot-Coulom and Sasha Crnobrnja (In Flagranti), previously teamed up with Jean-Gabriel Becker and Susumu Mukai (Zongamin), for an acclaimed EP on SaS Recordings. Their remix sensually creeps up, skilled musicianship creating a warm dub, as soothing bass and laid back vocals float to sunset horizons.

As finale, Simple Customers is an 11-minute whirl of lazy, psychedelic beauty. The interplay between bass, drum and guitar is water tight, letting vocals shine to some latter day anthem. A fitting epitaph, a band at ease, confident and as one, these proved to be their last output before Kirill regrouped as today's Kito Jempere Band.

Keep It Moving is a 6 track groove-oriented release that ventures between techno, beatdown, and downtempo styles. The release starts out with a pair of harder-edged techno cuts. The pensive, smoky "Martial State" leads the way, followed by "Struck Down Strike Up."

Next, the Chicago-based artist dives into slower tempos with the pleasingly dissonant "Cyborg Proposition" and the acidic, atmospheric, "They Don't Know". The record picks up in terms of mood and tempo for the house-leaning, "Rising Poem", before closing out with the catchy, head-nodding title track.

Samples are peppered throughout the release that help guide this record's narrative. Artwork by Chicago-based artists Ruby T. and Betty Heredia help capture the mood of the A-side and B-side respectively

Rarefied is back for 2020 in a big way. 3 prime cuts from one of the quickest rising duos in dubstep.

Another storming EP from the mysterious Bring Back Records.

Harking back to the 90s breakbeat/jungle era, the A-side sounds like it could easily have been made back then. With its faultless structure and memorable melancholic flute element, it's set to become another underground anthem.

B1 offers an atmospheric, rolling remix of Sweet Murda (BRINGBACK002) from Dwarde & Tim Reaper - well-known for their Globex Corp series.

B2 contrasts to excite those who value music with character and innovative moves. Full of unexpected twists and sophisticated drum patterns, this cinematic horror breakbeat/jungle track smashes boundaries and leaves heads spinning.

This is the bad bwoy approach as it should be. Get your goosebumps on!

Brooklyn-based outfit Wetware (Roxy Farman and Matt Morandi) return with the intense follow-up album to 2018’s Automatic Drawing, an electronic dirge, simply titled: Flail

Formed in 2015 and known for their odd and unpredictable live performances, Wetware’s new album captures this disorienting confusion in a series of definitive documents that encompass a concentrated, noisier sound that pushes and pulls against electronic textures and frenetic vocals, creating a palate of wild, unhinged sonic collages.

Presented across eleven new tracks in a tightly wrapped and smartly delivered album, Flail is exemplary of Wetware’s dynamics and tension. The 42 seconds of “Car Dancer,” act as a trailer for tension, setting up the episodic blast of “Kismet,” challenging the listener to find a wall to grab. Lead single "Exaggerated Bliss" pulsates before spinning unexpectedly into a chilling spoken narrative. Bitterly terse storytelling follows the staccato map of emotion, and as sparse as “Divided In Halves” is, “Rivalries Regulars” immediately answers with a dense oration that features Farman cursing “I know the reason for it” in stoic repetition, agnostic of rhythm yet in sync with mania.

We wanted to make a promo text for this release, but then this message by Alphabets Heaven came thru:

Subtitles is my love letter to salsa. A torn, scribbled, badly translated love letter to an old address that the resident left years ago. But fuck it, it's still a love letter.

Every since I heard Larry Harlow's La Cartera about 12 years ago I've been trying to find out as much as I could about salsa. So much of it runs counter to everything I know about dance music, and yet it so clearly bangs. So on and off for the last 10 years I've been buying salsa, trying to work out how many imprints of Fania there were, trying to get my head round the horn arrangements, and generally having a great time with basically no contact with anyone who was actually a part of the culture in anyway. My Spanish is pretty bad as well, so all I really know is quite a few songs are about farmers.

Subtitles is my shot at salsa. My completely uneducated stab at something that's way too complex to just guess at. Not surprisingly, it sounds nothing like salsa. What's weird is that it sounds like pretty much everything else I listen to. I think in many ways it's the most honest thing I've ever made. By completely failing at making salsa I've managed to blend together all the club music, art music and everything else I've loved. You might hear some UK funky, or whatever the 2019 version of that is called. You might hear some minimalism. You might hear some psyched out shit. You also might hear a gigantic fucking mess. Subtitles is a translation to a film done so badly you find out more about the person who translated it than the film. I was trying to tell you about the film, but maybe you'll like the subtitles.

Shout to London Afrobeat Collective for the horns Memotone for the cello Deft for the Woos. Shout out to Scratcha DVA for being Scratcha DVA.

Re-Release

Black Truffle is honoured to present the premier recordings of two recent works by legendary American experimental composer Alvin Lucier. A friend and contemporary of pioneers like Robert Ashley, David Behrman, Gordon Mumma, and Christian Wolff, Lucier has been crafting elegant explorations of the behavior of sound in physical space since the 1960s. Lucier is perhaps best known for I Am Sitting in a Room (1970), in which he repeatedly re-recorded his own speaking voice being played back into a room until the room's resonant frequencies entirely obscure the spoken text. Beginning in the early 1970s, he has written a remarkable catalogue of instrumental works that focus on phenomena produced by the interference between closely tuned pitches, such as audible beating, often using pure electronic tones produced by oscillators in combination with single instruments.

Demonstrating the restless creative drive of an artist now in his 80s, the two recent works presented here both feature the electric guitar, an instrument Lucier has just recently begun to explore. In Criss-Cross, Lucier's first composition for electric guitars, two guitarists using e-bows sweep slowly up and down a single semitone, beginning at opposite ends of the pitch range. The piece is a model of simplicity, exemplifying Lucier's desire not to 'compose' in the conventional sense, but rather to eliminate everything that 'distracts from the acoustical unfolding of the idea'. In this immaculately controlled performance of Criss-Cross by Oren Ambarchi and Stephen O'Malley, (for whom the piece was written in 2013), a seemingly simple idea creates a rich array of sonic effects - not simply beating patterns, which gradually slow down as the two tones reach unison and accelerate as they move further apart, but also the remarkable phenomenon of sound waves spinning in elliptical patterns through space between the two guitar amps.

In the comparatively lush Hanover, Lucier draws inspiration from the beautiful photograph that provides the LP with its cover, an image of the Dartmouth Jazz Band taken in 1918 featuring Lucier's father on violin. Using the instrumentation present in the photograph, Lucier creates an unearthly sound world of sliding tones from violin, alto and tenor saxophones, piano, vibraphone (bowed) and three electric guitars (which take the place of the banjos present in the photograph). Waves of slow glissandi create thick, complex beating patterns, gently punctuated by repeated single notes from the piano. The result is a piece that, like much of Lucier's instrumental music, is simultaneously both unperturbably calm and constantly in motion.
Stunning LP design by Stephen O'Malley including an inner sleeve with a portrait of Alvin Lucier by Kris Serafin.
Criss-Cross' recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. Hanover' recorded in Zurich and mixed by Alvin Lucier.
Mastered and cut by Rashad Becker at D&M Belin.
Criss-Cross' recorded at Studios Ina GRM, Paris by Francois Bonnet and mixed by Alvin Lucier. Hanover' recorded in Zurich and mixed by Alvin Lucier.
Mastered and cut by Rashad Becker at D&M Berlin.

The Belgian party organisation and record label De:tuned mark their 10th anniversary with the first outing of their 10 x 12'' series. 'DE:10.01' kicks off with a special treat from the 90s golden era: on offer a welcome combination of previously unreleased DAT material by Kirk Degiorgio and expertly affectionate As One remix treatments of both original Sensurreal and Jedi Knights (Mark Pritchard and Tom Middleton) work, pure bliss.
The artwork of the first 9 collectable releases of the series forms a 3 x 3 poster display. De:tuned have called on designer Kevin Foakes (Openmind, DJ Food, Ninja Tune) to create all graphic work.
This kickstarter for the series is mastered by Matt Colton (Alchemy Mastering) and pressed on 180 gr vinyl. A separate digital version of every release will be available from the usual digital shops. Stay tuned!

LIMITED EDITION COLOURED VINYL

Celebrating the return of Brain Machine's spatial explorations in last years Peaks album, this decade long sonic mission concludes in the second EP of remixes Two - with another selection of artists providing exemplary interpretations of the final 4 songs. The EP starts with a wonderful mix from Los Angeles native, Rollmottle. Running the beautifully sporadic Sentrall label since 2001, here Anthony Puglisi takes the Balearic meet Krautrock leaning of his excellent recent album, Fear Ritual, and crafts a lovely, drifting, textural stargazer. Next the Dusseldorf / Brain Machine axis returns with a remix from rising names, Die Wilde Jagd. As Unit 4, Ralf Beck is considered by many to be one of the least heralded, but most talented producers. Returning alongside sometime Noblesse Oblige member Sebastian Lee Philipp, the remix eschews the motorik consistency of their early outings for a 9 minutes + remix of atmospheric nirvana. The final side of the double mixes package goes to newer names in Cass. and Merrick Adams. As one half of the ZSOU, alongside Mo Morris, the project has sadly only spawned 2 EPs to date, so here Merrick ventures solo with a building tremulous break-drum trip to (Alpha) Moon. More to come. Cass. closes proceedings with a ubiquitous glow. With his appearance on the SchleiBen series and recent solo album for the label, plus his joint-release with Wolf Muller on International Feel all being acclaimed, this mission ends with pure ambient bliss. Part 2 of the Brain Machine journey is complete. Where next

Commodo returns to Black Acre for the first time in over two years with surprise new three-track EP, ‘Loan Shark’. Slated for release on May 22, ‘Loan Shark’ will land as his third release with the label, following 2018 standout ‘Dyrge’ and 2016’s blistering debut album, ‘How What Time’. A quietly elusive producer, Commodo’s recent work for Deep Medi, Bandulu and Black Acre has seen him established as one of UK bass music’s contemporary frontrunners, who continues to influence the wider landscape through the strength and imagination of his output alone. His latest EP continues this theme apace, melding together supreme bass weight, texture and meticulous sampling (‘Loan Shark’, ‘Hot Pursuit’) and vivid, sepia-tone melodies (‘Contraband’) across a record that, as the track titles suggest, plays out like a filmic, magnum-plated car chase.Tracklist : A1/Commodo - Loan Shark B1/Commodo – Contraband B2/Commodo - Hot Pursuit

Very very limited please aware

After the major success of Part 1, Cosmo Vitelli & Malka Tuti are presenting Holiday in Panikstrasse Part 2, the 2nd and final part of Cosmo’s 2XLP on the label.

After collaborating with Fantastic Twins on Part 1, the amazing Julienne Dessagne’s vocals are back on Part 2 as well for the opening track Fragments of Reality. Another collaboration on the record is with Croatian singer and vocalist Tanja Vezic, whom we’ve already seen collaborating with Cosmo on his Les Disque De La Mort release, and who gives a cinematic sort of feeling to the track Party old boy.

With “He just wanted to hang out with the DJs” Cosmo creates a slow burning dark banger that will not go unnoticed.
The final track Irritable is the perfect mixture between German Krautrock heritage and the French disco-synth touch of the 80s - emotional, growing and cathartic, one cannot stay indifferent to it.

Frost is a Brighton-based collaboration between French-Swedish sound artist Johanna Bramli (vocalist for Stereolab offshoot Imitation Electric Piano) and Fujiya & Miyagi's synth player and producer Steve Lewis.

For fans of the likes of Broadcast, Silver Apples and Kraftwerk together the duo create angular and electronic music by blending Motorik and hypnotic radiophonics into neatly wrapped often bilingual pop structures. On 28 September Frost release their debut album Matters via Lost Room Records. The duo has previously released two singles, the murkily glitchy 'Crackling on the Wire' (December 2016) which Edith Bowman made 'Record of the Week'with support also from Annie Mac (BBC Radio 1), Nemone and Gideon Coe (BBC 6 Music) and John Kennedy (Radio X). Followed by second single 'Keratin' (March 2017) - described as 'A detour through the best of 80's pop' (The Lineof Best Fit) - and Frost's debut E.P. of the same name (May 2017).

Vinyl Only

Mr. Matthew Puffett presents his own label with new, unreleased music from the past and of course with re-issues of FBA's timeless productions. The kick-off will be the re-issue of "Mode 2" which was originally released 1996 on Void records. This beauty comes as remastered vinyl only release!

John Beltran, Mark Archer, Future Beat Alliance and max 404 line up on this third 10 years anniversary 12" for De:tuned. Both John and Mark deliver a timeless, Detroit tradition indebted techno vibe, resulting in 2 dancefloor-friendly tracks. While FBA and max 404 activated their DAT recorder, culminating in unheard crisp yet sensitive cuts.
Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Alchemy Mastering, pressed on 180 gr vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

LIMITED EDITION COLOURED VINYL

A collection of brand new studio recordings, recorded by Davey Jewell (Peaking Lights/Flaming Lips) and mixed by Carlos Niño (Leaving Records). A magical mixtape of tracks that run the full gamut of 'Laraaji music', from blissed-out percussive jams to reflective vocal hymnals to trance-inducing drones. A perfect Laraaji entry-point on his never-ending creative journey through inner light.

Available as an 8-track double vinyl LP, and 10-track double CD with Bring On The Sun on the first disc, and a bonus disc of Sun Gong, the previously limited run vinyl-only pre-cursor to the main album.

Laraaji is a musician, mystic and laughter meditation practitioner based in New York City. He began playing music on the streets in the 1970s, improvising experimental jams on a modified autoharp processed through various electronic effects. Brian Eno saw him playing one night in Washington Square Park and invited him to record an album for his seminal Ambient series (Ambient 3: Day Of Radiance, released 1980). Laraaji went on to release a prolific series of albums for a wide variety of labels, many of which he recorded himself at home and sold as cassettes during his street performances.

In recent years he has had his career celebrated extensively, with two All Saints retrospectives Celestial Music 1970-2011 and Two Sides of Laraaji - as well as reissues on Glitterbeat and Leaving Records/Stones Throw. He has also collaborated with a new generation of underground musicians such as Sun Araw - their recent LP Professional Sunflow (Superior Viaduct) being the fruit of the live shows they played together in 2014.

Scanning Backwards, das zweite Soloalbum von Phase Fatale nach seinem 2017er-Debüt auf Hospital Productions, ist Musik über Kontrolle. Mittels der Verbindung von Klang als Waffe und psychologischer Manipulation als konzeptuelles Fundament, erforscht Hayden Payne Wege, auf denen Musik – und besonders Subbassfrequenzen – benutzt werden, das Denken zu beeinflussen als auch Emotionen und Verhalten zu synchronisieren: von Militärtechnologie zu Sound Systems zur Körperlichkeit und Sexualität queerer Technokultur.

Ausgehend von seinem innovativen Post-Punk-Ansatz zu Dance Music – nachzuhören auf seinen EPs für unterton und Ostgut Ton – bezieht sich der Berghain-Resident auf seinen Hintergrund als Gitarrist und Toningenieur. Daraus entstand auf Scanning Backwards eine berauschende Mischung aus gebrochener Rhythmik, Noise- und Shoegaze-beeinflussten Technos, oft mit langsamerer Gangart. Am Ende steht Musik mit Platz und Tempo zur weiteren Ausdehnung, das intensive Brausen von Frequenzen hervorhebend, die sowohl in der sonischen Kriegsführung und funktionaler Dance Music vorherrschen. Im Verlauf der acht Stücke, die eine Kombination aus historischen und fiktionalen Narrativen aus Literatur und Science Fiction im Titel tragen, ergründen Paynes rhythmische Exkursionen unterschiedliche Manifestationen von Klang als Macht – spezifisch im Sinne des Berghains als musikalisches Instrument. Dies reflektiert auch das Artwork des Albums: einem frühen Flyer der Partyreihe SNAX entnommen und offensichtliche Hommage an die Fetischisierung von Machtdynamiken.

In seinen eigenen Worten: „Alle Stücke dieses Albums, gleich welcher Stil, habe ich zugeschnitten, um auf ganz bestimmte Weise im Berghain zu klingen. Im Laufe der vielen Jahre als Tänzer inmitten des Dancefloors und auch während meiner DJ-Sets als Resident bemerkte ich, welche Frequenzen den Körper so richtig penetrieren. Das beinhaltet Sprache, Hochfrequenz- und Hirn-penetrierende Instrumentierung, Sägezahn- und Schlagbohrhammerästhetiken – die hatte ich bis dahin noch nicht so oft benutzt, denke aber, dass sie Einfluss auf das Denken und Gedächtnis haben. Das trifft besonders zu auf einen Ort, der schwule und Fetisch-Geschichte auf unerwartete Weise mit Musik kombiniert, auf fast kultische Art. Eine musikalische und physische Deinstallation und Neuprogrammierung, Psychic Driving und De-patterning, das Löschen und Ersetzen von Erinnerungen.“

Scanning Backwards wacht über die manipulativen Eigenschaften elektronischer Musik (Mantras, Loops, unterschwellige Botschaften) und wie Rhythmus sowohl Bewegung als auch das Denken in Einklang bringt. Ein Puls koordinierter Klang- und Hirnwellen.

Scanning Backwards, Phase Fatale’s second full-length album following his 2017 debut album for Hospital Productions, is music about control. Using the connection between weaponized sound and psychological manipulation as a conceptual foundation, Hayden Payne explores the ways in which music – and sub frequencies in particular – are used to influence thinking and to synchronize emotions and behavior: from military technology to sound systems and the physicality and sexuality of queer techno culture.

Known for his innovative post-punk takes of dance music as featured on EPs for unterton and Ostgut Ton, the Berghain resident draws on his background as both a guitarist and sound engineer to create a heady mix of broken rhythms, noise-, and shoegaze-inflected techno, often at slower tempos. The result is music with space and pace to expand, highlighting the intense rushes of frequencies found in both sonic warfare and functional dance music. Over eight tracks named after a combination of historical and fictional narratives from literature and science fiction, Payne’s rhythmic excursions explore different manifestations of sound as power – specifically within the context of seeing Berghain as an instrument itself. This is also reflected in the album artwork, taken from an early flyer for the SNAX party series and an obvious ode to the fetishization of power dynamics.

In his own words: “All tracks on the album, no matter the style, were tailored to sound a certain way in Berghain – something I figured out through years of dancing in the middle of the floor, DJing as a resident and investigating what frequencies really penetrate the body. This includes speech and high-frequency, brain-penetrating instrumentation and drilling textures that I had not utilized so often before, but which I think also have an effect on thought and memory. It's especially true in a space where gay and fetish roots combine with music in unexpected ways, almost in a cultish manner. A musical and physical deprogramming and reprogramming, psychic driving and de-patterning, the erasing and replacing of memories.”

Ultimately, Scanning Backwards surveys not only the manipulative properties of electronic music (mantras, loops, subliminal messages) but also how rhythm facilitates both moving and thinking in synchrony; a pulse of coordinated sound- and brainwaves.

Dragon Skin is a new conceptual compilation around the ideas of protection and safety released by Cønjuntø Vacíø that showcases new artists and some classic acts of the label.

Dragon Skin was a type of ballistic vest formerly made by the now defunct company Pinnacle Armor, currently produced in Missoula, Montana by North American Development Group LLC available for public, law-enforcement and military customers. Its characteristic two-inch-wide circular discs overlap like scale armor, creating a flexible vest that allows a good range of motion and is intended to absorb a high number of hits compared with other military body armor. The discs are composed of silicon carbide ceramic matrices and laminates, much like the larger ceramic plates in other types of bullet resistant vests.

On August 3, 2007, the Department of Justice announced that the NIJ had reviewed evidence provided by the body armor manufacturer and had determined that the evidence was insufficient to demonstrate that the body armor model would maintain its ballistic performance over its six-year declared warranty period. Because of this, Dragon Skin was found to not be in compliance with the NIJ’s testing program and has been removed from the NIJ’s list of bullet-resistant body armor models.

SPECIAL EDITION 2 Years Compilation SOIL Records with Cassette + Digital Download +Wood Box + Stickers + Print Card numbered and signed by Mimusa.

Repress

aril brikha seems to be on a roll. with “dance of a trillion stars” he just recently released a laid back ambient album full of melodic slow-motion enthusiasm.

now, shortly after, the berlin based producer drops “prisma” – a record for dancers, that is more on the deeper side of the dance floor.

“five to six years ago i decided to take a break from releasing on my own label art of vengeance in order to see if i had it in me to make a new album. so, i found myself having this initial break that was intended to be six months but went on for almost five years!

during this time, i made a lot of music that i kept coming back to but i never managed to finalise it. after the release i did with sebastian mullaert, mule musiq kept asking me for more music but i just found myself not capable to look at this body of work of almost 50 tracks and choose what to finish.

as i was not able to make decisions, i asked mule to listen to 25 tracks of the 50 and tell me what they liked. the result was the “dance of a trillion stars” album early this year.

once we finished the ambient album, only dance tracks were left of whom some are featured on “prisma”. instead of having your usual "album" story arc featuring ambient intros mixed with dance tracks, we choose to release two separate albums.”

aril brikha confesses about the secrets behind his newly hectic release schedule that made him publish two albums within half a year.

since the late 1990's his music melds techno and house that seduces club music enthusiasts around the world. influenced by different kinds of electronic music - from depeche mode and jean-michel jarre to robert hood and underground resistance – his music dances between straight up club tracks and deep unwound moving arrangements.

he already released ep’s on labels like kompakt, poker flat, his own label art of vengeance as well as an album for derrick may’s transmat imprint and a long-player for legendary peacefrog records.

after two mesmerizing ep’s for mule musiq in 2016 and early 2019, and the ambient album “dance of a trillion stars” earlier this year, he now releases an all dance track album loaded with eight arrangements, that he produced during night time on his old hardware equipment which he started using again after years of them being tucked away in his stockholm basement.

“i always make music to listen to. it is never intended for a dance floor. i guess i'm not much of a dj-tool producer, i'm more a "music" producer.”, he confesses about his work.

his new tunes, who seduce with warm chords and pleasant melodies, tell a different story. they are all propelling, while staying somehow calm and avoid average party hysteria. precisely produced tracks between house and techno, that favour the warm soul of dance music.

underneath the grooves each track rolls out some ambient vibes and veils of trance, dancing to delicate hi-hat shuffles and starry chords.

“my 90's stuff was very detroit influenced, not in the hard techno meaning but more towards the soulful part of it. my 2000 productions were very melodic driven and i was trying to see how far i can push a "trance" sound without making trance music.

the newer stuff is probably mix of both.” aril brikha says about “prisma” and its power to unite different generic zones into one charmingly warm dance journey. together with his predecessor “dance of a trillion stars” it introduces a touching insight into a producer’s soul, that did not get lost in his very own creation of melodic electronic sci-fi dance-not-dance music.

Repress

Properly head-melting debut album from Beatrice Dillon featuring/including contributions from Kuljit Bhamra, Laurel Halo, Batu, Untold, Kadialy Kouyate, Jonny Lam, Verity Susman, Kenichi Iwasa, Lucy Railton, Petter Eldh, James Rand and Morgan Buckley...bit early to call aoty 2020?

"‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythmobsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro- Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity. Recorded over 2017-2019 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo.

Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play. ‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system. With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy. Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo.

The substance of her music is rematerialised in supple, concise emotional curves and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace."

A year on from his debut Metalheadz EP, Grey Code is back with a well polished follow up in the form of 5 tracks collectively known as the 'Helios EP'. With vast soundscapes, blissful melodies and artfully crafted yet savage basslines, this EP is a showcase of Grey Code's progression and inimitable sound that makes him one of the most exciting drum and bass acts to emerge in recent times. Vocal features come from Becca Jane Grey and Astrid, with Grey Code seeking to add additional aspects to his burgeoning and now impressive discography ahead of an extremely intriguing year for the young Bristol-based producer.

S&W and Gustaaf make up three fifths of Prongof108 which started out as a radio show on Berlin based Cashmere Radio in 2015 and turned into a record label a few years down the road. After some solo records and the release of a split EP on Turnland Records, they are now teaming up for their upcoming “It’s More Fun to Commute” EP on Prongof108. Combining the forces of three guys seems like a natural fit, or to put it differently: it just happened. They’ve been DJing together and sharing a mutual passion for UFOs and palm trees since quite a while. Expect a mix of 80s boogie and proto house vibes sending kisses to tropical and pacific sounds and taking you on a journey from proper house club crowd bouncing to teenage heartache downtempo electronica - always smart and with a smirk, definitely never too intelligent to dance to.

De:tuned continue to celebrate their 10th anniversary with this second EP of the series and dive deep down into the ambient techno world. The A side makes you drift away on a rare Sun Electric get together, followed by a Higher Intelligence Agency piece of beauty. DeepChord's dubbed lushness completes this highly intense journey.
Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Pressed on 180 gr vinyl and a separate digital version will be available from the usual digital shops. Stay tuned!

LIMITED EDITION COLOURED VINYL!

An Exact Science is a fantasy of long time ASC fans have had for many years (ourselves included) come to life with results that surpass our imagined results.

An Exact Science is a fantasy of long time ASC fans have had for many years (ourselves included) come to life with results that surpass our imagined results.

Vinyl only - >
Printed sleeve.

4 minimal garage cuts by Kepler / Instinct.

Supported by ->

Enzo Siragusa, Rossko, Burnski, Tristan Da Cunha, Alessio Viggiano, TIJN, Dudley Strangeways, The Willers Brothers, Jeremy Weeks, Carlo Gambino, Nick Beringer, DJ Caspa.

This is something special... Certain:Dubs continue their journey through the realms of original onground muzak with special guest Aztek from Sheffield/UK.

Aztek brings deeply moving energy vibes with 'Pacinos Dub' and 'Walk The Plank', two solid and bass heavy tunes with a distinct atmosphere. Proper speakers are recomended. This sound is designed to be felt!

This is a limited vinyl only release.

As witnessed in the preceding decades of electronic music fragmentation, it is a bit of a phenomenon that entire threads of sound exist elusively between the tempos and syncopation of rhythm and percussion of each respective genre. just as dubstep was evolved into & somewhat stumbled upon it is somewhat certain that many more areas of illumination lurk in the echoes & shadows of sound.

As has been hinted on sonically with Surface Tension I, Clubroot's previous release & first foray into the second decade of the new millennium, the elusive aforementioned producer from St. Albans has managed to alloy a new sound with the swing and BPM of uk garage, space, air and atmosphere of true dubstep, and with all the unparalleled virtuosity and unmistakable aural DNA of Clubroot, which we dare say is rarely equaled. in doing so, clubroot illuminates the realm of uk garage and electronic music in general towards a currently unforeseen future.

Surface Tension: II further explores these discoveries and further reinvents them in the process. starting with the expansive 'Infatuated'; with its gradual, intensifying movements towards the ultimate reveal, and supported by the equally singular 'Explorer' and 'For You', Surface Tension: II is as much an additional high watermark in clubroot's overall discography as it is a companion piece to Surface Tension: I in both its genre-straddling style and overall ethos, with the vinyl release being pressed on one-time 'solar flare' color vinyl featuring moving original art which stylistically continues the narrative through the as of yet not fully revealed tetraptych.

TRULE presents its first release and the latest from Deadboy, the Klint EP. Four swung out club focused tracks exploring the meeting point between techno and UK garage music. Deadboy uses a stripped back percussive sound palette with shuffling drums and a hands on hardware approach to create four individual, jacking, crisp joints for the dancers.

Klint is the first release on TRULE, a label operated by Al Wootton aka Deadboy to release straight up dance floor club tracks from across the spectrum.

It has been a long time coming. Birmingham producer ENiGMA Dubz has not only influenced dubstep as a genre, he truly shaped the duploc platform from literally the very beginning, going back all the way to October 2012 when he was featured with the channel’s first ever upload.

Along the way several releases from ENiGMA Dubz have been pushed on platform while the support and respect have been mutual. ENiGMA Dubz did already work together with the DUPLOC imprint as well a few times, although now he is releasing his first ever solo vinyl record and of course that is coming through on DUPLOC.

For “DUPPLATES Vol. 4” he carefully prepared a collection of his absolute finest productions. Expect a mixture of raw cuts as well as heavyweight rollers with "The Eyes" holding an iconic sound on his full-fledged 12-inch debut plate.

Ein Jahr nach seinem Fusion-Meisterwerk "Flamagra" (Top 20 DE-Charts, Musikexpress "Album des Monats") veröffentlicht "Jazzfunk-Superheld" (Spiegel Online) Flying Lotus die Instrumentals. Mit der Fokussierung auf die psychedelisch-deepen Soul-Arrangements und begnadeten Musiker, die an diesem "kosmischen Grosswerk" (Rolling Stone) mitgearbeitet haben (von Brandon Coleman über Miguel Atwood Ferguson bis Herbie Hancock), sind sie ein intimes und transzendentes Hörerlebnis für Fans und erscheinen als limitierte Formate: Do-LP mit Download-Code plus animiertem Slipmat in PVC-Hülle und CD-Digipak.

This is the first single taken from Remute's new album 'Play The Game' and you can sing a long to it in the shower. Get Lucky meets Bubblegum Crisis meets YMO meets 16bit videogames meets.........
Specials: Includes Remute-Sticker and signed autograph collector card!

Proudly presenting the 3rd instalment in our 'Edition' series - Edition 3 (Various artists LP). It includes tracks from Alix Perez, Machinedrum, Lordel, Deft, Visages, Monty, Ternion Sound, Drone, Cesco, and Bredren. In keeping with our ethos as a platform for multiple styles of music, this release spans tempos from 85-140-170 bpm. The artwork is a continuation of our previous releases, made by Sineater. This release will be available as a 3 piece vinyl set, and as digital.

Versalife's second release for 20/20 Vision sees Dutch producer Boris Bunnik aka Conforce return with another slab of signature electro. 'Clandestine Development' serves up dark tones and melodies layered within insistent electro beats and growling bass, that sounds huge on big room systems. 'Aegis' delivers a double dose of mechanical funk, played over atmospheric strings and auditory acid delights. On the B side 'Lamba' continues to impress with a moody laidback bass line holding the groove down over a solid rhythm & dystopian keys. Wrapping things up the title track 'Asimov's Code' plays out like war drums from space pounding away after a blissful intro of building synths.

A loose, organic swarm of steel-bound percussion, meditative bass frequencies and improvisational tonal shifts mark the second instalment of Gaia Tones, with the label’s vision remaining conscious: one track per side filling the entirety of the 12” plate, giving these tunes a life of their own. GT002 sparks to life with side A’s “Chains”, a warped, mystical groove that speaks for the imprint’s deep-rooted sufferation. With a slow-burning swagger of four-to-the-floor, side B’s “Shackles” digs deeper into the earth’s elements, allowing the room to fill up with that familiar gust of machine haze. Experimentation with a message."

Comes in hand made sleeve artwork.

Out Of Romford Records was one of the most underrated old school labels in the history of our scene. Relentlessly innovative and with a unique sound, it was always ahead of the game and perhaps it is only now that the true brilliance of each release can be really appreciated.
This EP contains the absolute classic “Chance To Dance” which back in the day eclipsed the other three tracks on the EP. But years go by, and now all 4 tracks can be re-evaluated. And what an amazing EP this is. Its both a product of its time, and totally timeless in its sound. The remastering has only served to enhance the brilliance of the entire EP. Not to be missed…

The enigmatic Ando Laj’s latest full-length excursion—9-tracks of heady sonic explorations that defy neat categorization, a plethora of textures & forms arranged with the producer’s signature attention to compositional minutiae. Dog Insight is a series of personal recordings in an inimitable sound world that once again sees the producer taking their esoteric style into new territories. Resolute, mechanized thump is brought to gradual equilibrium by weightless cascade on “Soj Alm”, while skeletal opening number “Aal Tn” rattles into chrysalis, unravelling itself out of murky depths over its duration. A shrouded collection of slow-to-evolve melodic & rhythmic feedback loops, plucked from a haze of nostalgic familiarity—sound sources of indeterminable origin, sequenced & processed to mystical effect. Another intriguing & devotional experience from the Toronto artist.

Recorded at INA GRM and Steamroom

Piano: Eiko Ishibashi // Violin, viola: Atsuko Hatano // Trumpet: Eivind Lonning

Cut by Andreas Kauffelt at Schnittstelle, Berlin, February 2020

Photo by Eiko Ishibashi // Sleeve design by Stephen O'Malley

Special thanks to Francois Bonnet and Jean Schwarz for bookending 30 years

Due to the wide dynamic levels, please adjust your volume accordingly

Shutting Down Here is a special work. Symbolically, it covers a period of thirty years, between two visits by Jim O'Rourke to the GRM, the first, as a young man fascinated by the institution and his repertoire, the second, as an accomplished musician, influential and imbued with an aura of mystery. Shutting Down Here is a piece shaped like an universe, a heterogeneous world in which collides the multiple musical facets of Jim O'Rourke: instrumental writing, field recordings, electronic textures and cybernetic becomings, dynamic spaces, harmonic spaces, silent spans . This variety of approach, strangely, does not in any way weaken the coherence of the whole and this is the talent of Jim O'Rourke, a talent, properly speaking, of composition, where all the sound elements compete and participate to stakes that exceed them and of a common destiny, that is to say of an apparition.

Released in association with Editions Mego.
Coordination GRM: François Bonnet, Jules Négrier

Executive Production: Peter Rehberg

Spiral is the third album by the Greek composer Vangelis, released in 1977. Less celebrated than the two albums which preceded it, but the quality of this record is at least on the same level as the previous recordings. The keyboards are prominent on front of the music, while Vangelis is exploring new electronic grounds. It is a concept album, thematically inspired by ancient philosopher Lao Tse. For the track “To the Unknown Man” Vangelis received the Midem International Instrumental award in 1978.
The multiple-award winning composer of electronic, progressive, orchestral and jazz music started his career working in several successful bands, such as Aphrodite’s Child. He composed over 50 albums and is still creative in developing new concepts.

Available as a limited edition of 1500 individually numbered copies on gold & black marbled vinyl

new quartet by Samuel Rohrer, Max Loderbauer, Stian Westerhus & Tobias Freund In the present era of media saturation, the artist's dilemma has shifted away from the question whether to fuse disparate stylistic elements, towards the decision of which energies to draw upon: a situation most rewarding for those who listen to musicians navigating this limitless terrain. One such journey, the captivating full-length release from Samuel Rohrer's new Kave quartet coming out this May, is bringing together players who are equally well-versed in the quick-thinking mechanics of free group improvisation and the compositional strategies of contemplative / ‘ambient’ electronic music. With Rohrer acting as creative director and most of the quartet sharing synthesizer duties, there’s a strong sense of unified purpose to this set, and a narrative flow that never causes the listener to focus on one constituent part at the expense of the whole. At the same time, the players know all well that cohesion counts for little without those constituent parts being compelling in their own right. Rohrer and Loderbauer, for example, have previously crafted a unique techno-organic approach with the Ambiq trio, and the lessons learned from that partnership are put to inspired use within this new configuration. Stian Westerhus’ contributions on guitar and vocals, along with Tobias Freund’s electronic reinforcements - Freund also has worked since many years with Max Loderbauer as NSI - all conspire to make something that Rohrer aptly compares as “forest”-like. It’s a descriptor that will have vastly different meanings for each listener. For Rohrer, it refers to music that is confident in the “deep-rootedness” of its foundations and defined by a density and mystery easily confused with darkness, while nevertheless proving its bright vitRight away, on the introductory odyssey 'Cambium' the quartet sets out to make good on this metaphor, creating a hypnotic foundation for what is about to unfold during the next 42 minutes, with brooding, slow, 'searchlight in a fog,' synth washes and percussive stridulation. The twin 'Hibernation' tracks show all the unique elements beginning to coalesce: the emotional tenor is one of vulnerability that melts into the determination of 'staring into the void', a temperamental state challenging to represent authentically in music. The atmosphere of psychic challenge effort lessly gives way to the faintly nostalgic glimmers of 'Giant Peach' - a literary reference to the macabre whimsy of Roald Dahl.
The ultimate dissolution of barriers between organicism and synthesis is accomplished on the majestic 'Divided We Fall', a title referring to Westerhus’ smoky vocalization that winds into a double helix formed from electronic surges.
Again, the ease with which it all comes together is mesmerizing, and while there’s an aura of risk accompanying this walk through the woods, there’s a much more enduring impression of carefully orchestrated growth and change.

Defrostatica welcomes BSN Posse to the fold with the "Rituals EP".
The hardworking team behind the infamous Iberian Juke label were
among the very first to amplify the 160 bpm footwork sounds of
Chicago dance culture in Europe. Since 2015 Broken Lip and Stay Puft
developed their very own sound which blends Juke with Hip Hop,
Modern Jazz, R&B and of course Jungle. Their productions always come with soulful tones and humble nods to the Teklife originators, DJ Rashad and Spinn. Having remixed Detroit’s Filthiest "Secret Sauce" in 2018 they now return to the label for a taste of their own
production featuring collaborations with UK’s Jon1st, Pablo Dread
out of Spain and Canada’s Metafloor. #UOAI

The next release is a collaborative EP by Eusebeia from which we already released two digital EP`s in the past. Together with Atiq from The Netherlands and UK`s Arlow they created four atmospherical Jungle bangers.

- the Picture You See Is No Portrait Of Me (true Faith 1989) With innere Tueren', Ergin Erteber Publishes His Artistic Approach To Sound And Vision. It Is A Journey In Which Sound And Images
Unite Compellingly And Form Multidimensional Spaces.
After A 5-year Period Of Experimentation, innere Tueren' Is His Decampment And, At The Same Time, His Liberation From The Dogma Of The Often Functionality-reduced Claim In Electronic Music. With Him Sound Formations Arise Exclusively Through Images, Already In Existence. He Sets These Images To Music And Fills Them With An Emotionality That Was Hardly Heard Before.
Born And Raised In Heidelberg, Ergin Erteber Has Always Been A Prisoner Of His Very Own World Of Images, Which Later Led To His Intense Involvement In Design And Photography. Constant Companion In These Times Was The Music With The Result That He Had To Merge Both Worlds For Himself.
In The Course Of This His Way Led Him To Darmstadt Where He Discovered Music-production In Addition To His Studies. At The Same Time, He Was Both Creatively And Musically Involved In The Art And Club Project galerie Kuzweil'. In This Environment, He Was Able To Gain Many Experiences That Were Certainly Also Formative For His Approach To Music.
His Previous Projects Such As things From The Basement' Also Show Stages Of This Development. In This Particular Collaboration With Steffen Neuert (bergheim 34) It Was Already Apparent That He Was Less Concerned With Functionality, But Rather With Aesthetics And Charisma - In A Figurative Sense, A Rapprochement With The concept Of Beauty' By Umberto Ecos, Whereby Here Rather The Ear As The Eye Is The Center Of Perception. This Approach Is Now Even More Delicate In innere Tueren'.
With The Help Of Jan Barich (map.ache) Ergin Erteber Has Now Been Able To Translate His Own Fragile-poignant Soul Language Into Wonderful Music. The Album, Which By The Way Was Mastered By Josh Bonati In New York, Appears On March 22nd In 2019 On Kann. On 21.03.2019 An Exhibition For The Album Will Take Place In The Gallery Ortloff In Leipzig.

New Zealand native and master of bass, Headland returns to System Music with another slice of production wizardry built and ready to shut down dancefloors and sound systems across the world.

On the A side sits Garbo, a monster of a track which rips through the speakers with aggression and bounce. It’s as intimidating as it is funky and as experimental as it is absolutely heavyweight. Bound to shut down every rave in which it graces its presence.

The B side homes Grits. A skippy stepper of a track with a densely dark atmosphere drenched in digital yet glacial sounds and nuances, easily translatable from the dance to the headphones.

kniteforce head honcho and all round oddball Luna-C drops an eclectic remix EP, featuring tracks spanning his entire 3 decade career. Shoreman takes “Bomb Da Bassline” and makes it as mad as you might expect from the mastermind behind “On The Edge”. Success’n’Mistreat meanwhile is remixed back to the early 90’s sound of MARRS and that sample heavy era. The Wislov remix of “Edge Of Madness” is perhaps the standout, being a classic anthem remixed into an even more formidable style, and the EP is rounded off by KF newcomer Dj Beeno, who takes the obscure “Hurricane” and blows it away…

Coco Bryce - 'nuff said.

Alright, maybe he does warrant a bit more than that. Myor boss Coco Bryce returns to his self- proclaimed "second home" at 7th Storey Projects with two new bangers, something of a natural sequel to the much-loved Gunna released on 7th Storey in the form of a cheeky little 10" in 2019.

On the A side you'll find 'My Girl' - a roughneck breakbeat ride but with sweet and soulful vocals and Summery synth-lines smoothing out a bit of the roughness - a typical Coco workout, and that is by no means a bad thing!

On the B is U Can C In There, a gorgeous roller - just listen, the music speaks for itself! Mastered & cut by Beau Thomas, pressed at Record Industry and presented on Coke Bottle Green vinyl - fancy