Beats Новости

Knock Knock - after three years of think tanking, digging records, talking gear and hosting events in and out of Leipzig, Clear Memory is showing up at your party, eating your hors d'œuvres, drinking up your champagne and convincing the DJ, it'd be better to play this Various Artist EP.

The first Clear Memory Record contains five tracks by our members who chose anonymity and integrity over the hollow promises of fame and fortune. Five tracks equally of robo-romantic dystopias, cold electronics, rousing anthems and dead-on floorfillers.

Suitable for hard working DJs, craving collectors and home listeners alike. Join the pack - this is just the beginning.

The veil falls, as the transmitter that is Clear Memory commences to send for a second time. Light is being shed on the works of Milium, Westlake & Hayter, Robyrt Hecht and Varum. Four tracks of scientifically crafted tunes, full of rugged drums, menacing basslines, mesmerizing keys and voices that narrate both hard to swallow truths and declare their attachment. 140 g of Clear Memory Sound at various speeds and styles.

Master of ambient spaces and far out places, long-time Finnish producer Sasu Ripatti (aka Vladislav Delay) blesses us once again with another release, this from his 'Visa' period of unreleased tracks.

The first track out of the gate is a recognizable Vladislav Delay piece, but instead of gently flowing rivers of sound, instead we have a series of stiff, machine-like rhythms applied to his classic infinitely deep pads and ambient environmental sounds.
It just continues to pile in more elements until becoming almost indistinguishable from his natural, organic flow.
From there we move into somewhat more familiar territory but still unusually stripped down and mechanical for a Vladislav Delay joint.

It’s fascinating to see such an intricate songwriting process laid bare in such a way, often exposing each individual, nearly bottomless sound in isolation.
Deeper into the album, things veer into decidedly more abrasive and synthetic territory, at times becoming an almost unrecognizable artist for a moment, only to be eventually subsumed under layers of shifting ambience that could only be Sasu.

This austere minimalism makes these tracks some of the most hypnotic since the early 90s excursions, but at the same time seems to have left its organic, analog roots and melded with the harsh gridlocked modern sequencer. ~Clint Anderson

Limited Blue Vinyl Pressig
'Postsocial' is the breathtaking 8th album from Wold, an infamous black metal unit with strong binds to the landlocked plains of Regina, Saskatchewan in central Canada. 'Postsocial' is a culmination of ideas core to Wold's philosophy, heading deeper into a world of visceral howls and internalised harmonics. Due to the inherent limitations of vinyl, the album now unfolds in a different sequence to the CD, manifesting a crucially altered beast

To kick off 2020, Workforce returns to his own Must Make Music imprint to present the third and final volume of the Late Night Soundtrack series. In true Workforce style, the four tracks traverse the 170bpm template; showcasing both his versatility and the breadth of influences that inform his work: from the sultry blues of ‘Cheap Love’ which features the ever-impressive and ever-evolving vocal talents of DRS to the stripped-back simplicity of ‘Your Loss’ through to the ethereal yet simplistic motifs of ‘In The Throes.’

Late Night Soundtrack Vol.3 confidently shows all sides of Workforce's repertoire. Music that is functional sits right next to music that is led by emotion.

A chorus for 2020’s haunted cityscapes, Banshee’s first record of the decade begins by gazing skyward, pushing against the shadow within and seeking magic in the everyday. Refracted utopian visions wilfully conceal the underlying gloom, but after finding temporary relief in the clouds, unfulfilled wishes and fragile fantasies soon dissolve into nightmares and psychic terror, with recursive voices hinting at re-lived trauma creeping through inner worlds like the hand of Freddy Krueger.

(180 gr vinyl incl. rmxs by Pharaohs, CFCF & Apiento) 'On Vacation' was hailed by many as one of the finest of 2016 so far. As ever we asked a few people we like to do some versions.
International Feel launched their minialbum series late last year and second in line was CFCF with 'On Vacation' which many hailed as one of the finest of 2016 so far. As ever we asked a few people we like to do some versions.

Pharaohs come from LA and blend Liston Smith vibes in a modern electronic context. They have released music on ESP Institute and 100% Silk. Their take on 'Pleasure Centre' is a bongo driven ride with acoustic guitars and jazz infused flute harmonics. It's a lovely thing.

CFCF himself takes on 'Fleurs laissés dans un taxi' in a beautiful balearic style. Super mellow with sweet guitar in a classic Pat Metheny style brings out the melody with the pads & syncopated drums and percussion rolling away in the background.

Apiento takes the chance to reedit 'Chasing' which was one of our favourites from the label. A little dub and an extension is all it takes to let this one breathe for a little longer.

Across the board good from International Feel. Enjoy.

Tyyni is the third album by Finnish-born sound artist and musician Cucina Povera aka Maria Rossi. The second album recorded using a more studio-based scenario – as opposed to last year’s Zoom, a collection of in-situ, spontaneous recordings – Tyyni feels like a slowly unfurling mediation on the clash between nature and mechanical living, a rumination on the complexities of modern life that begin to unveil more about the inner landscape of the artist as it progresses. A Finnish word referring to still, serene weather, the title belies a new note of turmoil in Cucina Povera’s soundworld. Tyyni represents a more detailed focus on the sculpting of sounds that curl around Rossi’s hymnal vocal performances. It’s a more adventurous work than Rossi’s previous output that goes further into noise elements and vocal abstraction while maintaining the balance and ecclesiastical ecstasy of her debut Hilja.

While tension at the core of Cucina Povera is always prevalent, previously it was organic sounds that were used to counterpoint Rossi’s singing but on Tyyni these are often replaced with aggressive synths and distortion, profane clashes with the seemingly sacred hymns. Whether close mic’d and intoning in a loop or in full flight, Maria Rossi’s voice remains in the foreground, set here against a more synthetic backdrop. This development builds new worlds for Cucina Povera, a digital environment which brings in a sense of the alien for Rossi’s vocal to duel. The effect is often dazzling. On Salvia Salvatrix, an ode to the medicinal plant used to ward off evil spirits, Rossi’s invocation is encircled by a distorted synth sound tearing at the fabric of the composition. It’s an inspired juxtaposition, leaving the listener to appreciate both sounds as separate and as a duet. Anarkian kuvajainen embraces a sense of chaos, an accidental transmitting mobile phone’s pulse is swept up gently with looped synth swells as Rossi’s prayer-like vocal rhythmically teases the composition into loops that embrace and then drift apart. Teerenpeli flirts with a minimal beat rendered by sampler and processed, layered field recordings of capercaillies, while Side A ends with one of Rossi’s most beautiful, simple tracks yet recorded. Varjokuvatanssi is an a cappela recording built on top of a wordless glossolalia, a shadowy interplay which foregrounds the solo vocal.

Pölytön nurkka is the most melodic song yet recorded by Cucina Povera. While it still maintains an off-the-cuff performance style, the synthesized chimes and 4/4 beat are smothered by a distorted synthesizer which almost replicates the bravado of an electric guitar feedbacking into the night. Rossi’s subject matter talks of trying to start anew, getting rid of extraneous material, perhaps still feeling powerless to affect positive change. On Haaksirikkoutunut, the protagonist vocal is lost, a vessel rudderless on the ocean, buffeted by waves metaphorical or real, digital, atonal chords gurgling and splashing against the bow, a storm forever brewing on the horizon. Saniaiset recalls Coil in its eldritch, nocturnal tone and digital-bell like synth, Rossi’s half-spoken/half-sung voice attaining a creepy tone before flipping into flight. Album closer Jolkottelureitti uses an escalating, sequenced synth that splinters into both abrasive tones and harmonising chords creating a kosmische effect, reminding the listener of Kluster or synth-era Popol Vuh, all the while elevated by Rossi’s searching vocalising.

For an artist with such a singularly unique musical language, Cucina Povera is continually teasing new strands and emotive tones from an evolving palette. Most importantly, Tyyni appears to be pulling back the veil to uncover an artist finding a synergy between her own emotional inner world and practice. As such, on her third album, Maria Rossi has found a third way between abstraction and extraneous emotion, personal experience turned inside out to reveal more about the listener.

The Skater's Spencer Clark takes Matt Mondanile ov Ducktails as his co-pilot on a new mystical journey through time and space..
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Egyptian Sports Network , the result of this holy union, brings out the more krauty, futuristic side of the two. Like any Spencer Clark release, 'Interstitial Luxor' comes with its fair share of custom-made sci-fi: in this case the five tracks are part of a Zero Gravity Sports network soundtrack being transmitted from the Olympic Space Station via satellite feed directly into our minds.

Drums pulsate through fuzzy clouds of spaced-out synths and restless robot oscillators, amounting to syncopated rhythms with a Terry Riley sheen. Wailing exotic flutes summon the spirits of astral Nubian kings and queens, while modern muzak melodies flutter in the background, creating a sort of esoteric teleprompter fantasy.

Ducktails' pop sensitivities create a perfect counterpoint to Spencer's meditative approach, building catchy, convoluted melodies together. You hear a punchy baseline transforming the otherwise ethereal 'Egyptian Sports Network' into an alien space-station TV network anthem or the rapid cuts in the upbeat 'Jai-Lai Nightclub' oozing Andromeda Galaxy dancefloor potential.'Leo in Cyan', featuring Emerald's Mark McGuire, ends the transmission with a hypnotic, android snake-charmer tune dripping with past-life nostalgia.

Think of it as intergalactic minimalism, dipped into '70s nostalgia and sprinkled with hazy memories of library music, truly enchanting.

2012 saw New Zealand’s Epoch release works on his own label Egyptian Avenue with UK producer Wen.

Since then, looking back through his impressive discography, revisiting solo 12s, compilation releases and his 2016 album ‘Badminded’ it’s a definite clear-cut thought to acknowledge Epoch has held artistry status to his craft.

His craft being, producing somewhat twisted, hip-hop and grime pervaded, sound system- driven, low end focused UK inspired club music.

Here at Modern Hypnosis, we are honoured to feature two unique tracks with that vivid Epoch stamp.

Enjoy responsibly.

FFF returns once more to 7th Storey Projects bringing with him four cuts of his killer brand of jungle.

For the first release of the new decade we are honoured to introduce LA-based Oxóssi who has conjured a captivatingly sinister sonic palette for his debut EP on the label.

Sama
A scorching 8-bar intro catapults us straight into 'Sama', the first track of the release, where abandoned-jungle-ruins atmospheres meet threatening wooden flutes and weighty wobs - Oxóssi is not messing about. The narration proceeds with a melody sung by a penetrating laser-beam-like synth, which adds a space layer to this organic banger, getting more and more detuned throughout the track while kickstarting a call-and-answer march between the flute and synth-wob melodies. Don't expect to uncover the secrets of 'Sama' at a first listen, this intricate creation will keep revealing itself listen after listen.

Saut Dans Le Vide
An alluring pad harmony and a hidden inspirational message from the artist introduce the fascinatingly titled 'Saut Dans Le Vide', a masterful arrangement of unrelenting piano chords, subtle choir stabs, dreamy flute leads and compellingly staggering drums. Elements keep artfully alternating throughout this convoluted composition which arouses a pensive, melancholy-nuanced hopefulness.

Undead
It's time to get glitchy here, as 'Undead' makes its entrance. Shimmering melodies rain down in a glittery shower of eerie purple confetti, surrounded by rattling white noise strikes and playful-yet-mighty bass hits. As the story evolves, an 8-bit synth lead briefly takes us to a post-apocalyptic landscape before we momentarily wake up from this psychedelic daydream, just in time to take a breath and dive back in for round two.

Debut album by Smagghe & Cross. Music for blind observers. TIP!

At times, the way the voice skipped intermittently, the recording sounded like an exercise in Uncle Bill's scissors technique but in my defence the mic I was using was hidden. I knew Jean was recording me, he'd asked for an interview after finding my name in one of his black notebooks, Jean didn't know I was recording him. He was tuning into fading echoes and when he thought the tape machine was off he left an echo of his own. "I caused such scenes on the way to and at kindergarten that first day my mother never bothered risking damage to my nascent psyche by making me return. Consequently come first grade my petulance had precluded me from
the nursery school forged friendships of my new classmates. It's why I've always been an observer. But I've never been an archivist. I never wrote the intimate details down. If you fix them on paper there's a danger of shared ownership. The black notebooks contain coded references, the meaning once obvious now somewhat cryptic. Names, some possibly anagrammatical and numbers, presumably long dead phone lines. There are a few sketches but no photographic evidence of any kind. This to most of the population, with it's need for minute by minute high def validation, sounds like a curse. I, however, feel blessed. Evidence is the enemy. Magick for me is the carp in Herman's monastery pond. Brief flashes of gold as i disturb the murky silt of memory." It's there that one of the only two recordings of Jean's voice comes to an end. Jean has his copy obviously but If I know Jean it's long been lost or destroyed.

Andrew Weatherall, January 2017

We welcome The Charm to the stable, who needs little introduction to hardcore heads as his classic 'De-Men-Tation' is rightly hailed as one of the most iconic tunes from 1992 - along with a raft of other much-loved tracks on his 'Bass Overdose' imprint.

This EP features 4 wonderful, previously unreleased tracks that showcase his unique take on breakbeat hardcore - seamlessly blending elements of rave, techno, jungle and hip-hop into something by turns dark, light & fun - but with one thing in common across all the tracks - head-nodding listenability that will leave a smile on your face and have you reaching out for those imaginary lasers!

"Truth" is back with a brand new release on Deep Dark & Dangerous. This massive 5-Tracker will get you down low!

The latest in the synth-heavy sludgedown from Public System Recordings, invites a new cast of characters into the dungeon dance. The common theme throughout this sampler of titans of industrial the world over, seems to be wide, slowed down melancholy. Some tracks take a floor-friendly jump, while others demand the attentive consumption of a more serene setting. These two discs are packed with dynamic, chugging, and forward thinking jams that make you mesh all things PSR is passionate for.

Microdosing is a series of compilation 12”s selected by Julienne Dessagne aka Fantastic Twins, and designed in collaboration with French visual artist Geff Pellet. Microdosing is a collective experiment aimed at helping you fighting back your modern obsession with happiness. You may deserve a nice day but the day does not need a nice you, nothing should be forced, everything is permitted. Microdosing will provide you with sonic healing weapons on regular basis and at irregular dosage. Those doses will favour psychedelic social techniques against self help tyranny, creation over soma, provoking over numbing, our outer-selves over our inner-selves. Microdosing refuses the fatality of the pleasure principle. Life is a struggle, time to embrace it. —— "My battery is low and it’s getting dark” We at Microdosing will make Opportunity’s famous last words fully ours. Some would see these as an epitaph on a black screen, we embrace them as a reclaimed fragility. Are we grains of sand wandering in space, hoping for a goal? No. We are the cosmos, the cosmos is us, unafraid of the end, unafraid of the void. Before the rise of the infinite silence, Microdosing brings you new guiding lights, white sun or black hole being a simple permutation of the kinetic rainbow. Oceanic’s “Parallel Lines Of Stripes” is a meandering mantra, an synthesised Moebius ring, a mission to your heart, that furthest star in the sky. Gilb’R’s “Cosmogonie” simply reminds us of the profound relation between spatial systems and the holy act of birth (cosmo, world and gon, conceive). The universe is a body, your body is your universe. Lucas Croon’s “Threshold Stimulus” is the soundtrack of a never ending voyage, the man is on a trip to the core sanctum. Imagine Space as a reverberation room cladded with bakelite. Losing yourself in delay repeats sometimes is the shortest way. Neuzeitliche Bodenbeläge & Sam Irl’s “Faeden” is another hymn to the umbilical chords joining us to the outer world, a black monolith of kraut acid, a pagan dance as portal to a destination only you can choose. Microdosing will be back soon with more enablers, helping to turn your petty struggles into a search for a meaning of life. The Quest lives on.

Acid, Breakbeat, Electro, Techno ... For its fifth year of life, art-aud's Secret Rave celebrates with a triple 12'' compilation, but now available as a split release! It embodies the essence of the series through 15 tracks produced by nearby (and far way) artists and friends.

Acid, Breakbeat, Electro, Techno ... For its fifth year of life, art-aud's Secret Rave celebrates with a triple 12'' compilation, but now available as a split release! It embodies the essence of the series through 15 tracks produced by nearby (and far way) artists and friends.

Acid, Breakbeat, Electro, Techno ... For its fifth year of life, art-aud's Secret Rave celebrates with a triple 12'' compilation, but now available as a split release! It embodies the essence of the series through 15 tracks produced by nearby (and far way) artists and friends.

Pivotal Parisian producer D.K. pays sublime tribute to ancient Vietnamese spirit possession ritual, Hau Dong, on a fresh first vinyl edition of his 2019 cassette for Good Morning Tapes Arriving in the wake of GMT’s prized vinyl editions from Jonnine (HTRK), XVARR, Tapes and more, he Goddess Is Dancing’ is a 40 minute trip that revolves around a handful of pieces of lilting, thmelodic percussion and aqueous atmosphere expressing D.K.’s imaginary interpretation
of music used in Vietnamese ritual music. It unfolds as a ceremony in five parts honouring the mystical goddesses of Forest, Water and Heaven, with music both relaxing and energising in a way that’s intended to aid dancers’ transmogrification from human vessels into spirited beings.
The results are some of D.K.’s lushest in a catalogue that now stretches back to 2014 and takes in a clutch of albums, EPs and singles spanning mystic club music and sanguine home listening for everyone from Antinote to Melody As Truth and 12th Isle. In careful progression, the EP progresses from the deliquescent shimmers and breathy choral synth spirits of ‘The Three Realms’ to the exquisitely poised dream motion of the title song and the hypnotic percolations of ‘Going Into Trance’ on the A-side, before stretching out on the B-side into slow, balmy elegance of ‘Forest
Palace’, and ultimately dissolving any remaining tensions with the dematerialised design of ’Summoning The Spirits’.
In a current field awash with new age ambient references and a searching sense of spirituality, D.K.’s offering is exceptional for the execution of its never cloying, timelessly enchanted appeal.

AKO Beatz is happy to have DJ Future deliver a serious 4 track ep. DJ Future pulls no punches on this release and also teams up with Eric Electric.

Following his two-track, debut vinyl release with Youngsta's Sentry Release, on top of a slew of prior, hard-hitting free downloads, Gramz makes his official
introduction into the Crucial Recordings family. Taking a hard left turn into the more aggressive, distorted and experimental territory of the dubstep genre, Gramz's well-crafted output is known best for infusing dance floors with undeniable attitude and furious energy. With a heavy emphasis on flowing hip-hop beats and an inherent drive for forward-facing sound design,
Gramz constantly sports an innovative, assaulting swag that can't be matched or duplicated. Offering an unconventional
yet highly welcomed addition to bass music's overall perspective, Gramz entices listeners with detuned and distorted textures,
loose drums, unfamiliar bassweight structures, bouncing grooves and weighty sub pressure.

Standing as the introduction to Gramz's Crucial release Jokin Get Them Bags Jokin slowly and unassumingly unfolds with a mushroom cloud of bass and swaying beats. However, the sonic tides change in an instant as the tune silences and then quickly escalates by unleashing a fit of true sound system damage led by seething midrange might. A true dance floor detinator.
CRUCIAL019s b-side Get Them Bags utilizes the impact of clever vocal work, low frequencies and sparse yet effective instrumentation to convey sophisticated, low frequency conviction. Offering itself a refreshing culmination to the release,
Get Them Bags proves the genuine power of intelligent restraint and an understated approach to bass music production.

"Gridlok - Z3R0 H0U2" split.
A/B disc at a discounted price.

GRIDLOK SWITCHES UP THE GAME ONCE AGAIN WITH HARD-HITTING NEW ALBUM ON BLACKOUT

'A staple in the American Drum and Bass scene' - COMPLEX
'One of the true stalwarts of US dnb' - BROKEN CULTURE

A strong staple in the drum and bass scene for over a decade, Gridlok is no stranger to whipping up heavy, power-fuelled tracks guaranteed to leave a lasting impression. Ready to cause more chaos with a fresh spin on his trademark concoction of hard-hitting drums and driving basslines, Gridlok now gears up to unleash 13 face-melting new tracks on his new Z3R0 H0U2 LP.

Gridlok has been heading up his own label Project 51 Recordings since 2003 and has worked alongside some of the most high-profile artists in the scene, including Shy FX, Pendulum and Prolix. Dark, grimy and uncompromising, it's the Florida-born producer's experimental sound which gives him his unique edge.

Z3R0 H0U2 brings together a fiery selection of tracks to reaffirm Gridlok's reputation as a force to be reckoned with. Fans with a taste for the darker edges of the music spectrum can expect an album packed full of only the very best murky drum and bass as Gridlok makes a beeline for the early hours dancefloor. Twisting and turning through a mixture of fast-paced percussion and powerful rolling beats, Z3R0 H0U2 solidifies the artist's status as a true pioneer of one of the more off-centre subgenres.f

The second release on Silkie's Anti Social Records from crew member Joss Ryan.

Ambient/ Electro/ Experimental. For fans of Ben Frost, Nico Muhly, Autechre, My Bloody Valentine, Glenn Branca or Steve Reich. Matthew Collings is a Scottish-based composer. Not only being a solo recording and live artist, he collaborates regularly with artists from all kinds of fields including musicians (Dag Rosenqvist from Jasper TX, Denovali label mate Talvihorros, Christos Michalakos or Euan Mcmeeken with whom he forms the duo Graveyard Tapes), dancers and filmmakers. He's responsible for several installations using custom-made software, which have been exhibited at Burning Man Festival/ San Francisco, Glasgow's Centre for Contemporary Arts or the 50th Design Biennial in Ljubliana/ Slovenia. His work for films includes a specially commissioned live score for Dziga Vertov's 1929 silent classic, 'The Man with the Movie Camera' and an invitation to work on 'The Invisibles', a commission from Amnesty International. Before settling down in Edinburgh, he lived in Iceland for six year, where he wrote a number of albums issued under the name of his lo-fi/ambient project 'Sketches for Albinos' and where he met fellow collaborator Ben Frost. His music can be roughly described as 'an elemental whorl of electro-acoustic (de)composition', ranging from tiny delicate moments of intimacy to all consuming noise. Collings' gentle blurred singing voice is added consequently as an melodic instrument, that never dominates, but soaks through a composition, which seems to be distorted through its state of constant shift. Strongly influenced by avant-garde guitar music, it calls the minimal music of Steve Reich or Gavin Bryars to mind in like manner. Splintered Instruments '...is not about noise or the decibel levels - it's about the sheer uncompromised approach to raw sound design' (Headphone Commute). Having received remarkable praise for his debut 'Splintered Instruments', Denovali Records is re-releasing the debut album accompanied by the release of his new second album called 'Silence Is A Rhythm too'. Produced by Ben Frost. CD: digipak. Vinyl: thick sleeves + thick printed inner sleeves, 180g vinyl, different vinyl colours, free download.

Msdos First Represented Skeleton On The Labels Relaunch Back In 2014 With His Razors Edge Remix.this Time He Is Back Alongside His Greek Partner, Greekboy, To Bring You Their Full Debut Release For The Label.these Three Tracks Show Their Di Erent, Harder Side To Their Production From Those That Know Them For Their Liquid Rollers And Softer Style.

LTD 180G COLOURED VINYL

'Sound of Palladio' is the first in a four part series of limited 12" pressed to 180g coloured vinyl, with a single piece of cover artwork commissioned from Italian artist NEROG spanning throughout the series. Never Ready Records' inaugural release sees Venetian techno & bass house experimentalist Munstac veer between the echoing sub bass chambers and angular staccato momentum of The Cathedral' to the more drawn out drum rolls and flutter of The Theatre'. Along the way, East London's Spatial helms a mighty 132 BPM jungle break refix of The Cathedral' whipping up that trademark hectic fervor the Infrasonics label boss has previously delivered on the likes of WNCL & Stillcold'.

Mutant Joe returns on Natural Sciences with his debut vinyl release 'Operation Chaos' merging underground trap and hoop electronics. Guest collaborations from Freddie Dredd, YVNCC and Julien Andreas.

Person Of Interest debuts on UTTU with 4 tracks of tape saturated breakbeat house. Previous releases on L.I.E.S, Future Times & his own incredible Exotic Dance Records has shown he's one of the most interesting producers working in house & techno today.

Launched in the summer of 2002, here we are 15 years later and still going strong with one of Spirit's most in-demand releases in recent years. From the spacey, dubbed-out melodics of 'Think' to the frenzied breaks and thunderous stabs of 'Bounty Killer', with huge support across the board from Goldie, Andy C, Marky, Fabio, Friction, Storm, Randall, Marcus Intalex and Digital to name but some, it's a more than fitting way to mark the anniversary!

Wieder einmal steht Tame Impala-Sänger und -Mastermind Kevin Parker als zentrale Figur im Schaffensprozess der neuen Songs im Vordergrund. Beinahe das komplette Album wurde von ihm in diversen Studios, Hotelzimmern, Flugzeugen und Häusern rund um die Welt aufgenommen und produziert. Nach dem Motto 'never change a winning team' setzte Kevin wieder auf die Kompetenz von Dave Fridmann (Flaming Lips, MGMT) an den Mixern. Der Sound von "Lonerism" erfindet sich nicht komplett neu, sondern scheint eher neu-skizziert und erstreckt sich über weitere Ebenen als zuvor. Die größte Neuerung stellen die Synthesizer dar, die kosmische und sphärische Formen in nahezu jedem Track hinterlassen, zusätzlich zu den immer noch schneidenden Gitarrenriffs, dem taumelndem Bass, den steinigen Schlagzeugrumpeleien und Kevins einzigartiger Art zu Singen. Mit "Lonerism" machen Tame Impala den verdienten und konsequenten Quantensprung nach Vorne auf dem Weg, auf den sie sich mit "Innerspeaker" begeben haben.

A Thousand Harmonies in Silence is an album that highlights the idea of being "safe". Since writing this record I wanted to portray personal memory and experience that had me feeling at peace. Each track signifies a special place, thing, person and time. All of which had some sense of security. I challenged myself to really embody these moments and record my guitar in single takes. I can only hope you enjoy listening to this record as much as did writing it.

LP includes download code. DFA Records are excited to announce the release of 'Home Economics', the new album from Prinzhorn Dance School.The starting point for the new record was the band's amazing first US shows - two of their own and a triumphant showing at DFA's 12th anniversary - in May 2013.
Inspired by their American adventure, Prinzhorn Dance School brought the recording process in from the cold of the red shed to the heart of their everyday lives.Played and recorded on the move between different flats in Brighton and Hove, then wheeled around town on a hard drive wrapped in a sleeping bag in a specially-adapted suitcase, 'Home Economics' gave them an escape route from 'that frustration you feel when you spend days trying to recapture the intimacy of a particular moment,' Tobin Prinz remembers. 'This time we could just use the original take, so sometimes these songs are almost like field recordings.'

The historical Power Electronic founders duo remixed by two of the infamous artists of this new industrial/noise scene. Parrish Smith, also know as Sige Bythos and Volition Immanent, already appeared on labels as Nation, Contort Yourself and Knekelhuis, made a smashing track, slow and heavy, distorted and electrically powered.Black Seed, already appeared on DTLS SND and Sign Bit Zero signed a syncopated track, with tribal influences and bouncing sounds that will turn your brain into a whirpool.
Procreation and Religion... let's think about that.

Official Hedgehog Affair Remixes by Ron Wells.

limited to 200 copies (comes in different coloured sleeve, we cannot guarantee which one you will receive))
Area's Dreamlessness is the prolific experimentalist's 5th release for Kimochi Sound, and as usually the case, it incorporates some collaborators for the occasion. Donato Dozzy joins, walking the shimmering line between ambient and wall-of-noise, whereas Eltron John's contribution is a beguiling, bubbly, purple affair. The quietly impressive EP is rounded out with the dull neon throb of Everything Thrown Away and the pensive longing of Through The Wall.

After an intimate debut EP from ReKaB, Where We Met goes to Spain and meets the warm sound of Baraso. The Spanish talent is part of the Tribe crew in Barcelona and it’s also a 50% of Barson duo.

Sleepless opens the dances with a 4/4 rhythm that merges spacey atmospheres and house vibes, Mental Atmosphere then breaks it and takes the label back to its electro influences with bouncy bassline.

B sides starts with Space Mob a dark trip that evolves into something that will bring you back directly to Reedale Rise’s Broken Land, the Amen Break! The last track is Simba’s Joy that puts together mellow melodies and garage-ish rhythms, no Scar allowed!

The next in ART’s classic Remaster series is another gem from the early Eevolute catalogue. Max404’s (Erwin van Moll) “Recycler” EP was originally released in 1992 during the heyday of European Techno meets Detroit influences.

The legendary Solid Bass DX100 preset sound dominates the opening track showing its Detroit influences from the off. Mamoulian brings the European EBM/synthwave sound to the fore whilst Hangover merges the Chicago/Detroit sounds in a funk bass led feast.

Fractal View was the big hit from the EP. A techno-breaks hybrid perfect for the raves of today and yesterday. The EP ends with the dark, heavy breakbeat Quiddity - a haunting track that ensures ths classic eclectic EP stays in the mind forever.

Never previously reissued in its full vinyl format and only previously available as an in-demand original with prices to match - the remaster meticulously brings the sound up to modern standards.

Presenting a fully legit, remastered and repackaged reissue of this extremely sought after, cult 12" from Melancholy Man featuring unreleased music. Brand new for 2019.

London's Warriors Dance label was a unique operation and a pioneering London label during the late 80's acid house phenomena. Home to an assortment of DJs, MCs and soundmen, they went on to make their own original and indelible mark on the rave scene from the infamous 'Addis Ababa' studio on Harrow Road on the North-West side of the city. A former reggae and soul studio that was instrumental to the output of influential artists like Soul II Soul and more, a steady diet of reggae, bass, hip-hop, house and techno kept their edgy, and diehard UK sound and style right at the cutting edge of the dance music underground across the globe with the top DJs and producers of the day celebrating the label. The studio, helmed by label owner Tony ‘Addis’, acted as an incubator for artists whose names would go down in the history books.

Melancholy Man was a name synonymous with the crew, a name with a lot of weight, considering it was one of many of Tony Addis himself's production nom de plume's employed when behind the boards. 'Precaution' is that WD rawness, driving break-beat warehouse business with a massive dose of euphoria, the way it should be done. Included here are the original mixes from the 1991 OG 12", but as an added bonus, there is an unreleased, taken from Tony Addis' DAT archive mix that has never seen the light of day. That's 4 different mixes of this stormer that will fit into versatile DJ sets, straight from the source!

The EP is presented again. No edits, no remixes, just the pure unadulterated WD vibe, featuring original label artwork tweaked by Atelier Superplus and lovingly remastered by Optimum Mastering, Bristol, UK. Special thanks to Nicky Trax & Tony Addis. Proudly distributed by Above Board distribution. 2018.

Tilman Robinson’s third album, CULTURECIDE, is an investigation of the anthropocene; a seven part lamentation for our chaotic world.

Tilman Robinson is an Australian composer and sound designer creating electro-acoustic music across a range of genres including classical minimalism, improvised, experimental, electronic and ambient. Tilman’s diverse output focuses on the psychological impact of dense sound employing acousmatic and psychoacoustic principles. His third album CULTURECIDE will be released on Iceland’s Bedroom Community label in April 2020.

CULTURECIDE: “...processes that have usually been purposely introduced that result in the decline or demise of a culture, without necessarily resulting in the physical destruction of its bearers.” D Stein

CULTURECIDE is a rich sonic collage, harvesting sounds from a range sources including field recordings, medical machines that monitor the human body, traditional instruments and synthesisers, often melted electronically. The result is an unsettling paradox with sounds constantly on the edge of recognition. Each piece references a specific socio- political issue ranging from colonialism to neo-liberalism to climate change and the impending singularity of humans and machines. Far from an answer to these questions, CULTURECIDE invites us to meditate on their place in our life and approach personal understanding.

Recorded and produced almost completely in Australia, a land at the forefront of the devastation of climate change, CULTURECIDE was an attempt at catharsis for its author frequently appalled at his country’s incredible apathy and inaction. Mixed by Bedroom Community regular Daniel Rejmer and mastered by Lawrence English, works from the ambitious and unsettling record saw Tilman nominated for the 2019 Melbourne Prize for Music.

Giallo Disco is more than happy to welcome one of the absolute O.Gs of the 2nd wave of horror synth, the one and only Kansas City Warrior turned Mr Dr Hollywood himself… Umberto, who’s new EP ‘Outskirts Of Reno’ takes us deep into the seedy underbelly to tell the tale of a kidnapping. From the EBM dancefloor darkness of The Basement to the ascension-like arps of Repeat. Five brand new tracks from the master of mood destined to work it’s way into the record bags of discerning DJs across the globe… and into the nightmares of the weak… Limited to 200 Copies. Art by Eric A Lee.

Hit-maker Mind Enterprises is back with a new mini album with new and previously released singles and remixes.
The release is a collection of the artist’s recent singles including the acclaimed and Shortlist Magazine’s top 50 singles of 2017 ‘Idol’, plus ‘Gemini’ and ‘S.H.A.K.E’, which together with current new track ‘Monogamy’ marks the unveiling of an electrifying new sound.
Obsessed with vintage synthesisers and 80s beats, Mind Enterprises (aka Andrea Tirone) has created a sound which is somehow both forward thinking and nostalgic at the same time. Think Italo Disco meets retro dance, with razor sharp modern production, and you’re half-way there. ‘Monogamy’, coupled with it’s 80s style VHS video is designed to make your feet move and your heart long for simpler times. Its irresistible groove and disjointed vocals are as instant as they are idiosyncratic.

clear & purple mixed vinyl

Drum & bass producer Philth is set to release his debut LP on Dispatch Recordings and "Moments in Time" is a monumental feat for the breakthrough producer. Due for release on the underground, yet trend setting imprint Dispatch Recordings, he's been spending his time ensuring the package was perfect before finally unleashing it to the world. Spread across thirteen weighty tracks with a second volume to follow in 2020, it's an intricate insight into the producer's expanding career and it's been given the perfect home at Dispatch. With a host of collaborators brought into the mix to have their own take on the "Moments in Time" sound alongside Philth, it's one of the final albums from Dispatch in 2019 and it demonstrates the journey the label's taken with its roster over another innovative year.

The lulling, yet painstakingly woven rhythms of "Gone" begins the track list, whilst tracks like "Lost in A Moment" featuring the vocals of Becca Jane Grey and "Dream Sequence (Two Hearts)" with Ella Sopp add a softer hue. The punchy drums of "Standing on the Shoulders of Giants" comes next, followed by "Dope Game", then Facing Jinx adds his technicality throughout "Shaped". "Raven" with Wreckless and "Everest" alongside HLZ continues the collaborations, whilst "Descent", "Bodyclock" and "Messages in the Rain" are all standalone deliveries each showing a different part of Philth's technical ability. Finally, Sense MC adds his poetic lyricism across "Condensation" to close the album on a heartfelt note.

They draw together a powerful array of tracks, providing a pedestal for some of Philth's best work. With support already hailing from Goldie, Bailey, Marky, Hype, Randall, Krust and Noisia, this album will take Philth to the next level. In Dispatch Recordings capable hands "Moments in Time" will receive the platform it deserves, taking the listener on a journey, with the soul, music and personality which will see it stand the test of time.

Adam ‘Adred’ Baker is an imperative part of the US drum & bass scene, providing a home for its fans amongst the cultural hub of New York City. Alongside his work as a promoter for ‘Natural Selection NYC’, he’s also dropped music on labels such as Metalheadz, Soul:R and 31 Recordings, proving that he’s as multi-faceted as they come.

This is something which shines through on his forthcoming LP ‘KIM’ set to be released on Goldie’s Metalheadz; named after his late father whose Fender Rhodes features prominently in much of Adred’s music and is a central part of his inspiration.

The album is an introspective look at the producer’s history and one which will identify the elements which have made him both such a successful artist and drum & bass event host.

Welcoming Cesco with his Angry Waves EP. This is Cesco's first full EP on the label. His first (and highly acclaimed) release on the label was his track 'Drones' which featured on our Edition 3 LP. Cesco shows he is adept at dnb and various tempos with this EP. We have been waiting excitedly for a long time to share this EP with you. Cesco is classy and masterful. Out on 20/03/2020 on vinyl and digital.

White Vinyl

"Gerra & Stone - Polarism" split.
A/B disc at a discounted price.




d B2 The Fourth State Dub Mix (vinyl only)




Dub Mix (vinyl only)

"Gridlok - Z3R0 H0U2" split.
C/D disc at a discounted price.

Lyra Pramuk’s debut Fountain explores a post-human, non-binary understanding of life Lyra Pramuk fuses classical training, pop sensibilities, performance practices and contemporary club culture in what may best be described as futurist folk music. While the American operatically-trained vocalist and electronic musician is perhaps previously best known for her work with musical collaborators such as Holly Herndon and Colin Self, she is set to release her debut album, Fountain, via Iceland’s Bedroom Community label in March 2020.

Created entirely from her own voice, although often shaped and structured by electronics, Fountain is an emotional, sensual, and devotional journey. The title is derived from her family name, Pramuk, which translates from Czech as ‘well spring’ or ‘fountain.’ Often wordless, these songs evoke a new wholeness sustained by the ritual force of drowning, immersion, cleansing, and bathing – also referred to in the album artwork by acclaimed visual artist Donna Huanca. Fountain plays with the perception of music, rhythms, speech, body, and the relation between technology and humanity, exploring a post-human, non-binary understanding of life and the fragile ecosystems it depends on. The work documents a healing that is still in process, and a full circle-moment that reunited Lyra with her sound engineer twin brother, Ben, for the final mix, which they completed in tandem.

As a vocal activist and member of the queer community, Fountain’s creation also coincided with a personal rejuvenation for its author. Its completion culminated in the live premiere of the album material at Unsound Festival in Krakow in 2019, where she performed through a multi-channel array designed by Ben Frost, opening for Sunn O))) and Roly Porter. A closer collaboration with Frost on a soundtrack for a new film project will be announced later in 2020. Her performance at Berghain on 30 January for CTM Festival in her hometown of Berlin promises an even more confident and joyous realization of the album’s song cycle.

Lyra moved to Berlin in 2013 as a DAAD postgraduate study scholarship recipient, following her degree at the Eastman School of Music in New York. Since then, she has also been awarded residencies at Elektronmusikstudion EMS Stockholm, Open Port Club Residency in Tokyo and Sapporo, and Future Music Lab of the Atlantic Music Festival in Maine. Her interests also encompass writing, poetry, and fashion, where she is sometimes called upon as a model. As a performance artist, she has collaborated extensively with Donna Huanca and at events such as Glasgow International and the Rochester Fringe Festival.

Sense returns to Infrared with two Vintage Jungle inspired tracks. The Edge starts with a catchy piano, before unleashing into amen madness. Let You Go shows the deeper side of the sound and takes the listener back to the Golden era and could easily have been produced in the mid 90's.
300 Limited Edition Run - This will not be repressed.

Launched in 2018 with two first EPs, Broken District continues to explore alternative music styles with the third instalment of its VA series.

The label's territory here expands to Jazz & Soul-influenced electronic music landscapes, with productions from Turbojazz, Setwun, Leon Revol, Duktus and the label's co-founders Jus Jam and Momla.

An intense psychedelic trip inside the world of a producer who expresses the loneliness of working in a studio, without any ambition. Honest music with a huge amount of emotional intensity.

Next on the DDQ series, Sébastien Michel, best known as UVB, presents his Elements of Joy alias where the French producer explores post punk, industrial and wave influences across 4 rugged tracks. First released as a cassette on his own Body Theory label and now remastered for vinyl on a limited edition of 300 copies.

Exzakt's first EP on Monotone since 2007 is a collection of various tracks that have not been on vinyl. This tracks were hand selected by fans out of 17 tunes to chose from. First we have Madrid Nights which has been only heard in Exzakt DJ sets and was a fan favorite that has often been requested for release but has not until now. This song is a deep look into Exzakt's progression in his sound. This track explores many emotions through ever changing soundscapes. A2 is an excellent remix of Larry McCormick's Escape track which originally released on Datapunk in 2004. 214 completely dismantles the parts to make a unique composition that turns into a journey and its perfectly fit for a proper vinyl release. The B starts with an Exzakt Classic that from the start screams to be heard on wax. Me & My 808 is a heavy, ripping tune that will service any dance floor. Last is an emotional piece that you can tell from the title, Love Hate. Again Exzakt goes deep on this one but still keeps the beat pumping like his tracks often do. This is another solid Exzakt Record that should be in any Electro Collectors record box.

The Global Skywatch family have been discovering evidence of geoengineering on a future we will be releasing audio recordings painstakingly designed to protect your mind and body from government control.

May this second offering bring you peace from the madness of the modern world.

With her first solo record since 2017's 'Weightless', an unapologetic ode to rave, the record was influenced by her initial experiences of dance music as a teenager - a release for those that must imagine world's unseen and a projection of what it felt like to experience a new reality for the first time. Turbo Olé.

“Jay Glass Dubs is back on Berceuse Heroique after his inaugural release and this time he is going straight for the jugular. Jay Glass took a small break from the 80's experimental pop of The Safest Dub and he invoked the spirits of German Kosmische Musik and the studio insanity of African Head Charge. Film Noir vibes are mixed with the greek ancient tragedies, leaving the Apollonian aesthetics of his last release and going for a darker, denser and completely Dionysian approach for this one. Medea meets Touch Of Evil. Harmonia and young Adrian Sherwood are getting loose on some pentatonic Greek Traditional music from Epirus. Jay did it again and we are very happy to release this one.”

West coast composer, artist, and producer Kaitlyn Aurelia Smith has chartered a pioneering career with multiple critically-acclaimed albums since 2015. Following the release of The Kid in 2017, Smith focused her energy in several directions. She founded Touchtheplants, a multidisciplinary creative environment for projects including the first volumes in her instrumental Electronic Series and pocket-sized poetry books on the practice of listening within. She's continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body's relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of her most recent full-length, The Mosaic of Transformation, a bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself. "I guess in one sentence, this album is my expression of love and appreciation for electricity," says Smith. While writing and recording, she embraced a daily practice of physical movement, passing electricity through her body and into motion, in ways reflecting her audio practice, which sends currents through modular synthesizers and into the air through speakers. Not a dancer by any traditional definition, she taught herself improvisatory movement realizing flexibility, strength, and unexpectedly, a "visual language" stemming from the human body and comprised of vibrational shapes. Understood as cymatics, as Smith says, "as a reference for how frequencies can be visualized," much like a mosaic. Smith describes her first encounters with this mosaic; "the inspiration came to me in a sudden bubble of joy. It was accompanied by a multitude of shapes that were moving seamlessly from one into the other...My movement practice has been a constant transformation piece by piece. I made this album in the same way. Every day I would transform what I did yesterday...into something else. This album has gone through about 12 different versions of itself." As it has arrived, in a completed state, The Mosaic of Transformation is a holistic manifestation of embodied motions. Smith's signature textural curiosity that fans have grown to adore pivots naturally into a proprioceptive study of melody and timbre. Airy organ and voice interweave with burbling Buchla-spawned harmonic bubbles. "The Steady Heart" quivers to life, peppering blasts of wooden organ between winding vocal affirmations. As with a body, moving one portion requires a balance and counterbalance; here, subtle tonal twitchy signals fire in conjunction with coiling arias to create a mesmeric core. When the beat arrives at the midway mark, a swooping and jittery waltz, a sense of stasis in motion, a flow state, is sonically achieved. As soon as it syncs, it disappears back into the swirling ebbs of electric force. Other tracks stray into more ruminative physical realms. "Carrying Gravity" is built around string-like pads that expand and contract like a solar plexus, becoming taught and then loose. If the record could be summarized in a single movement, it is the 10-minute closing suite, a rapturous collage called "Expanding Electricity." Symphonic phrases establish the piece before washes of glittering electric peals and synthesized vibraphone helix into focus. Soon, Smith's voice grounds it all with an intuitive vocal hook, harmonized and augmented by concentric spirals of harp-and-horn-like sounds. Smith's music doesn't capture a specific emotion as much as it captures the joys of possessing a body, and the ability to, with devotion and a steady open heart, maneuver that vessel in space by way of electricity to euphoric degrees.

Green Vinyl

As Metal Preyers, London’s Jesse Hackett and Chicago-based Mariano Chavez distill a sozzled, bleary impression of their time spent with Lord Tusk and a crack squad of Ugandan musicians in Kampala, 2019 for the indomitable Nyege Nyege Tapes Documenting the result of six weeks of making music, art and videos, and Waragi Gin-fuelled rides into Kampala’s nightlife, ‘Metal Preyers’ takes form as an industrial/ambient film soundtrack for Chavez and Hackett’s visual art produced under the Teeth Agency moniker. Joined by a full battery of traditional percussion and strings, plus the canny use of whistling and Lord Tusk’s rude sound system sensibilities, the Afro-Anglo-Americano ensemble serve a triple AAA-rated trip that lures listeners into their intoxicated/intoxicating state of mind and effectively connotes the
experience of a jag deep into the belly of Uganda’s thrilling, sprawling capital city at a crossroads of East and Central Africa.
It’s not the first time Jesse Hackett has worked with Ugandan musicians - his 2017 album ‘Ennanga Vision’ saw him teamed with electro-acholi stars Otim Alpha, Geoffrey Opiyo Twongweno, and Albert Bisaso Ssempeke - however the vibe this time is more psychedelic in a road-level, grimy and noisy style thanks to the expanded platte of inputs, including an all-star Ugandan roll call of Otim Alpha, multi-instrumentalist Lawrence Okello, percussionist Omutaba, and Rian Treanorcollaborator Ocen, all girded by the vital ruggedness of London underground don, Lord Tusk.
In their pair of ‘Dream Sequence’ suites the album freewheels with delirious style, from mechanically musical drones in the title track to a quietly febrile conclusion recalling Craig Leon’s ‘Nommos’. Bouts of melodically stressed noise give way to Gin-steeped sing-song, chunks of chopped & screwed gristle, and dizzy clusters of Singeli-esque rhythm in a stop/start, unpredictable manner that frankly hasn’t been done on record quite like this before.
DJs will find ways of working this material into sets, although the album is really best swallowed in one for an intense, soundtrack-like experience that recalls the drunken rowdiness of films like ‘Wake In Fright’ or a febrile Safdie brothers flick set in Uganda, and speaks directly to the thrill of Kampala’s atmosphere at night.

New label Last Records is a front for various musical cells around the world, awaiting a signal to unleash their own quirky brand of sound. First band of insurgents are the Sukebe Collective from Fukuoka, Japan.

Repress

Ambient Mini-LP from Suzanne Kraft, Los Angeles. 500 copies, 180 g vinyl. More info soon...

Back to the Limited Series for the 8th edition. Banoffee Pies Records welcome another collection of talent with this 4 track drum exploration on BPLS008.

Jad & The joins the label on the A1 with a slow mo meditation full of warm pads and a string of broken beats on "X-Treme Drum". The A2 comes from Lehults head chef, Lucky Charmz, with a 150bpm drum and bass inspired electro cut. Rolling low subs with a UK feel. Something different.

The B side invites Sid Quirk, who recently featured on BP009 under other alias Keppel, this time with his 88bpm haunting original vocals, packed between dark percussions and twisted soundscapes on "B_F L_R", on the Hessle feel. Closing up the release, the B2 welcomes back Filip Szostak to the fold, this time bringing a drum heavy breakbeat DJ Tool that closes proceedings with energy and a suited transition for shifting moods on the dance floor. Music and Love.

Boogie Café continue their incredible form by offering up three tracks of deep house goodness from Aroop Roy.

The A side 'Good Times' sweeps in with a bumping house cut, laced with feverish vocal cutups whilst the B side hits first with a hazy, deep synth stab groover, and finishes on a blistering, afro-tinged slice of funk fuel.

This collection of ground-breaking instrumentals captures a moment of musical alchemy. Stylistic edges become blurred with by-turns into jazz, gospel, soul, funk and dance. A new genre – gospel jazz – was created in their wake. The son of a minister father and a missionary mother, Tankard grew up playing drums in his local church. Numerous offers of scholarships to music college came his way but his height and youthful speed determined the choice of a scholarship in basketball. Turning pro, he was drafted with NBA team Portland Trailblazers before a knee injury cut his career short and led to a period of homelessness: “I could not pay my rent so for a short time I was living in my car and sleeping on friend’s sofas.”

A church visit proved life-changing: “I heard of a revival service that was going on. I was nearly starving with no job or income so I went only for the free meal. Afterwards the preacher called me up and told me to sit down at the keyboard. I was hesitant but after all I did not have anything to lose. When my hands touched the keys I began to play like George Duke! No lessons - just instant awareness. That is where ‘gospel jazz’ was born. Since it was jazzy in nature, yet inspired in the church, I decided to call it ‘gospel jazz’.”

Tankard got a job at a local music store where he spent the next few years honing his craft before he began recording his own music. “I programmed all the instruments myself on a keyboard so I called it All Keyed Up.”
Curator Pol Valls found the record while digging and was struck by its genre-defying creativity: “the track which stood out the most for me was Eden Celebration which has the feel of early dance music. I also loved Melodic Heaven and the title track All Keyed Up. That track was really short though so we decided to make a remix of it.

If Eden Celebration, with its highly rhythmic cross-breed of jazz fusion and electro shows Tankard at his most creative, then All Keyed Up - a stellar exercise in funk-laced jazz fusion replete with Don Blackman-esque piano runs - demonstrates his prowess on the keys. On Melodic Heaven lo-fi synths and boogie-fied bass synths combine with his elegant and soulful piano. The remix of the title track expands the short-but-sweet piano-based vignette into a Balearic anthem replete with extra drums, synths and guitar.

Released in 1989, Tankard’s All Keyed Up album kick-started a hugely successful recording career. Nowadays he’s also known as a motivational speaker, author, trained pilot (famously flying to shows in his own planes) and as the star of his own reality TV show. This collection chronicles the magic that happened at the beginning of his career, its inspired melding of styles sounding as fresh today as when they were first put to tape in his home studio.

If emptiness is heaviness is Godliness, Birds of Prey’s third full-length LP is an immaculate conception from on high. The record luxuriates in the spaces between. What’s left out says as much as what made it in. Deep, droning, and dub wise, “Vanishing Point” cascades in elegance. Its reference points call towards the sample manipulation of American tape music and the downward gaze of amniotic British bass music. It charts its own path nonetheless, building its own space for drifting off to. Unlike many peers operating in similar realms, Birds of Prey are a proper band, a foursome: Grant Aaron, Clay Wilson, Eric Holmes, and Camille Altay. Each are artists in their own right with a distinct practice. In Birds of Prey, their collaborations in studio take on a greater shape, whittled and edited into cosmic formlessness. Although borne of improvisation, you may never know that in the listening. “Vanishing Point” is a tight, coherent work, the sound of a cadre of talented musicians locked in flow. Rippling tones become glacial melodies. Cavernous drums emerge barely from the ether. Rhythms interlock, interpolate. Patterns repeat and dissolve whence they came. There is untold potency in simplicity, and Birds of Prey make it known.

The music of Clan Caima´n is primitive and hypnotic. It is located in the pre-rock era and from there, it proposes a different evolutionary path for music from the 1950' s to present day. Like a different musical development in a parallel timeline. Gamelan, Hawaiian music, surf, exotica, rainforest or aquatic; these elements make up the palette which constructs a mystic and profound music that seeks ancestral connection.

Formed in 2016 by Argentinian musician, composer and producer Emilio Haro, looking to create music generated by group dynamics, Clan Caima´n differs from his past two solo albums ( 'Panora´mico' in 2007 and 'Estrambo´tico' in 2012, both on Radiaciones Armo´nicas) in that these were studio works and not meant to be played live.

The quintet's enigmatic sound is built upon the kalimbafo´n, an instrument created by Haro using several kalimbas, Diego Voloschin's wild and hypnotic percussion (no cymbals, no snare), Gonzalo Cordoba's lap steel and baritone guitar, Facundo Gomez's psychedelic guitar tones and Claudio Iuliano's dry and percussive bass sound. This debut album contains eight anachronistic and oddly familiar compositions that range from introspection to trance, tracing their own sonic landscape.

Dix Ailes is a musical proposal for 2 female voices, 1 percussionist, 1 electronic device and 1 place with high reverberation. Between minimalist music and pure pop, Dix Ailes plays on an acoustic illusion, that of making indistinguishable the origin of the sound (instrumental, loudspeaking or architectural), based on work on harmonics, frequency vibrations, the physical resonance of the place, psycho-acoustics.

Essentially centered on the voice, Dix Ailes addresses the notions of empty and full, of internal listening and silence, of liminarity and transformation. By a principle of initial composition based on symbols and archetypes, the music of Dix Ailes echoes universal rituals and myths, and shares with them a language that tempts to escape the sequences of rational logic, and thus to open up to an contemporary poetic landscape, made of archaic and invisible.

Crab Cake and Turntable Training Wax present Killer Portable Zombie Cutz! Crab Cake Records teams up with TTW, bringing you a deep cut non skip 7" DJ scratch tool, with a mixture of classic old school samples, zombie quotes and unique 80's retro noises/samples.

LTD Edition Yellow Screen-printed
Lywood has worked alongside some of the most prestigious names in art, fashion, music and film - from Led Zeppelin to Louis Vuitton, The Venice Biennale to The Serpentine Art Gallery, in a career spanning over 20 years. JUNK sees Lywood stepping into the limelight for the first time with these eight epic psychedelic dance-floor and spaced out instrumental visions.
JUNK is inspired by Vik Muniz's ground-breaking documentary Waste Land, which tells the story of the landfill site, Jardim Gramacho, on the outskirts of Rio De Janeiro. Recycling fragments of German electronica, disco and 80's synth from his childhood and fusing these with new, found sounds, Lywood takes us on a journey through his world of JUNK re-imagined.
Five of the tracks are named after some of the largest landfill sites around the world, and Trash Vortex is named after the swirling mass of plastic waste the size of Texas, in the North Pacific. Lywood stays close to Muniz's mission to 'change the lives of a group of people with the same material that they deal with everyday'.** Cover artwork by Keith Coventry, the celebrated fine artist represented by Pace Gallery**
The debut Cochabamba album comes courtesy of respected sound designer and fine artist Dan Lywood!

Reissue of rare UK ambient techno from ’93-‘94

Cold Blow has joined forces with Berlin’s AVA. Records in unearthing some of the finest ambient techno from the Artificial Intelligence era in a beautiful double LP package. The compilation covers essential cuts from the back catalog of J. M. Adkins’ releases and includes 2 tracks available on vinyl for the first time!

Aside from Descent, a previously unreleased track, the material was previously released on the short-lived Metatone Recordings which was founded by Adkins himself together with Damon D’Cruz known from his preceding Jack Trax label. Today the original releases are sought after rarities which demand high prices on the 2nd hand market.

Compiled from the original DAT tapes and remastered by Andreas “Lupo” Lubich at Calyx Mastering, “Electro Music Union, Sinoesin & Xonox Works 1993 - 1994” reintroduces Adkin’s work as some of the era-defining classics from the early years of techno. A must-have reissue for the fans of early B12, AFX, The Black Dog, Kirk Degiorgio, et al.

Deep space electro by French producer Franck Kartell. Known for his releases on labels such as "Bass Agenda Recordings", "Transient Force" or "New Flesh", just to name a few. This time he makes his debut on Between Places the sublabel of SolarOneMusic. Enjoy his journey into dreamy electro and sience fiction worlds.

REPRESSED !!

Chase me, chase me. Tom and Jerry. Dick Dastardly and Muttley. My two dogs by the fire, contentedly asleep. I miss us, the spark of excitement, the thrill of the chase, the ancient rolls... but most of all I miss making music, our no man's land. And that's what makes it difficult at first to listen to your Haar. I hear the hills in it, I hear the sea in it, I hear whitewashed walls, wind and drizzle, shards of sunlight on Scottish sand, I hear the spark and click of a lighter, I hear you.

When you left my life you took on a new name, a borrowed name, a name paying homage to a legend in folk circles buried deep in old songs and ancient bothy books. And that's you through and through - the cryptic layers, the barely tangible stream of consciousness, the subtle fragility of an idea teasingly explored, the suggestion of a hook, the predictably unpredictable.

Maybe a bloody genius but most definitely with something to say, a perfectionist but never a polisher or one to dwell too long on precious things. Am I talking about the music, Haar, or you To me they are one in the same thing, the sea - you, the ghost-like memories of an old fashioned Scotland - you, the Joyce-esque suggestion of a thousand things without ever defining one - you.
A rich tapestry from a strange and beautiful mind. This isn't a vacuous collection of junk collected by some preening magpie but something real, something built with love, craft and tirelessly acquired skill. Referential yes, but only so as to pay respectful homage to tradition and culture. A precise execution on proper machines with big hands and pop-eye forearms, undeniably heartfelt.

"In The Pocket" - A library record containing 16 drum breaks, compositions w/ stems & misc percussion. Recorded to a Raindirk Audio Symphony LN2 console on to 1/2" tape, then mixed and mastered.

The digital version contains bonus breaks and stems.

"As a sampling artist, I'm always looking for breaks or for that matter any kind of drum hit to use. There's something about those textures and natural harmonics you get from sampling vinyl that you just can't beat, so when Dan asked if I'd be interested in putting a library record together for KingUnderground, it was a no brainer!"

"I was lucky enough to grow up on a beautiful farm in Suffolk and when I was a teenager my dad bought a second-hand snooker table that we set up in the same room as the drum kit. So the theme for this was easy, Snooker/Breaks. Since my childhood, these two things have been synonymous." – Jonny Drop

'Beginning' is, appropriately enough, the world-wide solo debut by Japanese percussionist Mari Sekine. She has been active since 2000 with numerous groups and artists, as well as providing music for the theatre. This latter experience is particularly in evidence throughout this piece, with it's dramatic shifts and changing scenery, forming a very visual and evocative music with over fifteen percussion instruments entering and leaving the stage in their various roles.

... Sekine's voice also takes a turn as a hauntingly benevolent melodic ghost. Fans of Midori Takada will find much to enjoy here, and her use of a wide range of instruments evokes Nana Vasconcelos.

The propulsive rhythms and melodies will please admirers of Balearic grooves, Steve Reich and Roland P. Young. Also on offer here is a funky remix by German DJ/producer Lena Willikens, accentuating the tribal elements inherent in the original.

Window In is Michael Vallera’s third full length offering on Denovali, following All Perfect Days (2018) and Vivid Flu (2017). The four tracks that compose Window In are an exercise in density, movement, and space. Raw studio recordings of electric guitar were taken as the foundation, then heavily altered and manipulated through sampling, erasing the trace back to origin of the sound. The result is a series of vignettes that are unattached to a particular source but instead exist in an emotive and internal state.

Oberman Knocks makes a welcome return to aperture records since his last release Dilankex in 2014, which featured an outstanding 17 minute remix from autechre.
Working on other projects during this time seems to have charged his creativity and Knocks now propels himself back into the fold for his third album Trilate Shift with cleaner, more polished production and a change of direction which should certainly see his appeal rise across a wider audience.
Last year Knocks produced the soundtrack to The Red Tree, an award winning documentary film from Still films (New York/Dublin) and in 2016 he was commissioned by The Lowry in Salford to produce a sound installation, 30 Days of The Smiths, forming part of their Week 53 festival, a version of which was also performed live.
Trilate Shift sees Knocks serve up fourteen lustrous tracks of proficiency and divergent ingenuity encompassing interjections of disembodied vocals, setting the scene for a distinctive musical trajectory.

Drawing from a diverse array of contributors, Suggested Forms gathers the asymmetrical rhythms and polyrhythmic dancefloor freakouts from New York multimedia artist Tristan Arp’s first EPs. Alongside twisted reworks from Dominican dembow and reggaeton producer Kelman Duran, techno experimentalist Machine Woman, and Brooklyn’s Beta Librae, the Human Pitch cofounder’s syncopated rhythm science serves as a strange and playful take on leftfield bass.

Viktorias first EP on her imprint shows her approach to dancefloor oriented Techno.

The bass heavy beats of 'Black Jack' create a joyful, classic vibe. 'Winters Tale' drifting synths and distant vocals provide a hypnotic and haunting atmosphere.

Winters Tale Remix made by LA techno veteran Developer, clearly reveals his taste of pulsating groove.

'Delta' closes with Korg made synths, freaky melody and no nonsense percussion work.

Frendzone returns with another split EP featuring tracks from Violet and Denham Audio.

Kicking your bassbins - PZG & Dubsknit aka WE ROB RAVE from poland dropping four tracks of upfronted happy hardcore that has been melanged with juke, trap and jungle mashup technics.

Formed in Brixton in 2006, afrobeat band Yaaba Funk have released two albums with Sterns Music and performed numerous acclaimed live shows — including support slots for Seun Kuti and Ebo Taylor.

Rapidly rising star Danvers (also of Kassian) takes the infectious energy of 'Oman Foa' into a triumphant new direction, with one of his broken beat rhythms at its core — recalling his big summer track 'Aye Ata' which received heavy support from the likes of Gilles Peterson and Midland. With a succinct arrangement that lets the joyous brass and powerfully harmonised vocals shine potently, it's a feel-good party music that works wonders when deployed at the right place and time.

'Hwe Hwe Mu Na Yi Wompena' is Yaaba Funk's cover of the Ghanian highlife singer K. Frimpong and his Cubano Fiestas' irresistible 1977 track, which Ben Gomori strips back into two instrumental-focused versions. His 'Message Of Love Edit' is a summery, housey flip with trumpets mutated into synths and the bass pumped up with chunky distortion, while his 'Message Of Love Live Dub' zones in on the live grooves with just a little extra embellishment.

Sterns Edits is an official collaboration between African music stalwarts Sterns Music and London's Ben Gomori.

Refreshing, ruff & ready sounding white label that’s landed out of nowhere, pulling on sounds from the early days of FWD>> as well as old-skool hardcore and 8-bar grime.

Die Gruppe Automat - Jochen Arbeit (u.a. Einstürzende Neubauten, Die Haut), Achim Färber (Phillip Boa & The Voodooclub, Skip McDonald) und Georg Zeitblom (wittmann/zeitblom) - funktioniert wie eine gut geölte Maschine: Sie surrt, sie schnurrt, sie geht unbeirrt ihres Weges. Gemeinsam mit dem Modular-Magier Max Loderbauer sowie Paul St. Hilaire alias Tikiman, Lydia Lunch und Mika Bajinski am Mikrofon präsentieren sie nun mit »Modul« auf Compost Records ihr abwechslungsreichstes und konzeptionell stimmigstes Album.

Die Gruppe Automat funktioniert wie eine gut geölte Maschine: Sie surrt, sie schnurrt, sie geht unbeirrt ihres Weges. Auf seinem vierten Album allerdings schaltet das Trio einen Gang herunter, differenziert seinen musikalischen Ansatz weiter aus und geht fruchtbare Kollaborationen mit anderen Figuren aus der Musikwelt ein. Neben Max Loderbauer, dem Bandnachbarn aus den Candy-Bomber-Studios in Berlin-Tempelhof, mit dem Jochen Arbeit, Achim Färber und Georg Zeitblom bereits im Jahr 2015 für eine gemeinsame EP zusammenarbeiteten, sind das am Mikrofon die Dub-Legende Paul St. Hilaire alias Tikiman, die Königin der Gossenpoesie Lydia Lunch und die Newcomerin Mika Bajinski. Sie alle tragen ihren Teil nach dem Leitprinzip bei, welches »Modul« seinen Namen verleiht: Die acht Stücke entstanden gemeinschaftlich nach einem Baukastensystem, das den Kompositionsprozess dynamisch in Bewegung setzte und gleichmäßig auf alle Beteiligten verteilte. Das Resultat ist ein musikalisches Perpetuum Mobile - ein Album mit dem gemäßigten Ruhepuls einer Dub-Produktion, das unablässig in Bewegung bleiben.
»Modul« bildet als Album einen ständigen Veränderungsprozess ab, der erstmals im Jahr 2018 im Rahmen eines Auftragswerks für das Berliner Festival Pop-Kultur live erfahrbar gemacht wurde. Auf Einladung des kuratorischen Teams erarbeiteten Zeitblom, Färber und Arbeit gemeinsam mit ihren musikalischen Gästen St. Hilaire, Lunch und Gemma Ray ein Live-Set, das konsequent aus dem Studio auf Grundlage einzelner Passagen entstand, die nach dem Prinzip eines Resonanzmoduls miteinander (re-)kombiniert wurden: es geht zwischen den einzelnen Mitgliedern hin und her, die Strukturen morphen und der Sound nimmt immer andere Formen an. Eben dieser Ansatz bedingt auch die ständige Weiterentwicklung der Stücke, die gemeinsam mit dem Produzenten Ingo Krauss zu einem Album geschliffen wurden, das seinen nahbaren improvisatorischen Charakter keinesfalls verloren hat. Im Vergleich zu den drei thematisch ausgerichteten Vorgängeralben »Automat«, »Plusminus« und »Ostwest«, die sich jeweils explizit mit Berliner Flughäfen, dem Genre Dub und der europäischen Flüchtlingskrise befassten, setzt »Modul« auf eine inhaltliche Durchlässigkeit, welche die musikalische Offenheit der Platte widerspiegelt.
Nachdem »Modul 15« das Album mit satten Dub-Sounds und einer rollenden Bassline eröffnet, hebt »Easy Riding« passend zu St. Hilaires vor Fernweh triefenden Lyrics das Tempo mit dezenten Riddims an. Schon im nächsten Song, »Ghost«, debütiert Bajinski mit distanziertem Stimmeinsatz über einem melancholischen Stück, dessen Klangbild von den modularen Beigaben Loderbauers geprägt ist. So geht es weiter über die verzahnten Rhythmen von »Ankaten«, die von den verhallten Stimmen Lydia Lunchs und St. Hilaires begleitet werden, hin zum balladesken »Nothing Strange« mit St. Hilaire über das fiebrige Vocoder-Stück »Who For Eyes« schließlich zu den beiden abschließenden Stücken, »Pavo« und »Modul 11«, welche eine tiefenentspannte Coda zu den vorigen Tracks bilden. »Modul« durchläuft so eine Reihe von Stimmungen, ständig wechselnden Klangfarben und musikalischen Ideen, die sich in immer neuen Konstellationen zusammenfinden. Der erweiterte künstlerische Ansatz ebenso wie das vergrößerte Personal machen das Album nicht allein deshalb zur abwechslungsreichsten, sondern auch konzeptionell stimmigsten Platte Automats, die sich darauf in bester Form präsentieren: Als gut geölte Maschine, die surrt, schnurrt und unbeirrt auf dem Weg ist -
immer in Richtung neuer, unerhörter Sounds.

Contours, a UK based DJ and producer, known for bubbling dance rhythms and undertone melodies focuses on a wide range of organic percussion on this 4 track EP.

A1 opens up with its most prominent instrument, the balafon, creating a hypnotic vibe in which keys and broken beat intertwine creating a swinging rhythm. The second track, Batterie, slows down the groove and allows plenty of space for the keys to lay over the depth of bass-heavy drum pattern.

The flip side of the record pitches up the tempo and sees layers of Latin infused rhythms mix with London scene defining broken beat riffs, synths and melodies. The record finishes up with a remix from one of the London underground scene’s key contemporary figures, K15, adding a darker tone to the flow of the track while upping the dancefloor energy of the groove.


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Amsterdam based Kid Sublime returns in 2020 with his new record: “The Umami EP” on his own Ballroom Radio Records .

Independent release pressed on 180 gram vinyl

A1 The Tool
The opener track of the EP “The Tool” has The MPC running steady with chopped up disco breaks and lush Detroit keys + Soulful vocal samples added on top to hype up the dancefloor.

A2 The London Bug
Inspired by his trip to London last year and a visit to the Bugz In The Attic studio, Kid steps up his game with a Broken Beat banger. A chopped up Jazz Funk breakbeat with a heavy Moog bassline lick and some keyboard action. This Bruk tune will definitely get the dancefloor moving.

B1 Left-Right-Dub
Soulful House action! Originaly released on his LP The Padded Room as “Heroes“ with vocals from Atlanta’s The Dangerfeel Newbies, Kid remixes this tune in a
stripped down Dub version. Smooth and Deep dancefloor vibes.

B2 The Force
A stripped down minimal Future Funk groove with a Seinfield-esque slap bassline and a spaced out sample. The MPC runs steady here for the deejays and the dancers!

Ali Zarin, Muslimgauze Archive Series volume 35. Limited Edition 2 x LP

Clear Vinyl

Huerco S.’ West Mineral Ltd. coax out a lather of ambient downbeats and techno mutations from Russia’s Ol & Flaty in their 2nd volume of Serwed material Forged from intuitive live jams recorded in their home studios, Serwed’s sophomore side delivers 10 fractious, shapeshifting oddities full of lopsided, minimalist rhythms and uncanny spatial complexities. Each part is cut from the fabric of longer sessions and highlights points in their creative process where intersections of their individual inputs transcend the sum of their parts, generating strange and inquisitive new permutations of rhythm and sound, or a “kind of new entity” as they prefer to call them. Collected and arranged into album format, they make a uniquely
etheric flux that resonates richly with West Mineral Ltd.’s between-worlds aesthetic and adds up to a surreal and captivating bigger picture.
Variously touching on aspects of abstract techno dub, early-hours dancefloor experimentation, and heartstrung yacht rock strokes, the results smudge definitions of club music in a way that see those spaces as playgrounds for the imagination, and not simply sites of reenactments of the past, or outlets for alcohol suppliers. As such the album offers myriad options for altered state dancers and ‘floor-edge wallflowers, exploring a mutable range of styles between the Dynamo-meetsBellows flux of ‘Initial II’, the nervously stepping tics of ‘Platm’, and the strung-out 0PN-ism of ‘In Spare’, while the likes of ‘Grip’ and the jet-streaked minimal house abstraction of ‘Plane’ are more urgent in their bassy heft.
Ultimately ’Serwed II’ beautifully mimics and evokes a state of blipping thizz associated with the later hours of an MDMA buzz, yielding an immersive, impressionistic trip likely to leave its users gently disoriented but glowing with satisfaction.

Spencer Clark is back with a futuristic eco-friendly record. It’s life on earth as you never heard it.

The story goes like this: Spencer wanted to do a soundtrack for the yet to be made “Avatar 2”. And if you know Spencer’s work, you’ll know that he engaged on this mission reading material that influenced the rich and crazy imaginary world of “Avatar”. If you think about it a little bit, something like “Avatar” could have really come out from the mind of Spencer Clark.

But it didn’t. So, he dwelled around the idea of that soundtrack, working on what is now known as “Avatar Blue”. The record we now release is a selection he made from the 2CD released last year on his own Pacific City Sound Visions.*

Like many of Spencer’s other alias or incarnations, Star Searchers introduces the listener to a new world. Besides making sounds/soundtracks for alternative realities he cares about making a world for his music to live in. It’s never superficial or dedicated just to the act of imagination, Spencer creates sounds that sustain the reality he imagined. That’s why they’re so rich and consequential in the realization of music as a medium.

“Avatar Blue” is music but also literature. And cinema. Star Searchers’ sound creates an absorbent sound about what’s happening in aquatic life. It goes beyond the perception of what we’ve seen or what we’ve known, it’s a neo-future aquatic life, with a world building structure and sounds and narratives that go along with it.

All done with a sound-aesthetics that could be described as slowed-down-trance, that fits 1980s synth nostalgia and dreams of sci-fi to come.
*Note: The 2CD version is available as a digital download with a purchase of the album on selected stores.

Here is the highly anticipated sixth volume of the well received electronic compilation series from the relaunched 1980's color tapes label. As with the other volumes you can find great examples of cold wave, minimal wave and synth electronics and pro to EDM made by obscure British bands in the 1980's such as: Berserk In A Hayfield, Lives of Angels, Silicon Valley, Modern Art, Disintegrators, Echophase, The Lord and Mystery Plane

"Up there with V-O-D selections, the Color Tapes series so far has provided invaluable insight to hidden or much lesser-known currents of the ‘80s cassette subculture which gave birth to myriad artists, styles and industry conventions whose influence can still be felt over 30 years later. " - Boomkat

“Electronic work that’s way different from mainstream pop of the period - often forgedout of the same instrumentation as the hits - but in a stripped down way - with lots of dark and moody corners!” Dusty Groove

“Evil Synths and evil beats” - Norman Records

“Gary Ramon’s re-born Color Tapes imprint is every bit as essential as it’s Minimal Wave and electro-focused predecessors” - Juno

Limited edition of 500 copies comes with poster insert

GLOK is the electronic solo project from Andy Bell of shoegaze legends RIDE (formerly of Oasis/Beady Eye/Hurricane #1). His debut album under the moniker, Dissident, was originally released last year on a limited edition cassette by Bytes, an offshoot of Ransom Note Records. That sold out in 24 hours, and was followed by a vinyl pressing of 500 copies, on transparent green vinyl, sold via Bandcamp and two online shops. However, with that edition now sold out pretty much on word of mouth, due to popular demand, Dissident is being repressed and is this time being made available to a wider audience via a partnership between Bytes and Republic of Music/K7. The name GLOK is a misspelling of the German word for Bell. The German connection fits well as there is a strong Krautrock influence in the music, especially on the title track, 'Dissident', an epic clocking in just shy of the 20-minute mark, which blends synthwave, minimalism, trance, Detroit techno and John Carpenter soundtracks, with Andy even dropping in some killer John Squire-esque guitar licks.

First collaboration ever between Japanese noise legend Merzbow and visionary/provocateur Kaoru Sato of R.N.A. Organism (Vanity Records) and EP-4 (WRWTFWW).

Side A: live recording of Merzbow and Kaoru Sato's first live collaboration ever. Recorded October 21st 2018 at Metro Club in Kyoto for a three-label showcase with avant-garde imprints Slowdown, Phonon and Kyoh Records.

Side B: Solo sessions by each artist that took place after the joint performance on the same night. Edited and mixed in their respective studios.