Beats News

Reissue of the fantastic debut LP from France's pioneer avant-electronic unit ART & TECHNIQUE. Originally released in 1981 by Hi-Tech records. Haunting obscure minimal electronic sounds, ambient and atmospheric ventures, abstract minimal wave with some ethnic elements. And excellent use of rhythm boxes, sound generators and strange vocals, reminds of 23 Skidoo's “7 songs”, early Muslimgauze, O Yuki Conjugate´s sound and the atmospheres of Jon Gibson or Jon Hasell.

Re-mastered by former member Bernard Filipetti. Limited edition of 300 copies.

Asa Tone is Jakarta-born Melati Malay and New York based Tristan Arp and Kaazi. In January 2018 the trio travelled to Indonesia during Melati’s annual return home, set up a temporary studio in a house nestled in the jungle’s canopy and recorded a series of improvisational pieces together, later edited for brevity. The music incorporates both digital and analogue processing and largely draws upon the group’s collective voice, a small selection of instrumentation and their immediate environment. For fans of Mensch, Golden Teacher, New York duo Georgia.

Second volume of 'The Encyclopedia of Civilizations', a collection of split LP's where selected artists offer their own insight into fascinating ancient cultures.

In this volume the music is inspired by Atlantis, a legendary civilization surrounded by mystery. The LP is presented in a special limited edition (500 copies) with an extensive booklet that tries to shed some light on the myth of Atlantis and will help you to immerse yourself in this fascinating civilization while you listen to the music. The sleeve is printed in the old way, letterpressed with metal movable type as Gutenberg used to do it, as all of the Abstrakce editions.

DSR lines is the project of Belgian electronic artist David Edren. He's been releasing his music for almost two decades on labels such as Ultra Eczema, JJ Funhouse or Black Sweat. His Atlantis tracks are one of his best works (if not the best) so far, developing an exquisite use of modular synths. David presents a mature work, the result of an intense experimentation with synths such as Buchla 200 or Serge Synthesizer Systems. His arpeggios and oscillations sound like music that would be played in an Atlantean temple worshiping an ancient god (probably Poseidon or Minos) if this wise civilization had reached our days. Organic minimal electronics developing a very personal sound, a spiritual approach that could be a modern continuation of the investigations started by JD Emmanuel, Ariel Kalma or Michael Hoenig.

Bitchin bajas is the project by Cooper Crain (also from the band Cave), Dan Quinlivan and Rob Frye. They have released material on labels such as Permanent records, Drag City, Hands in the Dark and Important records. They present an astonishing 20-minute-track inspired by the diaspora of the Atlantean people after the great cataclysm that sank their island at the bottom of the ocean and plunged its splendor into darkness forever. Warm, instrumental, psychedelic and melodic music that drinks from the electronic minimalism of the 60s and 70s (Terry Riley, La Monte Young..) blended with the spatial feeling of the kosmische maestros (Klaus Schulze,Harald Grosskopf, etc.). Deep electronics, hypnotic pulses and enigmatic melodies introducing acoustic instruments such as flutes or xylophones that will make you float in space while thinking about our Atlantean ancestors.

Rick Lenoir and Larry Thompson aka Black Traxx dropped several volumes of their own brand of chopped up Disco sampling, deeper side of House. From 1991 through to 1994 the Black Traxx EP's were showing up in record stores, obviously giving respectful nods to other Chicago DJ's and producers the tracks included on the EP's contained a DIY spirit and rawness that were key ingredients. Lenoir, with the technical assistance of Gary 'Jackmaster' Wallace has revisited these classic releases for 2017 and the pair have turned in some special, exclusive extended versions of some of the highlights from the series.

Kicking off the first Black Traxx sampler is 'Climaxx', a stripped back, slow burning acid cut with more than a similarity to 'French Kiss' complete with ultra slowed down section in the middle. Far from a copycat, 'Climaxx' is it's own beast, a truly atmospheric track that tweaks in all the right places! 'Doctor's Housecall' is up next, a cut-up of Disco burner 'Doctor Love', a Chicago staple for sure. This is a brand new extended version of this jam, serious heat on this one, you all know the sample by now! Undoubtedly a nod to the legendary Ron Hardy and his mythical Muzic Box club, this one hits the spot.

On side-B we get a new version of 'Your Mind Is So Crazy' lifted off Volume III, this one's a pumping, breakbeat laced party starter. Vocal samples, synths and swinging drums all collide to form a real peak-time monster of a track, pure 90's style runnings! 'Retrospace' is the last track on sampler 1, it's a melding of Chicago House, breakbeat and bleeps. If you dig the sounds that emanated from Sheffield way back when, or the you're into the early hardcore sound pre-Jungle then this is the cut for you. Fast paced and funky, 'Retrospace' is a real hidden gem of a track, featured here in it's original form lifted from volume II.

This reissue has been realised with the full involvement of Rick Lenoir and Gary Wallace and is 100% legit! All exclusive extended edits have been made by Rick and Gary specifically for this release. Don't snooze, this one deserves a spot in any self respecting House heads record bag or DJ set, classic material made available again for 2017 - You can't stop it!

Beside Myself is the second full-length release from Canadian sound artist crys cole. Known to many through her extensive collaborative practice with artists such as Oren Ambarchi, Leif Elggren and James Rushford, in her solo work cole uses contact microphones, voice, simple electronics and field recordings to create sonic environments that linger uneasily at the threshold of perception. Demonstrating how cole’s work has developed and deepened since the relative austerity of her first solo LP Sand/Layna (2015, Black Truffle), Beside Myself offers two lushly immersive side-long pieces that explore ideas of compositional drift.

'The Nonsuch' is inspired by the aural hallucinations experienced in the hypnagogic state during the onset of sleep. Opening with scratching contact mic textures and unintelligible vocal murmurs, the piece threads together live and studio performances with field recordings of urban environments to create a texture that is at once seemingly consistent and marked by constant transitions. Individual elements rise up from the background thrum only to disappear just as we become conscious of them; heterogenous sounds and spaces succeed one another with the unassailable logic of dreams.

'In Praise of Blandness (Chapter IX)' also focusses on drift and transition, but in a much more single-minded way. Over a rich, slowly-evolving organ drone, cole reads a passage from the French sinologist François Julien’s book In Praise of Blandness exploring the concept of ‘blandness’ in the Taoist aesthetics of sound. Beginning crisp and clear, cole’s voice becomes gradually less distinct over the course of the piece, the spoken words blurred by resonant frequencies à la Lucier’s I Am Sitting in a Room until we are left with only the rhythm of incomprehensible speech. The text that cole reads acts a perfect description of her aesthetic project: ‘We hear it still, but just barely, and as it diminishes it makes all the more audible that soundless beyond into which it is about to extinguish itself. We are listening then, to its extinction, to its return to that great undifferentiated matrix’.

- Francis Plagne (November, 2019)

Repress

It's team time again as we issue yet another huge collaborative effort from some of the scenes most accomplished producers and biggest names. DIS070 draws together the collective powerhouse force of DLR, Hydro, Villem, Fields, Mako and Linden over two tracks to provide an outing of gigantic proportion, individually each producer within their own right is more than capable of delivering the goods in solo work mode, so imagine the results you would get from locking them all up in a dark studio room together for hours on end to channel their combined genius! Well the result of that scenario is right here and is everything and more you may expect it to be. 'The Formula' sees DLR, Hydro, Villem & Mako in combination for an effort that is nothing short of sublime, each bringing their own finely tuned skillset to the table in perfect compliment to each others skills whilst at the same time adding their own perfect measure of individual ingredients to produce a near perfect recipe. This one has already had the Friction seal of approval and thus has been aired twice to date on his weekly BBC Radio 1 show. The flip sees Villem, Linden, Fields & Mako jump in together for 'Saturate' This time the result is a massive heavyweight roller underpinned with a frightening amount of low-end grunt. The perfect compliment to the A-Side and a devastating track for any dance floor regular.

Avantgarde electronic ambient walking through the paths of Brian Eno, Harold Budd or Roedelius. A conceptual and contemporary approach to Early music, exploring its ambiences, timbres and feelings. Delicate experimentation with sound textures where different tones of white noise can meet the strings from a viola da gamba. A cinematic work, very touching and emotional. Almost mystic, spiritual ambient.

Presented in a very careful edition, the record comes packed in a folder printed in letterpress with wood and lead types. Six letterpress cards -one per track- are also included contextualizing the artists' references used as an inspiration for their compositions.

"These three pieces spring from a love of Early Music, specifically the works of Sainte-Colombe, Marin Marais and John Dowland. Each of these composers — their lives spanning a period of great musical innovation and change from 1563 to 1728 -- is represented by a track included here. While there are no direct quotations present from any of their pieces there is a now familiar reliance on timbre and even on drone, elements that flourished in the often slowly-paced and harmonically narrow style of Early Music. Those stylistic elements have been taken up today, deliberately or not, by Ambient, Dark Ambient, Post-Ambient, and Slow Music artists. In atmosphere Early Music often evokes a melancholic — even elegiac — sensibility appropriate to the present time." — K. Leimer

"These three tracks were inspired by the shadows, streams of sunlight, muted colors and peaceful interior ambience of Spanish cathedrals. Calm and mystery combined." — Marc Barreca

K. Leimer and Marc Barreca are two american synth/multi-instrumental musicians that have been active since late 70's. They have some previous collaborations released in Leimer's imprint Palace Of Music. His large and wonderful work have been reissued by labels like Vinyl on Demand, Rvng Intl and Freedom To spend.

Luz Azul is a group started by LA-based vocal and performance artist Anna Homler (aka Breadwoman) together with musicians Marcos Fernandes and Robert Montoya in 2007. On this record they compose their own mesmerising cosmic universe where the hypnotic speaking in tongue voice of Anna Homler blends mesmerising together with the sound of her found toys intensified by the shamanistic percussion of Marcos and the pulsating electronics of Montoya.

As fellow percussionists and sound artists, Marcos Fernandes and Robert Montoya's collaborations began in 1983 and ran the gamut from ambient to noise, rock to electronica to improvisation. Both were founding members of Trummerflora, a collective of creative musicians based in San Diego from 1999 to 2009.

All three artists were active in the improvised music scene in Southern California and met at Spring Reverb 2006, an annual festival of experimental music curated by the Trummerflra Collective. At the time, Fernandes was experimenting with processed percussion as well as phonography and samples while Montoyawas exploring improvisational possibilities on the computer.

Fernandes and Homler expressed their mutual interest in collaborating but it was not until the fall of 2007 that they performed a series of concerts together. Pleased with the results, they performed together again in the spring of 2008 with the addition of Montoya. There was chemistry and the trio promptly decided to enter the studio to capture their collective magic. The session yielded the music found on Luz Azul.

Anna Homler - voice, pocket theremin, sample sticks, whistles, assorted dry and squeaky objects, greeting cards, wood devil, tiny metals and motors and potato slicer
Marcos Fernandes - percussion & electronics
Robert Montoya - electronics

Third volume of the series MATERIAL ELÉCTRICO this time released on vinyl. Compilation of international mutant electronic underground.

A tour around experimental electronics covering abstract rythms (Santiago, Black Zone Myth Chant), industrial new ebm beat (Celldöd, Klack, Violet Poison, Bässt), minimal wave (Circa Tapes, Sam de la Rosa) and the great collaboration between Sam De La Rosa & Kyle Dixon (Survive, Stranger things soundtrack)

Limited edition of 260 copies. Mastered at Sountes Studio. Artwork by Joni Kosmos and typogragpy by Israel Pinilla.

“Creating collages of avant-garde ambience using instruments from the many corners of the earth, along with tape loops and samples, Finis Africae created a fourth world sound that was both exotic and mysterious.” – Andy Thomas

First vinyl edition ever of this lost experimental Spanish essential album. A delicate work that absorbs specific aspects of different music – minimalism, tribal sounds, new age, ambient, spoken word – to create its particular universe.

With an absolutely contemplative recording climate, the poems and their sound environments explore the deepest self of the poet and singer from Extremadura, Pablo Guerrero. The work combines memories of childhood through the valleys of his native village, Esparragosa de Lares, with the evolution of life to reach the contemplative state in adulthood. A score written in a collaboration with two old friends, Juan A. Arteche Gual andJuan C. Fdez Puerta (Finis Africae), who weave a beautiful tapestry of electronic sounds so that the deep and serious voice of the poet shells all the images that his ode encloses.

The recording, through fourteen poems, breathes an aroma of maturity, balance and total freedom. Maturity and balance with minimal arrangements, small gestures surrounded by abundant silences. Total freedom with instruments of the most varied, without restrictions or complexes: samplers, synthesizers and field recordings mixed with rattles, self-arches of the Appalachian Mountains, zithers, saxes made with reeds, conches, shortwave radios, plastic pipes, Hindu harmoniums … beauty can arise from any element and all these minimal arrangements come together to create the perfect ambience that sublimates the poem.

Completed in the spring of 1996, the recording was moving in no man’s land until the end of 1999 saw the light in book format of poems, accompanied by a CD. A co-edition of Música sin-Fin ( Juan A. Arteche own label) and Cicón ediciones (a small Extremaduran editorial) that, when released in book format, went unnoticed. Abstrakce records aims to recover this masterpiece of experimental Spanish music, contributing its bit to place the album where it deserves. Therefore, a very careful edition is presented, with a folder printed in letterpress with lead types, accompanied by an extensive booklet in both English and Spanish containing liner notes, lyrics, an interview with Juan F. Puerta and a text by Juan A. Arteche about of the recording of the record.

Pablo Guerrero: Recitation, gong, seeds, guitar, choirs, synthesizer and wind claimer.

Juan Alberto Arteche Gual: Marine Saxos, corrugated pvc pipes, jellyfish keys, carillon, tambourines, tar drums, zithers, tanpura, recited, choirs, accordion, tapes, computer composition, shortwave radio, legüero drum, hindu harmonium, Tibetan bells and sharpener pan flutes .

Juan Carlos Fdez. Puerta: Samplers, cowbells, autoharp, bells, guitar and keyboards.

Remastered at Sountess Studio in 2018 by Pablo Peiró

About the authors:

José Pablo Guerrero Cabanillas was born in Esparragosa de Lares in 1946. During the 60s he was a well-known singer who already used a poetic and sober style in his lyrics but also involved in political protest. Initially influenced by American folk, over the years he became more interested in African rhythms and other cultures, as well as more avant-garde sounds such as minimalism, ambient and experimental electronic music. He collaborated with musicians and basic groups of Spanish experimentation such as Juan Alberto Arteche, Luis Delgado (Mecánica Popular), Orquesta de las nubes, Suso Saiz… of all these collaborations in experimental key perhaps the best known is “Un hombre oscuro “with Suso Saiz, theme that opens the Music From Memory compilation by the Spanish guitarist edited in 2016.

Finis Africae was a Spanish band of avantgarde ambient music, formed in 1982. Captained by Juan Alberto Arteche, various musicians linked to folk, new age and experimental music as Luis Delgado, Javier Bergia, Javier Paxariño, Markus Breuss and Juan Carlos Fernández Puerta where involved. The group takes its name from Umberto Eco’s novel The Name of the Rose, in which Finis Africae is a secret area in the library of a monastery, in which books are hidden that the librarian considers dangerous for the Christian faith. It has recently been the subject of several reissues by the Japanese label EM records.

‘The Pandora Star Sessions’ were recorded live at No Bounds festival 2019 in Sheffield, during Debbie Chia’s ‘Light and Sound Bath’ installation. Festival organiser Liam O’Shea was introduced to Chia through Prequel Tapes, and things fell into place for the performances when it emerged that the ‘Pandora Star’ - a specialist lamp that Chia uses in her phototherapy project - was developed and continues to be manufactured in Sheffield.

During the ‘Light and Sound Bath’, each ‘Pandora Star’ lamp is positioned above 5 reclining audience members. For the two Prequel Tapes sessions, the ‘LSD’ setting on the lamp was activated. Strobing, undulating light combines with sound to induce an hypnagogic, psychedelic state. Geometric, kaleidoscopic shapes form and dance on the inside of the eyelid.

Prequel Tapes took two distinct compositional approaches for the sessions. Session 1 is a delicate, immersive sound world of rolling drones and barely audible whispers, as if spoken to the sleeper from outside a dream. Session 2 is by contrast more playful and dynamic. If the first describes place, then the gentle yet driving melodic synth lines in Session 2 seem to tell a story. Each invites the listener to follow their gradual evolution, whether taking a trip or listening at home.

GAFFA 04 is a limited edition tape release and digital. On the tape version the story culminates in an abstract final track ‘528 re-enter’, a stunning piece of haunting, desolate ambience.

ISAN’s Robin Saville reveals an ambient album, which merges the Electronica aesthetics of his main project with field recordings, drones and acoustic instrumentation.

A lot of things have been written about what happens to the mind when the body starts moving. Instead of reciting poems of the inevitable self-help books, let’s get straight to the point: For many, taking walks on a regular basis is both liberating and empowering. It is not necessarily so much about the exercise, but rather finding one’s own rhythm in life. Robin Saville – of ISAN fame – is such an ambler His walks inspired him to base his third solo album – his first one for Morr Music – on the out of the way places he came to see and experience while being out and about.

Clocking in at just under 40 minutes in total, "Build A Diorama" is both a subtle culmination and a poignant antipode to what Saville has achieved together with Antony Ryan as ISAN. While the aesthetics might seem similar in places, Saville opts for a decisively different pace when it comes to writing and producing. Progress is steady, and change, however, is slow – like looking at a diorama for a long period of time in the ever so slightly changing light or as a flaneur focussing on one particular spot, a found object so-to-speak, waiting for the mind to orchestrate it appropriately, giving it sense and meaning.

Built around quiet field recordings, Saville’s six compositions transform this highly personal and, therefore, difficult-to-convey experience into a comprehensible exploration of beauty. Where ISAN almost exclusively uses electronics, Saville deliberately expands this well-established palette with acoustic instruments like bass guitar, chimes and glockenspiel, aiming for an even more suitable musical manifestation of what the walker sees and feels once he fully engages in his passion. Ranging from blissfully pulsing pads allowing for complete associative freedom ("The Deepdale Halophyte Economy") to the playful minimalism of an orchestra dominated by busy bells ("Bosky"), Saville’s "Build A Diorama" is not just a valuable addition to his musical output, but an essential audio guide for those striving to explore, learn and understand.

Jungletrain resident Trainspotter debuts on Vivid’s first black label
series release. Spaced out ambient pads, noisescapes, and sparse
percussion take you far out and bring you to a place entirely new and
yet somehow familiar. This series is dedicated to individual, abstract
conceptualizations of the jungle / drum n bass landscape, exploring
freedom from formulaic beats while taking you to the fringe of
160-170+ bpm music. Fading Train EP is a truly unique take on this and excellent for bringing a sense of space to busy mixes.

Versus Volume Four welcomes three new pairs of talented producers to the Lossless camp. Finnish duo Trisector & Infader bring some tough and dirty stepping vibes with 'Who Are You'. Austrian pairing Faible & Konfusion deliver the ultra funky roller 'Innocent'. Brothers Slider and Expose drop a half time monster in the form of 'Soundsistem' and Soul Intent teams up with Nottingham best vocalist e with the cinematic 'Snow'.

Club Culture is back with its second instalment of the series. Following the overwhelming response from Volume one in 2018, we felt the need to get planning on the next journey. Each track providing a different mood to bring us 4 tracks tailored for the
dancefloor.

10x12" Boxset

Fundamental Records celebrate their 10 Years with the project they love the most, the Time Capsule aka 808 Box. This is the 6th 808 box and with the 10 new records included in this 808 Box, Fundamental Records have released a total of 56 vinyl records as part of this project, showcasing modern electro in all its varieties. This wooden box includes 10 vinyl records, 66 tracks by artists from each corner of the world, more than 5 hours of pure electro by Acidulant, Alek Stark, Aquatronics, Brice Kelly, Carl Finlow, CEM3340, Cignol, Cygnus, Das Muster, Datawave, Dibu-Z, Digitizer, DVS, NME, Faceless Mind, Foreign Sequence, Franck Kartell, Heimelektronik, Holtz Inkamera, Johan Inkinen, Kan3da, Kind Human Being, Kitbuilders, Kuldaboli, LCTR, Luke Eargoggle, MagikBitum, MetaComplex, Methylgruppe, Microlith, Moodex, Mr Velcro Fastener Mutex, N-Ter, Nebenprodukt, Noamm, Noise&Noise, Nullptr, Obergman, Planetology, Plant43, Proto, Reedale Rise, Repeat Eater, Scape One, Sound Synthesis, T-Error, The Abstract Eye, Vema-Diodes, Vertical Dimension and Viewtiful Joe. Additionally comes with pictures of the original Roland TR-808 in each cover, a high quality t-shirt and certificate of the limited edition.

Were you ever really here? Plug in to the history of feeling with four beautiful cuts of post-genre sentimentalism from YS. Traversing the landscape of urban emotion, the duo find solace in the momentary states of being in this post-internet epoch. On the A-side ‘Music Angel’ and ‘Dreams We Share’ explore the processing of healing through poignant dub and empathetic ambience. On the flip, B1 ‘Touch’ raises the tempo with a timeless slab of ghetto nostalgia straight from the early days of Databass Records. Closing things is ‘The Future’, a bold not-so-sanguine gambit around the end of modern times; truly a beast of its own. So here it is - now and always x

Official remastered limited edition of Cellophane project from 1984 produced by Alessandro Novaga, one of THE major influences on Chicago House Music with his trio of releases -Drums-, -Electronic Drums- and -Faces Drums-, all essentially EPs of tough electronic bonus beats, creating the blueprint for many early Windy City productions. He was also behind other such hugely influential cuts as Stopps -Im Hungry- and -Ali Shuffle- by Camaros Gang. Here on his Cellophane album, which came after the huge -Gimme Love- single, we get what I guess you could describe as his magnum opus. The album consists of just two long tracks (or suites perhaps?) that take the listener of on an epic psychedelic italo /space disco trip like no other. Heavy use of synths and drum machines expecially on the part 3 !

Kaitlyn Aurelia Smith is an American composer, performer and producer, originally from Orcas Island and currently based in Los Angeles. After several self-released albums, Smith was signed to independent record label Western Vinyl in 2015, who released her first official album, Euclid, in January 2015. Her latest album, T ides: Music for the Meditation and Yoga , was released in January 2019.
Smith grew up and was home-educated on Orcas Island, Northwestern Washington. She left the island to study composition and sound engineering at Berklee College of Music in Boston, before returning to the island after her graduation.
It was after returning home that Smith discovered synthesizers, when a neighbor introduced her to the Buchla 100 Synthesizer. Having originally intended to use her voice as her primary instrument, and then moving to classical guitar and piano, Smith switched to the use of synthesizer after being leant and experimenting with the Buchla 100 for a year.
Smith formed indie-folk band Ever Isles whilst still at Berklee but left the project after discovering the Buchla 100, explaining, “I got so distracted and enamored with the process of making sounds with the Buchla’s potential that I abandoned the next Ever Isles album”.
When developing her composition skills, Smith used visual aid as inspiration for her music. She has said that she is always composing to a visual in her head, explaining, “Sometimes I let the sound create the image for me and then I build off that. Or vice versa: I come up with imagery that is inspiring to me, or I see something that is inspiring, and then create sounds that I feel match it”.
Recorded in 2013, Tides is a glimpse into the early phase of what has become Kaitlyn Aurelia Smith’s signature approach to electronic music. Composed and played on a Buchla Music Easel––the modular synthesizer that gives Smith’s music its organic feel––this collection of instrumentals is at once uplifting, transportive and meditational.

Following on from 2018's Yosei 12” Necrotype returns to Diamond Life for 2 more cuts of top shelf junglism. On a-side track Fever he slaps us around the face with multiple layers of meticulously programmed hardcore breaks, juxtaposed by the sweetest of pads and stuttering synth stabs. So Fine is a slow burner, starting off sounding almost like an 80s R&B jam, over the course of 4 minutes it builds up towards its second drop, morphing into a lush jungle D&B roller.

* "The Longest Sleep Through The Darkest Days" is the sophomore album from Plymouth shoegaze post-pop electronic project Winterlight. The project was originally a solo endeavor started by Tim Ingham back in the mid-oughts but now sees his daughter Isabel taking on bass guitar duties.
* This new album is the culmination of nearly seven years of on and off creative spurts, false starts, and second guesses reflecting the turmoil hinted at in the album's title. Yet those that follow Winterlight know Tim's been making music pretty much all along and releasing occasional demos via his Soundcloud.
* This lengthy process has yielded one resounding result: If it ain't broke, don't fix it. "The Longest Sleep Through The Darkest Days" has all the Winterlight earmarks: divine organs, thoughtfully constructed drums, the occasional electronic flourish and, Oh... Those immaculately soaring guitars! While Ingham considers Winterlight to be post-pop, and for the most part the duo still brings those melodies to the table in spades, there are some unique changes happening under the surface in the album's bookends that move way beyond simple ear candy. This shows The Inghams are starting to take risks while still staying true to the original vision for the project.

'Control Voltage Project' is a long running project of Alper Maral & Mert Topel; Alper Maral is one of the most significant sound discoverers around Turkey through auditory and academical researches he has made about experimental electronic music.

Mert Topel is a versatile musician, one of the most important keyboardist for many artists in popular music in Turkey. He has released his first solo album “Serendipity” in 2017.

Control Voltage Project is named after the electric signals which are used for the interactions between various physical sound layers. Recordings of CVP -first album from the duo- was finished in 2005, and released in 2015 on “Müzik Hayvanı” as free download on web.

The album is making its roots through an endless sound pool that created by synthesizers, vocoders and tape recorders such as KORG MS 20, YAMAHA Motif 8, PROPHET 5 and TASCAM MS 16 which have characterized by different styles and times.

The duo’s 12 track album is a complete adventure from abstract
and fragile moments to groovy but spooky sounds.
Control Voltage Project is finally released on vinyl via Müstesna Records.

For the new Arma release Ena explores different, distinct facets of his sound across three productions. “Pale” distills his vision of techno as a minimalist, repetitive construct. Working around non-standard time signatures, he creates a densely woven lattice of percussive pulses, which cut a polyrhythmic path through nightmarish sheets of noise. “Secondary Color” uses a broader palette that opens the Ena sound up to the light,,, “Wired” heads further away from the grid in pursuit of sound design exploration, as a rack of pipes and chambers strike, boom and chime against artful distortion and cavernous reverb. While Ena has historically been hesitant about remixes of his material, he warmed to the idea of long-time Arma friend JASSS reworking “Wired”. Taking the track into her own fiercely individual sound world, she uses the harmonic tonality of the original as a jump-off point for an epic, emotionally forthright chiller loaded with coldwave bombast, trap hats and Silvia’ own voice. Coming from entirely different angles of approach, Ena and JASSS are bound together by their fearless individuality. You can sense the slithers of pre-existing music somewhere in their constructions, but such familiarities are no more than faint echoes of places they passed through on their way to somewhere new.

'This album was created over the course of 2017-2018 and is heavily influenced by descriptions of landscape and environment in the work of authors Shusaku Endo, J.G. Ballard and Cormac McCarthy. Fragments from a land that is a largely silent place. An ancient place. A non-place. A wilderness.'

Artikal Music welcomes Mystic State back to the label with their second release entitled the 'Tomahawk EP'.

More info soooon!

Glad to rescue this authentic lost treasure from music genre. TEMPLEBEAT, Italian group now extinct which moved between EBM and Industrial. The formation created in 1990, is part of the self-named second generation of EBM groups. Originally published on cassette in 1992 by label also Italian, Energeia.

Come and join us on our final journey to the town of Twin Peaks, take a seat at the Roadhouse, grab a drink & witness some of the finest musical performances any dive bar in America has ever seen!

This double LP features tracks by different artists: NIN, Eddie Vedder, The Chromatics, Otis Redding, Lissie and of course Julee Cruise and Angelo Badalamenti. An incredible dive into the musical mind of series creator David Lynch; this really is an incredible document of the artists that visited Twin Peaks during the Limited Event Series.

Once again our release has been mastered by Mike Bozzi at Bernie Grundman Mastering, cut by Bernie Grundman himself with pressing duties being handled by QRP (Quality Record Pressings) in Kansas.

Sounding superb, this is sure to transport you back to your favorite series. You can taste the whiskey and cigarette smoke the minute you drop the needle on the record!

The musical origins of this album comes from an avid fascination with the ocean and its secrets.The idea of how the pressure and darkness of the depths may sound and the unknown mystery attached to the Pacific abyss of the Marianas trench evokes both a calmness and a breathtaking feeling of bottomlessly sinking into the darkness way down deep. ‘Marianergraven’ is AKB’s own take on the ambient genre, with melodies moving slowly, forming a menacingly areal atmosphere, where the soaring laments are able to float freely across the sonic panorama. She utilizes the electronic tonalities from syntheses, loops and effects to create a slowly growing and floating ambient structure, which is both melodic and dissonant combined.
Behind the name AKB resides instrumentalist Anna-Karin Berglund from Gävle, Sweden. The first release under her own name came in April 2016 on the EP Söndagsbarn (via Lamour Records), on which the four tracks carries clear influences from the 70-80's ambient with its space-fragrant, cosmic soundscapes. In 2017 AKB was awarded ‘Best Solo Act’ of the year at the Local Heroes Gala in Gävle, Sweden.

Rhythm Syndicate Records is proud to present their debut vinyl release. Both tracks come from a true veteran of the Drum & Bass scene, and an exclusive release from top level producer Blade. DJ Blade, has a sound that is much sought after amongst headz, and his following has continued to grow steadily over the past few years. His production style is distinctive, and has seen him have various releases on labels including, Good Looking Records, Fokuz Recordings, Soul Deep Recordings, Smooth N Groove, Liquid V, Think Deep, and Flight Pattern, to name a few. Known for producing big anthems, and a prolific unreleased back catalogue die hard fans can only dream of owning, its no surprise that Blade receives continuous heavy support from some of the top Deejays in the game. The song, "China Town Womad", has been supported consistently by scene legend, LTJ Bukem. Now this sought after track is available on a limited vinyl run, so get one while they last!

Not Waving aka Alessio Natalizia is back. His Human Capabilities album was one of the highlights of the label in 2014, so it seems only right to get 4 artists to create their own unique versions for this EP. Starting with Pye Corner Audio, Martin Jenkins solo proto-electronica project has been a growing success since fist putting his cult tape recordings to vinyl. A great live performance at Cafe Oto got the label wanting more and the recent split LP release with Not Waving on Ecstatic Recordings made a remix
inevitible and he does not disappoint. 7 minutes of brooding, slo-mo dub dance s a perfect opening, haunting and searching in equal measure. This is followed by the new project from Valentina Magaletti (Shit & Shine) and Tom Relleen (The Oscillation). Tomaga's recent debut LP Futura Grotesk is a mesh of live expermenation of electronica meets percussive, kosmiche interplay and worth checking. Taking the industrial loops of the original they provide a improvised jam of drums, bass and anything to hand to trip the light fantastic. Perfect. On the flp, we head for the dark corners of a (techno) basement via L/F/D/M's remix of Double Blind. With releases on Optimo Trax and Clan Destine Trax, Richard Smith's project seemed perfect to take
on the industrial dance of the original. Stripping things right back, the core of the track is looped incessantly for maximum intensity before far away melodies bring you back again. Finally, the EP closes with a wonderous remix from drone specialist Abul Mogard. With his recent SchleiBen split series LP on the label, Abul is again at his best, taking the melodic ambience of the original and modulating it in to a brooding and emotional remix that is a perfect marraige of the artists minds.

To celebrate the 30th anniversary of Deep Listening, we offer you the definitive double LP combining the classic, complete original 1989 release with selected tracks from the Deep Listening Band’s 1991 album The Readymade Boomerang. This elegant double LP is packaged in a gatefold sleeve with original and updated recollections from the perfomers, the engineer and a mesostic from John Cage, to which these recordings are inextricably linked.

Recorded in a cistern, this double LP reverberates with brilliant sonic clarity and masterfully improvised performances combining live electronics, vocals, trombone and accordion. Deep Listening is a classic in the fields of improvisation, minimalism, ambient/drone and modern classical. 
Listen with attentiveness, listen while lying down, listen with headphones - as recording engineer Al Swanson entices the listener to become a virtual performer in selecting the many different ways to perceive these phenomenal tracks. Whatever you do, listen deeply.

Dauw welcomes back the California based r beny to the label for his new album “echo’s verse”. It forms the follow-up of his acclaimed “saudade” album (selected as one of the best ambient albums of 2018 by Fact Magazine).

“Echo’s verse” forms no exception on that regard and continues along the same melancholic lines of his previous work. However, whereas the initial albums were much more centred around feelings of loneliness, isolation and solitude, the new album clearly moves away from a sole focus on sad and distressing emotions. “echo’s verse” touches the other side of the spectrum as it is about emotional connections, bonds and not feeling alone in the universe.

* The classic Remix Records label returns with 4 huge remixes of one of its most popular tracks. Six Days, by Jimmy J & Cru-l-t, was a worldwide hardcore anthem at the peak of the rave years, and these remixes showcase a stunning return to form and a wide variety of styles from some of the biggest names in the scene right now. It also includes and exclusive never released mix from Al Storm, from an old rediscovered DAT tape…
Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Lone Delivers The Final Instalment Of His Stunning Ambivert Tools Series.

Started In 2017 Ambivert Tools Gave Lone The Chance To Step Outside The Confines Of Writing Music For An Album And Get Back To The Basics Of Crafting Tunes Primarily For His Intoxicating Dj Sets.

Inspired In No Small Part By The Rich Seam Of House That He's Been Excavating With His Fine Magicwire Imprint Ambivert Tools Parts One To Three Have Been Stacked With Breezy, Rugged House Excursions Full Of His Trademark Atmospheric Melody / Harmony . Each Track Instantly Recognisable As Music That Could Have Only Come From Lone's East London Studio.

This Final Transmission Again Finds Lone In Vintage Form - 'pulsar' Takes Inspiration From Classic Uk Techno And Idm From The Likes Of Stasis And B12. This One Shares Dna With The Rolling Breaks Of 'temples' From Volume Three But Goes Deeper In Search Of That 6am Dancefloor Feeling.
'oedo 808' As The Title Suggests Gets Busy With Some Tight 808 Drum Programming Bringing An Electro Feel To The Mix . The Rude Bassline And Glistening Electronics Only Work To To Tighten It Up Further For The Dancefloor.
'blue Moon Tree' Rounds Things Off In Style Staying True To The Dj Tool Theme Of The Series, A Killer Bassline, Crisp Drums, Spiralling Vocal Sample And Stabs Are All This One Needs To Be A Staple In The Right Dj's Boxes For A Long Time To Come.

After a digital single on Optimo Music Digital Danceforce, Optimo Music welcomes Bergsonist to the main label with a full album. Ridiculously talented and prolific, Bergsonist is one of thee most interesting, thoughtful and important artists of our times.

Bergsonist aka Selwa Abd is a New York–based artist and musician originally from Morocco. She is the founder of Bizaarbazaar, a music platform and publication that publishes podcasts and interviews by DJs and producers from around the world.

Under the guise Bergsonist (derived from Deleuze’s Bergsonism),
she uses a variety of media to investigate social resonance through divergent conceptual aesthetics (minimalism, techno, and music concrete, to name a few). Through her work, she explores notions of identity, memory, and social politics.

In 2017, she started Pick Up The Flow, a resource to promote congregation and exchange between peers. Currently, co-run with Stephen Decker. In 2019, she co-founded 3afak with DJ Sanna, a collective that aims to empower Arab women’s creative vision in
New York.


Words about the album:

Middle Ouest is an ode to my history, present and future self. Like a sonic autobiography, It’s the first body of work that realistically depicts my identity. It’s a statement towards all the people who tried to put me into a box. I’m not a box but a genre-less ocean. I don’t make genres, I just make music I feel making in the moment.

It’s all about capturing the moment in a given time. If the aesthetic happens to be house or techno then it is. But I’m not a techno artist... I’m just a free sonic ‘voyageur’. I make music as i feel the world; it can be dark, jovial, weird… I mirror the feelings into sonic compositions. However, the only variables that never change in this equation are the message and intention.

Derrick & Tonika - Holy Sheep EP is influenced by the mountains of the world and his inhabitants and combines Carpathian motives, deep mantras and meditative wind instruments. Carefully programmed drums and multi-layered bass lanes get deep inside your mind on the dancefloor.

"In 2015, it remains a rare and enchanting thing to hear a piece of convergence culture this effortless; which, after all (...) may be one reason Utakata still sounds so otherworldly." by Pitchfork 8.5 -
"best new reissue" - 25 September 2015.

The 1983 cult classic 'Mariah - Utakata No Hibi' sees it's re-release
for the first time. The long sought after final record on the legendary Better Days label, Utakata No Hibi is the culmination of composer and bandleader Yasuaki Shimizu's early 80's work, often compared to his contemporaries Ryuichi Sakamoto and Haruomi Hosono, as well as experimental new wavers Flying Lizards/David Cunningham, all of whom Shimizu has worked with.

Recognized in Japan for the hit, 'Shinzo No Tobira,' the entire record is a masterful studio production of Japanese folk and pop idioms filtered through a chamber disco, new wave, synth production, sounding more relevant today than upon it's release over 30 years ago.

The packaging features additional artwork from Ira Okudaira, who created the original stunning jacket drawings. It retains the original double 12" 45 rpm play format, and includes a full English translation of the Japanese and Armenian lyrics on the printed inner sleeves.

RIYL: Blood Orange, YMO, Arthur Russell, Julee Cruise.
'PFRLP003' Repressed & Reissued; Limited numbers.

Minimal wave from Greece 1983. Remastered version of a lost & found demo-tape by the band.

Despite working often alone, Savvas Metaxas is someone who rather thinks in terms of community and connectivity, who prefers alliances over ego, who is a sound artist as well as a musical activist.

Coming from Thessaloniki, Greece, he co-founded Granny Records, puts up local shows, worked with the Goethe Institute, did site-specific sound installations in London, collaborates with other experimentalists like Spyros Emmanouilidis and released brilliant albums on fellow tape travellers Coherent States and Falt, among others.

Why is it important for us to write down these trophies/landmarks/selling points? Because Savvas is not at all about trophies/landmarks/selling points, he is about connecting things, and this, in our humble opinion, is one of the most fundamental qualities of experimental music, and experimental art in general. It is about rearranging disparate materials, transcending different layers of reality, speaking without the use of words or clear significants.

On the four tracks of „Transmitter“, he is exploring sound in a classical set-up, experimenting with chance-operational radio frequencies and their impact on harmonic structures extracted from synthesizers.

The result are compositions with a haptic quality, a glimmering, grainy music that is directly effecting the room in which it is played in. So despite its broad frequential range: don’t play this tape too loud, as it really interacts with its surroundings. Hence, the names, or rather name tags of these tracks are mostly devoid of interpretation and are purely descriptive. „Words“ is, easy to suggest, a composition based on a voice talking in greek, while „Stormy And Colourful“ is a specification of what is heard on that piece. These two are framed by „Heterodyne“ and „Paradoxical“ - characterizations of the techniques used in the working process.

The artwork of the tape is a continuation of this work method. Clear structures, using the specially built typeface and the spinning of letters and words to manipulate perception and to obstruct a simplification, reducing the logic of words to a sign language that obliterates meaning and identity, a process which, as Simon Reynolds put it, induces ecstasy.

Experimental German Rock & Electronic Music from 1971-81. This latest instalment in Soul Jazz Records' successful Deutsche Elektronische Musik series delves deeper into the German nation's vaults to bring a fascinating new collection that again brings together a selection of classic German electronic and rock groups, including Neu!, Cluster, Popol Vuh, La Düsseldorf, Agitation Free, alongside a host of rare tracks by lesser known artists which includes Michael Bundt, Bröselmaschine, Dronsz, Achim Reichel and others.

The music of 'Deutsche Elektronische Musik 3' ranges from the introverted pastoralism of Hans Joachim Roedelius and Bröselmaschine, to the angular and futuristic electronic experimentations of Klauss Weiss, Pyrolator, Deuter, Michael Bundt and others, to the proto-punk of La Düsseldorf and the heavy space, progressive and cosmic rock of Missus Beastly, Niagara and Dyzan.

The music on 'Deutsche Elektronische Musik 3' was all recorded in the 1970's up to the early 1980's, at a time when forward-thinking German electronic and rock groups were searching for a new musical identity in order to separate themselves from both the cultural legacy of post-world war two Germany as well the 'cultural imperialism' of USA and UK rock.
In this process German groups created some of the most unique and inspired music, the defining motorik beat alongside a host of ethno-musical influences from far afield - including Turkey, India, Brazil - as well as the musical and futurist possibilities of developments in electronics and technology itself.

"Deutsche Elektronische Musik 3" is released as a heavyweight 3x12", deluxe double CD pack and digital release. The new extensive sleevenotes are by David Stubbs, who is the author of the acclaimed book, 'Future Days: Krautrock and the Building of Modern Germany' (Faber & Faber).

The hugely anticipated second full length album from the incredible Stormzy.

Following the release of Gang Signs and Prayer, his award-winning, platinum-selling debut album, Stormzy may no longer be stepping between the street and the sermon, but he’s still walking between two worlds: that of the celebrity and of the Everyman. His desire to stay grounded is evident; as his career continues to soar, he seems more and more determined to help others reach new heights of their own.

Lovely album from artist and musician Dolphin Midwives (aka Sage Fisher) using harp, voice and electronic processing. It's a controlled and dynamic album that blends the organic with the digital, resulting in a body of work that fuses the tranquility and intense strength of the natural world. Recommended!

The album was recorded in early 2018 by Jason Powers (The Decemberists, Chromatics, Matthew Dear) at Type Foundary, and mastered by Rafael Anton Irisarri at Black Knoll Studio (Alva Noto, Ryuichi Sakamoto).

X-Kalay returns to close out the year and kick off a fresh run of releases with another label debut from UK up and comer, Lewis Taylor aka “LT”.

Releasing his first ever record via Rhythm Section last summer to great success, LT serves up a clinical three tracker for X-Kalay spanning pacey tech, slo-mo drum funk and breaks laden hazey house.

Sure to move fast - don't sleep!

Welcome to Lyla's world. Getting things moving with the five track VA is 'Exile', straight off the mark with a pacey affair from TC80, spiralling you in to a whirlwind, teeing things up perfectly for what is to come. Taking it back with the '1996 Shoots'. Released over twenty years ago on a limited run by legendary producer Ivan Iacobucci, he has dug deep in the archives and remastered for your listening pleasure. Opia regular Audri shows his cards again on the label bringing the 'Acid Rain', definitely packing a punch. The South American B side features tracks from both Omar and Z@p. Intelligently arranged broken drums carry you through 'Techno Victim'. Z@p swings in to round off the EP with a driven dancefloor mover entitled 'Different ways'.

As winter strikes, the summery SFV Acid reappears fully-fledged with some sluggish San Fernando Valley funk and his signature acidic aesthetics. Mostly slow-burning tracks that meander the boulevards, twitchy due the right dose of acid and vocal jabs scattered across. It's always summer in the valley.

Limited edition 2LP on Deutsche Grammophon incl. remixes from Kiasmos, Rødhåd, Alva Noto, Scb, Antigone, Antonio Ruscito etc
Tale Of Us breathe new life into their acclaimed 'Endless' release on Deutsche Grammophon, enlisting a diverse set of remixers to interpret the compositions. The album's celestial atmospherics and classical melodies provide rich source material for the eleven remixers, whose contributions range from serene ambience to barrelling techno. Beginning with Kiasmos' version of 'Notte Senza Fine', Endless Remixes continues with similarly dreamy and delicate house music from Giegling duo Kettenkarussell and Sebastian Mullaert (of Minilogue fame). Highly-regarded acts Monoloc and Antonio Ruscito provide downbeat electronica and there are icy, beatless reworks of 'Destino' and 'Venatori' from Raster-Noton luminary Alva Noto and Antigone respectively. Eerie techno comes from Dystopian artist Rødhåd and Scuba under his SCB alias, whilst Somne and Woo York's remixes are closest to what you might expect to hear in a Tale Of Us DJ set. All in all, a remix collection that lives up to the quality of the 'Endless' album and takes it in fascinating and effective new directions.

Part two of Hivern Discs' Fragments compilation. While compilations tend to look backwards, 'Fragments' is far from being a retrospective. Since its launch in 2008, Hivern Discs has favoured a documentary approach, capturing the most vital and exciting sounds within its orbit at each particular moment. In keeping with the ethos of the label, this extensive compilation, comprising 29 new tracks across six 12?s, offers a panoramic glimpse of Hivern's present and gives indications as to its near future. The artists featured comprise both fresh and familiar faces; some of them have been a foundational presence since the beginning (John Talabot, Pional, Marc Pinol), others are recent acquaintances (Epsilove, Fantastic Man, Inga Mauer, Samo DJ). Together the compilation makes for a snapshot of Hivern's current identity, with a wide array of names and projects connecting the dots between the sounds, moods and ideas that continue to inspire and move the label today. Hivern was born a decade ago as a platform to celebrate a shared sensibility beyond any semblance of categorization. And that's what this collection of music is all about.

zake's first solo album of 2020 will be released by Canadian ambient label, Polar Seas Recordings. There are three physical options. Each LP version transparent blue/green/yellow is limited to 100 units each.

"Carolina was produced during a four day excursion in several secluded areas in Cherokee and Spartanburg counties, S. Carolina. The primary emphasis in each composition is field recordings captured in the quiet hills of rural Chesnee, solemn wooded areas of Gaffney, and hidden creeks in the outskirts of Spartanburg. Carolina is a fitting title to these arrangements as its definition translates to 'song of happiness or joy' from a French origin. These arrangements represent the joy, solitude and reverence I experienced in these beautiful parts of S. Carolina."

LTD. YELLOW VINYL

"Aporia" is a New Age album from Sufjan Stevens and his step-father and record label co-owner, Lowell Brams. In the spirit of the New Age composers who sanded off the edges of their synths' sawtooth waves, "Aporia" approximates a rich soundtrack from an imagined sci-fi epic brimming with moody, hooky, gauzy synthesizer soundscapes. The album may suggest the progeny of a John Carpenter, Wendy Carlos, and Mike Oldfield marriage, but it stands apart from these touchstones and generates a meditative universe all its own. This is no mere curio in the Sufjan Stevens catalog - but a fully realized collaborative musical piece. Stevens and Brams recorded "Aporia" over the course of the last several years during Brams' visits to Stevens' home in New York with the help of several frequent Asthmatic Kitty collaborators, including Thomas Bartlett (Doveman), D.M. Stith, Nick Berry (Dots Will Echo), John Ringhofer (Half-handed Cloud) drummer and longtime collaborator James McAlister, keyboardist and trombonist Steve Moore (Sunn O)))), guitarist Yuuki Matthews (The Shins) and vocalist Cat Martino.

Portuguese artist Armando Mendes makes a huge statement with his debut album 'Parallel Universe', which was written and recorded over two and half years between LA, London and Berlin with legends including Robert Owens,Ithaka from the N.W.A. crew and Defected's Jinadu.

Armando Mendes is one of Portugal's most assured artists. His rich and musical sound is informed by jazz and funk and he has played all over the world from Russia to Australia, all while picking up more than 80,000 monthly plays on Spotify for his music. His tremendous debut album ranges across the electronic music spectrum from downbeat and jazzy to deep house and electronica.

Ithaka is the guest on the album opener 'This Life's All We Got,' which is a lush downbeat song with pensive lyrics. Late night jazz house stylings define 'Things U Do 2 Me' while 'Acid Yardies' looks to the club with its serrated 303s and dub wise drums. Chicago vocal royalty Robert Owens lends his heartfelt and buttery tones to the perfectly deep 'No Regrets' and after an acid and piano ambient fusion on 'MS20 Interlude' there is more rich, spiritual and jazzy house ('Parallel Universe,' ' Khun Pui - Mae Nam' and 'The Melody Inside') as well as more synth laden and electronic grooves to get dance floors moving ('One Night in Bangkok').

The majestic, percussive and colourful 'Tropical Affair' is just that, then things get tender and introspective on the gorgeous 'Electric 88' before a radio edit of the classy pop house that is 'The Melody Inside' feat. Jinadu closes things out in emotional fashion. This is a widescreen musical journey that makes a lasting impact from an artist who is looking set for big things.

18 months after the digital release on Daytoner's 'Shedits 3' EP, "Apache Steet" finally gets pressed to a limited edition 7" wax by Dinked Records/Friday's Funky 45.

This mash of Lou Rawls' tales of tough times with Michael Viner's famous Apache break has proved popular with funk, soul and breaks DJs, holding it's own in Juno Download's Breakbeat Top 10 for a year leading to discerning DJs demanding a vinyl pressing.

On the flip is another Apache fuelled monster, 'Michael's Incredible Twin', this time supplying the Skatalites to breaks DJs having featured on the digital 'Shedits 2' EP back in 2016.

Huma is the personal project of Andrés Satué, half of the duo Esquelas, project in which they released “Inciso” (Ensmble) and more recently “Un pozo lleno de anzuelos” (Bestiarie). He was participant in the RedBull Muisc Academy BassCamp in Madrid 2015. He is also cofounder of Versal and Bicefal.

This is his first EP as Huma. “Las tres fases del movimiento” is based on two ideas, on one hand the three phases of movement of Meyerhold biomechanics, and on the other hand the three phases of movement in bodybuilding. Joining these two ideas he generates a very physical, visceral and emotional journey.

«A visceral and emotion-laden situation that sometimes seems to set in front of the abyss, but the most important thing is that it generates a movement.» —David Gozálvez, Neonized

“… Huma manages to make his music a purely corporeal act: his cuts are like dancers who move in complex and different ways in space. Sometimes they move as if they want to touch the sky … » — Fantastic Plastic

«The intersection between extreme, saturation and depth is what describes this new project of Andrés Satué …» — Frankie Pizá, This Is Underground

* Jennifer Lucy Allan’s Arc Light Editions releases Here, the debut album by little known electronic and tape music composer Ruth Anderson (1928-2019) who died just before she was able to see her first solo release out in the world. Here reinserts Ruth Anderson as a trailblazer in the history of electronic music in the USA, as one of the first women to set up an electronic music studio. Here gathers microtonal electronics, drone and meditative long-form works and a mischievous plunderphonic collage into an album that is playful, meditative and bold in its minimalist approach to sound.
*  Ruth Anderson's work is often stripping back to the basic building blocks of sound, speech, or poetry. In an article written by her partner, the composer Annea Lockwood, Ruth describes her music “evolved from an understanding of sound as energy which affects one’s state of being. These are pieces intended to further wholeness of self and uni- ty with others.”
*  Anderson was born in Montana in 1928, and originally trained as a flautist and composer, studying with Darius Mil- haud and Nadia Boulanger in Paris on Fulbright scholarships, and was the first woman to be admitted to Princeton University Graduate School in the early 1960s. She also worked as an orchestrator for NBC-TV and the Lincoln Cen- ter Theater production of Annie Get Your Gun with Ethel Merman (1966). After joining the faculty of Hunter College, CUNY, in 1966, created its Electronic Music Studio. She was engaged in studies of psychoacoustics, Zen Buddhism, and was a committed teacher. She remained at Hunter teaching composition and music theory until her retirement in 1989. As Louise Gray writes in her sleevenotes to Here: “That it is released now, in 2020, to a musician born in 1928 and who has had an active musical and compositional life, certainly since the 1950s, is a cause for celebration as well as for some dismay.”
*  “Pregnant Dream” is a collaboration with poet May Swenson (whose poem of the same name is reproduced on the inner sleeve). “Points” is constructed from pure sine waves, a veil of microtonal sound intended as a healing piece that generates quiet energy. “So What” hovers in electroacoustic space, and crescendos in oscillations and phasing. The playful proto-plunderphonics of “SUM (State of the Union Message)” is constructed from sounds sampled from TV commercials, made one January while Anderson was waiting for a studio to become free, offers tongue-in-cheek resistance to politics and communication as pertinent today as then. She wrote that her intention with "SUM" became “to say as little, and by omission, as much as the President (Nixon) would in his address.”
*  Side B of Here is taken up entirely with the restful and meditative “I Come Out Of Your Sleep”, constructed from the speech vowels in Louise Bogan’s poem Little Lobelia. It is a deeply calming and mindful piece, intended to be played at low volume. Anderson intended the shape of the vowels to become breathy melodic arcs and tones, which be- comes the core of a stylised meditation. As Gray writes, it is “both intimate – a breathing, gentle entity – and simulta- neously vast – the wind whistling around a mountain, the slow unfolding of something that only an attentive listening will reveal.”
*  Ruth Anderson died on November 29th, 2019, aged 91, just after approving test pressings for Here. She was a Pro- fessor Emeritus of Hunter College, CUNY, where she was the director of the Hunter College Electronic Music Studio from 1968 to 1979, one of the first in the USA to be founded and directed by a woman.
*  Mastered by Giuseppe Ielasi. Arc Light Editions thanks: Ruth Anderson, Annea Lockwood, Giuseppe Ielasi, Louise Gray, Chris Muirhead/DMS, and Carole Berglie at The May Swenson Estate, who kindly gave permission for the re- production of Pregnant Dream by May Swenson.

On Howard Williams' (Japan Blues) trip to play Strelka Bar in Moscow earlier this year, his host, DJ, collector and Strelka tech guru, Sasha Grishin regaled him with some wild and wonderful tapes from the boogie box in his kitchen. On departing, Grishin kindly gave him a couple of unassuming cassettes on Andrey Suchilin's Objective Music label. A refreshing listen they were too, in amongst this improvised music, a sudden detour down a strangely dancefloor avenue, where kick drums hold together a set of free improvising masters of modern Russian jazz. Recorded way back in 1999, appearing for the first time on wax, this session is available, on Williams' earliest and recently revived label, Ethbo.

Palma Mira (Palm of Peace)
Fidgety digital bass, chivvied along by an array of Mikhail Plotnikov and Zukhrab Ali Bukhani's timbales congas, and kick drum, smothered by an intrusion of organic / industrial grind. Then those pads seep in, ushering a cosmic, bitterwseet optimism, a classical tidal wave, Sergey Letov's sublime saxophone goose riding it. Andrey Suchilin and Aleksander Pillayev's guitars pastiche a funk scratch, and mutate into a speaker-cone tearing distortion, blurring the lines between minimal hard rock and jazz improvisation, bristling with harmonics, threatening to descend into a mass of feedback at any given moment. And we're only half way in. The two axes grapple with the sax, while the proto-acid bassline re-affirms its supremacy, the melange bringing to mind the universes of Pepe Bradock.

In a world full of copycat digitised mouthwash, here was a gaggle of seasoned improvisers, convening in a good old fashioned rinse out. And somewhere in that running riot is Andrey Panov's sampled tuba (Panov is a legendary punk musician, leader of Automatic Satisfactors.)

Finale is a more sedate(d) affair, with a hint of early Wally Badarou, the downbeat quasi-tribal rhythms of Ivan Sokolovsky and Mikhail Plotnikov sounding like plucked cello. A watery cellulose groove, the background for breathy flute, Letov once more providing a sublime melancholic riff, leading to Suchilin's distorted steel pickups, as if Santana acid-jammed with the Butthole Surfers, or to Johnny Hawksworth's theme to Roobarb & Custard, turned up beyond 11. Letov's sax sings its free lament, underpinned by submerged cathedral keys.

Andrey Suchilin was considered a rock pioneer in the days of the Soviet Union. Among other bands, he was a member of Do Mazhor (C-Major) producing an odd blend of jazz, rock and avant garde music. The band released one album for Melodiya, in the last days of the state owned record label. He was a founder of the Moscow Rock Laboratory, set up under the supervision of Moscow’s Communist Party headquarters. They held a rock festival, during the changes that led to the USSR breaking up. Punk, rock and jazz groups, blacklisted by the authorities only a year earlier, began to play without restrictions.
Sergey Letov is an avant-garde soprano, tenor sax, flute player, and composer. He has appeared in numerous Russian bands and collectives, including The Moscow Composers Orchestra, Russian punk outfit DK, winds ensemble TRI-O, and in the Arkhangelsk collective - a symbol of the transformation of the soviet reality that took place in the provinces rather than the more sophisticated cities. He has played with electronic artists, rock bands, in improvisation, theatre, cinema, dance, art, and regularly lectures.

LOSS004:
For release number four Soul Intent comes up with something truly special.......

The Fruit Club is a big nod back to the famous 'Fruit Club' event that was held at The Brunel Rooms in Swindon throughout the 90s. This is where Soul Intent first heard dnb as it should be via underground hero's like Doc Scott, Kemistry & Storm, and DJ Lee. Infact even the label artwork has been designed around their old flyers (big up to DJ Faydz & Stephen Reid for permission to use the Fruit Club logo).

The track itself features all the elements of those classic mid 90s tracks along with production and arrangement straight out of 2015. On hearing Soul Intent drop it as his first tune Dillinja hunted Alex down and asked for the tune, which he smashed in every set through out his busy 2014 festival season. Dropping the track at Outlook both Doc Scott and Xtra ran up to the DJ booth asking Dillinja what the track was. They both have since championed the track and helped it become one of the hottest dubplates of 2014.

Would Have Loved You has been getting a lot of interest from DJ's and clubbers alike. Janette Thompson's beautiful vocals (written herself) ride over a tough break and sinister distorted bassline. A fine example of Soul Intents love of combining rough with smooth fused with that classic 90s headz vibe.

Rude Raver is a out and out dancefloor roller. Packed with samples from the early hardcore era where labels like Reinforced owed the UK underground rave scene. A distinctive synth riff, ragga vocals and a fast paced break make this a sure fire killer in the club. A Straight up club track, and we're not ashamed to say so

Sunwatchers are a New York-based ensemble (featuring current & former members of NYMPH, Dark Meat, Chris Forsyth's Solar Motel Band & Arthur Doyle's New Quiet Screamers) that blur the lines between avant-jazz, punk, psychedelia, Ethio-jazz and desert blues, creating joyous, chaotic, mystical elegies to modern sound. Their eponymous 2016 album was released on Castle Face Records in 2016, followed by their Trouble In Mind debut, "II" in 2018, and their third album "Illegal Moves" in 2019. Despite (perhaps) being the band's most accessible & melodic work to date, New York quartet Sunwatchers` fourth album arrives in a flurry of notes with the buzzing hum of Sunwatchers vs. Tooth Decay"; the title referencing a 1976 album featuring athlete and activist Muhammad Ali. A cheeky nod to be sure, but laced with the utmost reverence. This attitude sums up Sunwatchers' aesthetic in a nutshell; the acknowledgement (typically via the band's irreverent song titles or album art) that the things in life we should take seriously are better faced and understood when disarmed by a wink or nudge. The band may cloak their fiery activism in a jester 's outfit, but it does nothing to dull the force of their attack. The one-two punch of "Love Paste" & "Brown Ice" hits next, with the former 's tender opening melody punctuated by exuberant "WOO!"s while the latter launches into an urgent, stuttering march that utilizes an effective musical wind-up and release, ratcheting up a ferocious intensity across its near six minute runtime. "Thee Worm Store" closes out the first side, beginning with a lumbering synth growl, until it picks up speed and ends as a frantic noisy free-for-all. Side two strides forth with "The Conch", an obvious `Lord of The Flies' reference, and a delicious subversion of the idea of a "hero's anthem" weighted down by the trappings of tribalism. The album's showstopper however is "The Earthsized Thumb", the near twenty-minute closing track. Guitarist Jim McHugh lays down a hypnotic Saharan guitar melody as the rest of the band ushers themselves in one by one over the tune's distinct musical movements, a cosmic "Quick One" for all the heads perhaps? The album's title "Oh Yeah?" is at once an homage to Mingus, Thee Oh Sees' album "Help" (whose Brigid Dawson hand-sewed the tapestry adorning the album's front cover), and (naturally) the rallying cry of oolBrave himself - the Kool-Aid Man-as-Braveheart avatar the band adopted as their symbol.

'WRWTFWW Records' is insanely excited to announce the first ever vinyl release of Tom Raybould’s award-winning movie soundtrack for excellent AI-themed sci-fi thriller The Machine (2013). The limited edition LP boasts 16 superb tracks and is housed in a special glow in the dark sleeve.

"Tom Raybould’s Music For The Machine Is Amazing" - Bloody Disgusting.

Undoubtedly one of the greatest (and most overlooked) movie scores of the 2010's, The Machine finds its influences in the works of John Carpenter, Vangelis, Brad Fiedel, and Tangerine Dream, but presents its own unique twist, one that cleverly evokes the thin line between man and machine that haunts the whole film.

Cold and tenacious rhythms suggest mechanical killer instincts, brooding synths crystallize the fear of an AI-controlled future, but the warm and gentle sounds of guitar and piano ease the tension and bring hope of humanity. From its menacing introduction to it's tender ending, Tom Raybould’s masterwork ingenuously blends ambient, electronic, neoclassical, and synthwave to recontextualize and upgrade the classic 80's sci-fi movie score template, holding it's own against mammoth soundtracks like Blade Runner or The Terminator. Truly.

Cold with a touch of humanity like the perfect machine, Tom Raybould’s movie score won the BAFTA Cymru award for Best Original Music in 2013.

777 returns with its second remix EP expanding the affairs from house to jungle by four special guests!

What are the bounded limits of sense? How is it we come to know the world and moreover how is it that we share that experience collectively? Where are the points of mutual understanding and how can we approach the spectral aspects of our sensing of the world?
It’s these questions that have shaped the approaches used by Werner Dafeldecker on his first fully fledged electro-acoustic outing. Parallel Darks charts out a divergent, yet relational sound field that reflects an intensity of practice that Dafeldecker has cultivated over the better part of three decades.
Concerning himself with sounds that often lie at the periphery of our listening, Parallel Darks layers dense spatial textures into a tightly woven sonic fabric. Calling on materials collected through field recordings, analog synthesis and through his extended instrumental techniques, Dafeldecker seamlessly draws together
these sources, creating an at times blurry harmony between elements that might otherwise appear incongruous or in contest.
The sound world Dafeldecker creates is one that is simultaneously musical and profoundly abstract. As potential elements of harmony emerge, they are pulled away through various dynamic interjections, which the draw the focus of the ears. Even in the moments where the sound world settles, micro shifts and submerged densities call the listener deeper again. There is no one singular plateau of sound, rather a constant deepening, a beautiful abyss of spectacular pressure and vital acoustic darkness.
Recorded across 2018 and 2019, each of the editions two pieces dwell on sounds’ capacity to be a spectre.
Parallel Darks uses sounds at the very threshold of perception that suggest uneasy acoustic spaces and haunted zones within which the rules of listening in the everyday must be abandoned. In these zones, Dafeldecker carefully crafts hidden sonic relations that call for an intensity of listenership. He rewards us for our auditory efforts with a music of profound detail, subtlety and exquisite beauty.
“It compares music and reality. The music functions like an observer: the music observes reality. And it is precisely the limits of this approach that make us realize something about the observation instrument.
The music, the culturally created, thus becomes a metaphor for perception. A perception that can in no way do justice to what has been perceived, and in this failure can tell us all the more about the limits of our perception and about the process of creating reality in perception.” — Peter Ablinger

zake's first solo album of 2020 will be released by Canadian ambient label, Polar Seas Recordings. There are three physical options. Each LP version transparent blue/green/yellow is limited to 100 units each.

"Carolina was produced during a four day excursion in several secluded areas in Cherokee and Spartanburg counties, S. Carolina. The primary emphasis in each composition is field recordings captured in the quiet hills of rural Chesnee, solemn wooded areas of Gaffney, and hidden creeks in the outskirts of Spartanburg. Carolina is a fitting title to these arrangements as its definition translates to 'song of happiness or joy' from a French origin. These arrangements represent the joy, solitude and reverence I experienced in these beautiful parts of S. Carolina."

zake's first solo album of 2020 will be released by Canadian ambient label, Polar Seas Recordings. There are three physical options. Each LP version transparent blue/green/yellow is limited to 100 units each.

"Carolina was produced during a four day excursion in several secluded areas in Cherokee and Spartanburg counties, S. Carolina. The primary emphasis in each composition is field recordings captured in the quiet hills of rural Chesnee, solemn wooded areas of Gaffney, and hidden creeks in the outskirts of Spartanburg. Carolina is a fitting title to these arrangements as its definition translates to 'song of happiness or joy' from a French origin. These arrangements represent the joy, solitude and reverence I experienced in these beautiful parts of S. Carolina."

It’s been a year since the Adana Twins conceived their label TAU. In that time they have successfully signed and released a slew of tracks that have captured the imaginations of influential selectors and dancefloor lovers alike. To celebrate their first anniversary, and all the success it has brought them, the Adana Twins take charge of their label’s 10th release with a three-tracker full of high quality, melodic electronica aimed straight at the floor. Kicking off with D.J.A.M.H. the duo get straight into it with a stirring analogue bassline that pulsates with dark intent. Gentle pads envelop the low end, counteracting the darkness with a lighter atmosphere. An extended breakdown, punctuated by Ridoutt’s spoken word vocal ushers in the dramatic main body of the track. The bass is modulated and warped, the pads become eerie and drum rolls heighten the tension. A second breakdown pushes the energy levels higher as a contagious melody joins the fray and we’re transported out of our bodies into an unknown realm. Next up is ‘Maya’, which hits hard from the outset with its jabbing beats. A wistful, melancholy melody sweeps across the chunky drum patterns, touching our hearts with its sorrowful tune. The main riff comes in after a couple of minutes, adding more emotion to the sombre narrative. This is a cut that will move the dancefloor physically and emotionally, encouraging contemplation and perhaps some nostalgia. Lastly, ‘Spaceman’ turns things gnarly with its grumbling b-line and slapfunk beats. As per usual the Adana Twins create a magical melody that prances above the low end enchanting the listener and whisking them away to a dreamland. Meanwhile the snarling bass maintains its belligerent flow, advancing with malicious intent. A kooky breakdown lightens the mood before we’re immersed in another wonderful blend of rugged bass and playful melody. Clearly in celebratory mood, the Twins deliver an outstanding EP as they hit TAU’s first anniversary. A fitting release for a label that is going from
strength to strength.

Smell the perfume of the Mediterranean coast with the brand new project born by the minds of Don Carlos, Cosmic Garden & Rhythm Of Paradise.

Invisible Island is a fitting title for an album that seems to exist in a place quietly removed from the problems of the world. It's playful and imaginative, living in a soundscape filled with exotic fruits that fall from invisible trees. The record feels like a continuance from her album Minor Planet (2016) that shines through as an ethereal fog.

Although the pieces on the album mostly centre around the piano - played in a soft, minimal way - it's the way they are presented that creates the personality that defines Invisible Island. The keys are coated in sound experimentations, perfectly accompanied by layers of synthesizers. It's a dreamy album that seems to emanate from a fantasy full of warmth, channeling both classic Japanese ambient music and a more modern electro-acoustic sound. Midori has a special sense of creating touching, melancholic pieces that float on the borders. As someone who grew up in the outskirts of Kyoto for then to later move to Berlin, one can sense the influences of both places - without ever settling down on either.

Midori's Invisible Island is a safe place. Though it's one full of life and colours : birds, animals, wind and waves, fond memories of lost or unknown places and people that exist only in the hidden edges of this album. This especially comes to light for the albums centrepiece, the beautiful Belong, featuring Christoph Berg on violin. It's as if the protagonist - after roaming around the island for a long period, lost in its intrigue - finally finds what he/she has been searching for. A few tracks later the album ends on the title track, an uplifting ending that seems somehow unreal once the album stops and we ́re back to reality. Though the piano seems to keep performing in ones head with its repeating chorus and slowly drowning theme. An album of true visible beauty.

'Renée van Trier' is a transdisciplinary artist that mourns the loss of the comfort of disconnected life. Her songs will soothe our anxieties, heal our torments and make us smile for weeks. The fifth CAF? release is skipping between genres such as songwriting, punk, breakcore, jungle, hardcore, and parody.

Repress

Some proper break beat rave tracks. Including a Rivet remix.

With a previous release on Hokkaido Dance Club, the infamous "Soul Mass Transit System" is back with another fire EP, this time for the Rhythm 'N' Vibe faithfull.

Underground garage music.

Employing a toolkit of cutting-edge DSP, Swarm Intelligence reimagines classic rave frameworks for dancefloors of the future. "Ultraware" traces a path through electro, big beat, jungle and acid - optimising and reconstructing until only fragmented traces remain. Following up from his widely acclaimed "Against the Dying Light" album, this EP marks a new shift in the ever-evolving Swarm Intelligence sound. A relentless explorer of audio technology, here he utilizes spectral processing alongside convolution and granular synthesis to craft a gritty sonic repository for the four tracks. Even in moments when the sequences disintegrate into chaos before reassembling into a coherent form, there is never a feeling that Swarm Intelligence is not in full control - this is an artist who thrives on complexity.

Lexachast is an ongoing collaborative work by Amnesia Scanner, Bill Kouligas & Harm van den Dorpel. Initially birthed as a joint, improvised performance between Amnesia Scanner and Kouligas at the ICA, London in 2015, it was later recreated and extended
with visual artist van den Dorpel into a 15-minute online-only audiovisual work – known simply as Lexachast.

Since then, it has expanded into a live show that has been performed at Transmediale, CTM Festival, Unsound Krakow & Adelaide, Next and LEV Festival and during Paris Fashion Week in collaboration with the brand Ottolinger. Now to be released on PAN, is a new document of Lexachast in its current, full-grown form.

Whilst broadly inspired by the experience derived from and exposure to algorithmic patterns as generated by visual artist Harm van den Dorpel’s specially-devised program, the work is a sonic reference to the fallouts of avant-EDM and cyberdrone.

This in turn is simultaneously mirrored by the perturbing visuals, created by a unique algorithm that sources and blends various
filtered imagery from DeviantArt and Flickr in real time – with a bias towards the NSFW, extreme banality, and ornamental melancholia.

The results were a perfect fit for the deliberate intention of non-intent, an anti-video of sorts, which ended up as a defining element for the project.

Deriving from the acclaimed performance and exhibition — staged by Anne Imhof at the 57th International Art Exhibition of La Biennale di Venezia and awarded the Golden Lion for Best National Participation— the album Faust is part documentation and part elaboration, the sonic capture and extrapolation of the gestures, intensities, and durations of the live event.

Serving as the dramatic backbone of a several-hour long performance seen by thousands over the course of the Biennial, the soundtrack was a product of the collective and its individuals, animating and organising the performers while immersing the audience in the potent images of power and paradise.

The music for Faust was written in a band-like process by Imhof and her close collaborators Billy Bultheel, Eliza Douglas, and Franziska Aigner during the months leading up to it's premiere at the opening of the German Pavilion in Venice. From the chaos of the performative, the album is constructed out of live recordings and original arrangements, teasing out the most potent strands and weaving them into a new composition of brutal feeling and baroque intricacy,
each track a testament to the energy that brought it into being.

Faust is anchored around three pieces — Medusa’s Song, O.W.E.N., and Queen Song — written and sung by performers Eliza Douglas and Franziska Aigner, whosesonorous and elegiac voices imbue the work as a whole with their crushing depths and dolorous moods. Between these urgent vocal interventions march and twist the winding fugues and electronic abstractions of Billy Bultheel, who has dismantled and reassembled the sonic landscapes of the pavilion, crafting new
arrangements that couple the forcefulness of the physical encounter with the artifice of the studio.

Throughout the album and culminating in its closing act — the brutal chorus of Douglas’ Faust’s Last Song, a pulsing canon of looped and layered voice pierced by black metal screams.Faust is the record of a lost event and the promise of a new creation. The release of Faust illustrates the centrality of music to Imhof’s artistic practice. Her musical collaborations with Bultheel began in 2013, and this generative constellation expanded to include the contributions of Douglas and Aigner, together scoring Imhof’s Angst (2016) and recently her performance trilogy Sex (2019).

Singing bowls, bronze bells and gongs resonate through the mindful layers of Japanese percussionist and ambient producer Kazuya Nagaya's music. In Zen Buddhism, bells are believed to wash away the cares of the mortal world, as the listener follows the resonance of the bell into the silence and stillness within all beings. It is a penetration into the depths of one's self.
Nagaya's music is rooted in Buddhist (Zenzhu) philosophy and sensibilities unique to Japan. Concurrently, his work and interests are also contemporary and traverse a broad spectrum of cultures.

coloured vinyl / incl. dl code

Machinedrum and Holly team up for the next output on Vision Recordings.

Pressed on pink marbled vinyl and comes in a full colour printed inner- and outer sleeve. Download code included.

Following Not Waving’s stellar recent recordings with Jim O’Rourke , Colin Potter & Jay Glass Dubs, ‘Downwelling’ finds him in a striking Pas de deux with alt. rock god Mark Lanegan (Screaming Trees, QOTSA). It’s one of those rare link-ups that truly transcends the sum of it's parts, with Not Waving’s rolling range of nuanced electronics acting as backdrops for Lanegan’s smoky barritone storytelling.

Delivered in a husky but pliable voice that has come to define the American alternative rock scene since the early ‘90s, Lanegan inhabits the songs with a reserved presence that has served him well for decades, but which has never been heard in quite this context.

Pairing music recorded by Natalizia between London, Italy, and Paris over the past five years, with vocals recorded by Lanegan in LA, the duo arrive at dreamy non-place that’s not defined by geography or time. Instead the album offers a timeless insight into human behaviour, as reflected in the sleeve art details from the ‘Lights of Canopus’, a Persian version of the ancient Indian book of animal fables, the ‘Panchatantra.’

Thanks to Lanegan’s classically dusty tone - famously described
as being “scratchy as a three day beard yet as supple as moccasin leather” - and the breadth of Not Waving’s production, the results draw listeners deep into the artists’ shared plane of world-weary
but quietly hopeful conception, emphasising the power of closeness and empathy.

Their songs come on like waves lapping a shore that’s ever-shifting, ever the same. This cycle is epitomised on the opener, ’Signifying The End’ with Lanegan’s raspy tone met by honeyed synths, before scaling the nocturnal heights of ‘City Of Sin’ and coolly channeling Suicide in ‘Burn Out Babylon.’ The waters calm again for ‘Persimmon Tree’ suitably set to harp-like arps, while the deathly croon and impending throb of ‘Murder In Fugue’ comes to rest in the serene resolution of ‘The Broken Man’ in a manner that’s entirely modernist but speaks to eons of human emotion.

Echoing everything from latter-days Scott Walker to David Sylvian at his most strung out, and even the odd energy of Moebius, Conny Plank & Mayo Thompson’s ‘Ludwig’s Law’ album, or the arcane
creak of John Duncan’s ‘Bitter Earth’, Natalizia & Lanegan’s efforts will surely realign listeners presumptions of both artists and place them in a category all of their own.

Ghost Box is very proud to present a new EP by Paul Weller. The eclecticism of his career goes without saying and in Ghost Box Weller finds the perfect home to explore his interest in experimental tape music and early electronics.

The four tracks here though are more than just experiments. Tape manipulation, field recordings and instrumental passages are artfully arranged to create a gently uncanny and psychedelic atmosphere.

During the final piece Rejoice the abstraction starts to resolve into a more conventional and joyful group sound. No sooner has the melody taken shape when it suddenly collapses, deepening the magic and mystery of the whole work.

In part this is musique concrète in the tradition of Pierre Schaeffer. The “sonic art” of Trevor Wishart being perhaps a closer parallel. Unlike the mid-century pioneers of avant garde music, Weller introduces subtle melodic elements and ghostly fragments of song. Pianos drift in from next-door rooms with an atmosphere not unlike the work of Virginia Astley. The resulting impression is melancholy and reflective with a dreamlike sense of loss.

Darkside Kuduro continuum styles from Lisbon’s PML Beatz, racking up the heaviest Angolan-Portuguese gear this side of Nazar on their debut for Príncipe Lobbed from their respective bases in Lisbon and Luxembourg (one of the countries Portuguese have traditionally sought a better life), the three tracks of ‘Pedra de 800 Kg’ hustle a strong introduction to siblings Lisandro and Ivan aka PML Beatz.

Drawing on a shared Cape Verdean and Angolan heritage, the duo started producing in their early teens back in 2010, but got distracted, as teenagers are prone to do, before returning to the software circa 2017 with a little help from their their former neighbour and mentor, DJ BeBeDeRa - whose grinding tarraxhos have been issued on 7” by Promesses - to finally produce this killer trio of club workouts.

Hypnotic and hard in a signature Príncipe style that firmly resonates with SA Gqom, strains of syncopated UK Bass and mutations seeping out of all corners of the internet, the EP kicks off with a mesmerising mix of New Beat-esque choral drones with synthetic Berimbau-like riffs and flinty rhythm in No Cubau’, before ‘Manganza’ doubles down the darkness with murderous bass drones and distorted drops recalling Durban taxi techno vibes, and ‘Pedra de 800 Kg’ - so titled after their father’s motivational expression “That’s easier to lift than a 500 Kg rock” - recklessly pushes the dance to a steely, uptempo frenzy.

From crossover success to being pillars of the drum & bass community, both René LaVice and duo Future Cut have histories which highlight the genres diversity. Whilst René LaVice has spent over two years on the Radio 1 airwaves, showcasing the very best tracks from throughout the global scene, Future Cut have several UK #1s, alongside helping the growth of drum & bass within Manchester’s pivotal growth during the 90's.

Now together they unleash a new three-track release on imperative platform Metalheadz, an imprint which has already played host to Future Cut and one which will soon be seeing its first delivery from René LaVice. Spearheaded by Goldie, it's heritage is undeniable, and it’s become a lasting part of UK dance music culture, stretching it's influence throughout the world.

Rolling breaks and growling bass layers characterise the opening track ‘Nine Strings’. Meanwhile, ‘Eyes’ looks at contemporary trends through a new light alongside drum heavy sequences. Aptly named ‘Deeandbee’ then draws the release to a close, amongst searing synthesis and pounds of sub bass following its first breakdown.

Each track pulls together another massive signing from Metalheadz; together René LaVice and Future Cut add three more tracks to the label’s antique collection.

Operating with unwavering musical dedication, St. Louis' Dub Sector imprint readies their next pressure volley with none other than Rumble on the controls. Also known through his prolific mastering efforts for various quality labels and artists, the London-based producer and engineer has been wreaking considerable havoc with his original productions - yielding support from the likes of Egoless in the process. A signature style that's gravitating towards industrial and experimental inclinations, authentically being paired with original sound system music flavours from his past single on the Dub Sector Compilation. Now really stepping into the limelight with a whopping amount of five heavyweight cuts (supported by The Widdler, Hebbe and Youngsta), it is safe to advise for you to get ready for Rumble’s first major breakthrough.

Unshrouded in mystery: what once started as an anonymous underground project with stamped white labels and a clever take on sampling, has since then unfolded to be one of the longest-running and most successful teams in current dance music. Nurtured by the sounds of the past and blessed with the techniques of today, the music of Tiger & Woods always kept evolving in and around the tropes of disco, house and boogie. Classic dance music, if you will.

Celebrating the 10th anniversary this year, Marco Passarani and Valerio Delphi managed to arrive at album number three. A.O.D. is a pun on A.O.R. (adult oriented rock) and a play on their own sound. Defying the restricting rules electronic music record shop crates, it's a departure and an arrival at the same time. Inspired by the faded buildings and images of discotheques on the Italian countryside, the romantic start and bittersweet endings of summer, beach life and the excitement of travelling through the landscape to get to aforementioned temples of dance and subsequently the morning after.

Except for the 100% sample-free 1:00 am, everything on A.O.D. is based on a quiver of cleared samples from the Roman institution that is Claudio Donato and his Full Time and Goodymusic emporium. In Tiger & Woods hometown Rome, the often very electronic and futuristic sound of Italo Disco had a different twist. Much more boogie-based and influenced by the song-writing styles of New York City's dance scene, it played in a league of its own. Tiger & Woods use these materials to take them apart, out of context and into contrasting areas. Molding something completely new, one gets fooled to recognize Sade songs that aren't, pop music instrumentals and a reprise of memories that never existed. A ride through ones brain in a convertible with an Italian FM radio station playing in the background. Or to use less stiff poetry: a chill out album you can dance to or a dance album you can chill out to. Adult Oriented Dance.

‘’The Duel’’ is a sonic portrayal of the process of one coming to terms with a loss of a loved one. Each musical piece paints the emotions of such a processes. The ‘’Intro’’ shocks at a realisation of such a loss and immediate denial, which is portrayed by visceral and tightly searing sounds. Its questionable tone and thin layers of frequencies symbolise one’s own questioning for the reasons of such loss and the thin layer of security one feels without the presence of its loved one. The second track promotes the idea that denial cannot be continued due to the anger and self-blame within oneself as envisioned with deeper frequencies and more foreboding synthesizer soundscapes. ‘’Transition’’ lifts up the atmosphere by suggesting false hope of one somehow able to put off or delay the ordeal completely while ‘’Depression’’ hits back with heavier sounds confirming the reality of one’s loss of a loved one and subsequent quieting of the soul that follows the departure of a loved one.

The silence of the last pieces promote the space to think and feel in-depth which gradually evokes the feeling of acceptance of one’s loss. The sense of time limitations and realities of impermanence vibrate through in and out the release, forcing one dealing with such a loss to fight and duel oneself until a transformation pushes one to accept the loss, realise matters of life further and enrich one’s life by embracing life while it’s here and appreciating the life of others who are and were here for one another.

The third installment in our Dubwise Revolution series comes courtesy of Dubbing Sun. Vinyl only, strictly limited to 400 pcs, no digital, no repress!

Repress

The debut EP on Council Work from label owners Frankel & Harper. The Trimmers EP contains 2 originals, the first in the form of "LHR.AMS", a heavyweight slice of UKG with strong influences taken from the European house scene and also their drum n bass background. "Trimmers" is a raw dub and jungle infused cut with a sub layer guaranteed to shake speakers stacks. INSTINCT joins for a remix and switches things up by adding a catchy vocal which definitely passes the old grey whistle test.

Part one of Hivern Discs' Fragments compilation. While compilations tend to look backwards, 'Fragments' is far from being a retrospective. Since its launch in 2008, Hivern Discs has favoured a documentary approach, capturing the most vital and exciting sounds within its orbit at each particular moment. In keeping with the ethos of the label, this extensive compilation, comprising 29 new tracks across six 12?s, offers a panoramic glimpse of Hivern's present and gives indications as to its near future. The artists featured comprise both fresh and familiar faces; some of them have been a foundational presence since the beginning (John Talabot, Pional, Marc Pinol), others are recent acquaintances (Epsilove, Fantastic Man, Inga Mauer, Samo DJ). Together the compilation makes for a snapshot of Hivern's current identity, with a wide array of names and projects connecting the dots between the sounds, moods and ideas that continue to inspire and move the label today. Hivern was born a decade ago as a platform to celebrate a shared sensibility beyond any semblance of categorization. And that's what this collection of music is all about.

Though known as a touring and recording musician associated with Nine Inch Nails, Alessandro Cortini has really come into his own via his Forse trilogy, and his 2014 Hospital Productions debut, Sonno. For his Hospital follow-up, he maintains the grittiness and intimacy introduced on his debut, but expands on it, offering a wider spectrum of emotion and depth. Like Sonno, Risveglio was written and recorded while on tour. The drive to create intimate works during late-night downtime reveal Cortini to be committed to personal vision beyond the call of duty. While Sonno was created using only a 202 and delay, Risveglio adds a TB303, synced to the 202. In his own words, 'The 303 can be such a haunting instrument used in a certain way, and I felt it completely fit the mood of the previous work I have done on the 202, especially when given a specific location in space....it's such a living instrument.' The addition of TR606 gives one of the pieces a rhythmic pulse that separates it from the preceding synthscapes and renders Risveglioaltogether a more dynamic affair than Sonno. With Risveglio Cortini emphasizes the imperfections and visceral textures of electronics absent from so much contemporary solo synthesizer music. He carves out a similar space to that formed by Kevin Drumm's releases for the same label in the worlds of Drone and Noise by finding the emotional and, ultimately, human voice within synthesis.

Dutch producers Mindmapper & Fre4knc team up to deliver the 'Martial Manners' EP in celebration of Translation Recordings' tenth vinyl release, which comes on a visually stunning piece of crystal & transparent white vinyl! Up first is 'Collessius,' whose heavy-rolling bassline rushes in with the
force of a tsunami, leaving a wake of dancefloor destruction in its path. 'Shutter Angel' is a futuristic track where tight, snappy breakbeats slingshot back and forth between an electrifying bassline that surges across the airwaves like a beam of focused energy. Mindmapper & Fre4knc
delve into darker territories on 'Fenryr,' whose gritty atmospherics and subterranean low
frequencies deliver a unique and immersive listening experience. They close the EP on a deep, meditative note with 'Mind of Steel' (digital only) where drum edits slice through growling bass riffs with blade-like precision. The 'Martial Manners' EP strikes the perfect balance between dancefloor and experimental to carry on Translation Recordings' ongoing mission to bridge audiences with quality music that can be enjoyed in all listening environments.
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Translation Recordings is proud to unveil its summer 2012 project capturing all moods sublime with the 'Universal Grooves LP'. A limited press on transparent blue vinyl, this special edition 12inch showcases a diverse sampling of Translation's full album that will not disappoint. The A-side brings the thunder showcasing the heavy hitting, rolling and dubby sounds of Loxy and Resound's 'Civil War' and Theory's calculated genius behind the ragga and amen tear-out, 'Final Confrontation.' Flip to a switch in vibe as DBR

Stellar full-length album selection of archival material from Tim Jackiw ranging from timeless late night techno and deep space soundtracks through to electronic jazz and ambient atmospheres. All music sequenced and recorded in Tim's Adelaide-based bedroom studio between 1995 to 1997 using an Amiga 500 interfaced to various analog synthesizers, drum machines and samplers. Limited colour vinyl double pack - big tip!

‘R U Happy’… A simple question. But is there a simple answer? Allow Guti and Tripmastaz to look you dead in the eye and find out once and for all.

Their first ever collaboration – conjured in a rare real life, real time, real vibe collabo scenario in Tripmastaz Moscow studio – this fact alone should be a reason for happiness. The music seals the
deal furthermore; a bubbling analogue bass, relentless jacking beats, filters set to their juiciest coordinates and that insistent loopy vocal sample, there are some serious strong tones of Chicago in the blend. The sharpness of early Trax, the fatness of early Classic and that rolling vibe that captures
the essence of house like no other city.
If your happiness status relies on more of a French lift then allow D’Julz to take your hand with his remix. Still just as jacking, but with a little more beef in the bass, more dynamic strip-backs and several new layers of funk-riddled filters, if you’re not happy by the time this kicks in, you need to consider some of your lifestyle choices.

With the Pets guys and Guti both fresh from big album excursions and Tripmastaz enjoying a rich vein of form on the likes of Tatouffe, Bass Culture and No 19 already this year, all parties are kicking with vitality on this one. Are you happy? We certainly are…

A Credible Eye Witness teams up with enigmatic Ghost Ride to create a new aesthetic and musical identity to his ACEW project. Loud yet energetic "Stellar Tunes" introduces four dancefloor electro cuts characterized by European noir tones and US funk sororities. From the Detroitish influences of opener "Sound Odyssey" to the ultimate 90's groove of synth pop 'Political Collapse', passing through the cosmic analog style of emotional "Purple Sky" or the hammering vibes of psychedelic "Obsidian", the 12' brilliantly combines acid abstract sounds, experimental and structural elements that underline the mastery of Emilio Urbano in developing original and intricate electro music. 'Stellar Tunes' sees the Italian moving on a bit from his first productions to explorate funkier landscapes. Expect nothing but electro at its finest!

The drum and bass chart-topping artist, CURRENT VALUE, whose tunes are often a staple of Aphex Twin’s performances, returns to METHLAB RECORDINGS with his SENEX LP, which features twenty one of his most technical and innovative sonic works on the
ike-minded label.

A twin release with it's more upfront & riotous cousin PUER delivered via Souped Up Recordings, SENEX displays its half of the CURRENT VALUE sound with an expansive array of sonic sequences marked by their forward thinking sonic character and the singular timbres for which CURRENT VALUE is known.

Early in the album’s span come the glittering arpeggios of MEGACITY, which filter downwards above the bassline pursuit that plays out beneath their fluttering rays. Further in, DISMANTLE deconstructs a set of classic rhythms before reshaping them within the milieu of it's hazy pads under the pressure of it's mechanical low frequency generator.

An elysian piano melody wafts through the opening percussion of FRIENDLY TAKEOVER and therein masks the brutalist companion frequencies that await within the track’s second section.

ACCESS POINT surges within a stream of bitcrushed binary at the albums third quarter, and opens the way for the enigmatically warped sonics that course through the albums final sections and flow within the depths of it’s voidborne closing track, CRYSTAL BALL.

With SENEX, CURRENT VALUE delivers one half of his joint 11th and 12th albums as he explores his most experimental sonic leanings to both a further breadth and depth than ever before upon the METHLAB RECORDINGS label.