Beats News

This 4 track EP comes out of Ibiza Records archive vault's called Archives Vol 5 produced by Low Block Noise in 1991 & EOAD in 1993. Each of these tracks represents hardcore and merging of jungle breaks starting to come through in the early 90s.

A. Rave in the Bedroom - This track produced by L.N.B made in 1991 has some great piano stabs and had a sample taken from 'The Young Ones' bbc2 sitcom as back then it was all about the big samples being used.
AA. Its Not Big & Its Not Clever - This track from L.B.N made in 1992 and has a classic sample taken from Robin Williams 'Good Morning Vietnam' film. The track has strong jungle breaks that were now a dominating presence at that time in the scene.
AAA. Love The Feeling - This track produced by E.O.A.D made in 1993 is more hardcore with the piano stabs offering a ravey anthem feel representing the warehouse scene. Which was dying out and Jungle was becoming the more dominant force.
AAAA. This track produced by E.O.A.D also made in 1993 and is a remix of the original with the hardcore elements offering a more raving anthem feel representing the warehouse scene back then.

British-Japanese Producer/DJ Maya Jane Coles has amassed an astonishing level of international success and uncompromising studio credentials maintaining a uniquely focused approach; writing, producing, engineering, arranging and mixing every element of her output mastering genres from techno and house through to hip-hop, dubstep, folk, pop and beyond. Following on from Maya’s award winning 2015 eponymous debut LP as Nocturnal Sunshine and unlocking a true representation of her musical identity, today Maya announces the forthcoming album ‘Full Circle’ out November 1 st on her own imprint I/AM/ME. The new album from Nocturnal Sunshine is another exciting glimpse into an artist internationally renowned for her unique and skillful creative vision. The drop of an unannounced single ‘Foundation’ at the end of 2018 sent out the first signal; something was building. The acclaimed ‘U&ME’ EP followed, the momentum of new music while Maya toured the world merely hinted at what was in store from the experienced studio producer. Introduced here with debut single “Pull Up” Feat. Gangsta Boo & Young M.A., Maya Jane Coles’ assured, and bold production teems with confidence; continuing her line of grungy breakbeats and uncovering new depths in hip-hop and trap-esque realms. Across ‘Full Circle’ LP, Maya seamlessly navigates through ranging tempos and moods, all instilled with a strong sense of freneticism all unified within an unmistakable Nocturnal Sunshine sonic sensibility. Evident to the width of her talents with her own collaborations with Tricky, Nadine Shah, Kim Ann Foxman and Miss Kittin et al; Maya has previously lent her production skills to other acts; producing for others from Chelou to Little Boots as well as remixing the electronic undergrounds finest; Bonobo, Bookashade and Tiga; to leftfield acts like The XX, Massive Attack and Little Dragon through to pop’s most credible; Dua Lipa, Sia, Sam Smith, Florence & The Machine, and even the legendary Ella Fitzgerald alongside a massive underground dominating Nocturnal Sunshine bootleg remix of Lizzo’s “Tempo” ft. Missy Elliot. More so, Maya’s breakthrough track “What They Say” track was slowed and looped to form the backing track for Nicki Minaj’s “Truffle Butter”. The track also featuring Lil Wayne and Drake would receive a Grammy, BET & Soult Train Nominations and ranked 66 for the best-selling tracks of 2015 by Billboard, with artists such as T.I., Tyga and Ludacris releasing cover versions. The track has now sold over a million copies around the world. Maya’s beat was then latter sampled again on “Swish Swish” Katy Perry’s collaboration with Nicki Minaj.

Attraverso is the debut album of new ambient trio PCM. The band consists of Francesco Perra (P) who also records solo as Perry Frank, Pop producer and sym- phonic ambient composer Matteo Cantaluppi (C), and sound designer/engineer and PCM creative director Matteo Milea (M). The album was conceived after a brief studio session exposed that each member brought something unique to their collaborative take on ambi- ent's many sub-genres. Attraverso, in concept, is meant to mimic four long-form journeys through human inner consciousness utilizing an amalgam of drone, modern composition, guitar ambient, and Koyaanisqat- si-eque arpeggiated kosmische musik. Each track title is the word "Attraverso" with three of the four being represented in different languages.
Attraverso is out October 18th on limited edition 180-gram ultra clear vinyl and gatefold compactdisc.

Previously released on CD accompanied by “Gone, Gone Beyond”, “The Mirror” is the
dreamy soundtrack of an a/v project from collage artist extraordinaire Vicki Bennett aka
People Like Us.

With ‘’The Mirror’’ Bennett continues her eternal disassembling of popular music by
exploring how the narrative of familiar sounds/songs can change dramatically under a
new context, with that context always changing, in a never-ending flow.

Each song is singular. And each song is a collage of and undefined number of other
songs from other artists. It sounds familiar because that has been the modus operandi of
People Like Us since the early 1990s. But “The Mirror” plays with the notion of familiar,
driving around a collection of famous pop songs/artists, messing around with the memory
of the listener and, of course, his unique comprehension of those specific songs applied
in a new context.

Because of the use of familiar pop sounds, “The Mirror” is often grandiose. Like an epic
film only with highs, never letting the listener down or letting him doubt the power of pop.
Even, of course, when the coordinates are twisted, mixed, over or underrepresented.
Each moment feels like something that could only happen in a parallel universe.

Although that may sound naïve, it’s just a lost thought of reaction to the beautiful collages
of People Like Us in “The Mirror”. This mirror doesn’t reflect an image of ourselves or an
image of pop. But an image on the way memories drift and are being constant rebuilt. An
unfinished collage.

Mastered by Mark Gergis
Vinyl Cut by Rashad Becker

Bakk Heia Records has evolved as an extension of Manchester based club night Bakk.Heia (Back Here).
The label mirrors the party's ethos: blurring the lines between ambient drones, performance, abstraction, hedonism, and dance music.

Johnny Phethean aka Schuttle, born in Newcastle and now based in Manchester, heads up Bakk Heia's debut offering with a 4-track EP, following a 6-track cassette released through London/Paris label Panatype, which ranked highly in Boomkat's ambient charts and received a sterling review from Resident Advisor.

The A side starts with the fractured and angular expanse of 'Grade 1', which gives way to the meditative percussion of 'Speke'.
Over on the B, 'Utensil' delivers a club focused acidic tonker, with 'Grade 2' providing the gentle reprise.

Schuttle's music is as much built for the dance floor as it is shaped for the introspective listener - raw and tender in equal measure.

Virtuoso compositions, subtle synthetic atmospheres, voices oscillating between pure intentions and dreamlike fantasy, a confusion of feelings and desires, time and space...Garden of Love, the 3rd album by electro duo Scratch Massive makes an impression from the first moments that you hear its enigmatic beauty. Like a ghost train moving along a tightrope - between shadow and light, failure and redemption, violence and melancholy - this fourth studio album reaffirms the Parisian DJ/Producer duo style/vibe with their hybrid sounds and sensory experiences. For 15 years, Maud Geffray and Sebastien Chenut have maintained artistic and aesthetic control as they participated in the 'revolution of the dancefloors'. In the early 2000s, 'Made in France' electro became known for its hedonism and as the savior of an entire techno generation ready to fight (or at least on the dancefloor!) for a future that was increasingly frustrating and hypothetical.


On first glance, Garden of Love, appears to be an invitation to love and peace, however, nothing is ever that simple, as the album cover evokes a multitude of interpretations. The lyrics speak to the depths of the soul, covering a range of emotion from love, emotions, and fears ... Garden of Love is for our hearts and bodies to become receptive again: the disenchanted poetry of the Last Dance, the sumptuous opening track set against a backdrop of electro-pop murmured in the light and shadows as painful caress; the psychedelic scent of Sunken (a duet recorded with the complicit and poisonous voice of Léonie Pernet); and the dark-tech shores of "Fantome X" with the evanescent and hypnotic pop clarity of Feel The Void (both magnified by the vocals of Romain Thominot of the Reims pop band Grindi Manberg). Scratch Massive draws the outline of an electronic music in search of redemption - reinventing their icy grooves and confronting it with a naive elegance and a disillusioned romanticism that embodies our time.

In 1985 an unknown "American" band hailing from Big Sur in California dropped a package at the doors of the Play It Again headquarters in Brussels.
Four 12"s and an LP later they had to reveal they were only half American and hailed from Brussels.
Their fifth single: "Poison!" hit gold. A firm staple in the New Beat dancings. Weathermen weren't a New Beat band, they weren't even an EBM band. Though their label branded 'em as such on the groundbreaking "This Is Electronic Body Music" sampler
Weathermen were tongue in cheeck, they were humour on the next level.

Wanubalé - nine guys from Berlin, inspired by the city's fresh Jazz scene and distinct club culture. Wanubalé met at school. Five of the nine in the band went to the same musical high school in Berlin.
Heavy influences from Jazz, Neo Soul and Funk shape their compositions. However, electronic sounds are just as important to Wanubalé. All of the nine are in their early twenties. All of them are into Dub, Bass Music and Broken Beats. And several members are DJs, as well. The Wanubalés are first rate musicians. They tend to take their time writing arrangements, yet they are careful not to overly emphasize their Jazz skills. Songwriting is a collaborative affaire, everything is developed organically.
Just like the band name, which dates back to the days of fooling around in the schoolyard, playing with syllables ("nuba" came first). Sound was crucial. Some say "Wanubalé" means "brother" in Swahili. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. The musicians don't hide their influences: Snarky Puppy, Fat Freddy's Drop, plus younger acts like Hiatus Kaiyote. But Wanubalé do their own thing.
Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, mighty brass sounds and great melodies. All songs are written, produced and arranged by Wanubalé. Recorded at Jazzanova Studio, Berlin.

Detalji gilt als eine der vielverprechendsten jungen Produzent*innen aus Finnland, die 2019 den "Breakthrough Of The Year Award" des finnischen Radios und den Femma Award (finnischer Indie-Grammy) als bester elektronischer Act gewann. Ihre "Sex EP" auf ihrem eigenen Label Deep Limit ist bester Indie-Electro für den Underground-Club und wird von den Medien abgefeiert.

Felix Lee has created a world for his debut album “Inna Daze“, a kind of post-human environment where the sun never really rises and everything is lit with a burnt out glow. These are survival ballads for the near future, whose vocals, mutated to fit into this setting, drift in a haze of dissociation. Musically, at first glance, it's sparse and minimal but with continued immersion, subtle iridescent-light shadows shimmer around grainy colour, sub bass rises through kicks and snares retooled from their surroundings, not so much refixed as decaying. Felix has been here before in his incarnation as Lexxi, making his debut appearance on Total Freedom’s 2012 “Blasting Voice“ compilation, and as a co-producer on Elysia Crampton's “Demon City“ album. He then went on to release his first instrumental EP “5TARB01” in 2016 on his own imprint Endless. He also runs an NTS show of the same name, along with previously holding raves, cross pollinating and interacting with the vanguard of the electronic underground. The punky crunch of those earlier releases is reflected in tracks like “Smoke” made with long time collaborator and southside resident Kamixlo. These club moments inevitably give way to the vocals, conveying a feeling of loss and renewal. Intended to exist both inside and outside the club, it's an electronic music that at times feels like a skeletal take on shoegaze, solidifying that feeling with the intense rising synths of the album closer “Slow Decay“.
Inna Daze's features include Drain Gang members Ecco2k and Whitearmor, Yayoyanoh, Quantum Natives' Oxhy, and Gaika, as well as Felix making his debut as a vocalist, his voice filtered through effects to give it a slippery, steam-like texture, echoing around the songs, giving them a second skin of sensed abstraction. One of the most thoughtful and interesting debuts of 2019, “Inna Daze“ beckons the listener into its simultaneously toxic and beautiful sound-world. Keeping enough distance to provoke more questions than answers, the album unfolds in a different way on every listen.

* Last year it was estimated, that every minute 400 hours' worth of content was uploaded to YouTube, 2,430,555 posts were liked on Instagram, and 6,944,444 videos were watched on Snapchat. And these figures won't stay static. The amount of data we upload, and in turn the amount we consume every year, is growing exponentially. As this expanding data pool grows, making sense of it becomes concurrently more difficult; the distinctions between dream and reality, fact and fiction, truth and lie fade to obscurity.

* 'Information City', the sophomore album from Copenhagen's Tobias Hjørnet Pedersen aka Beastie Respond, attempts to reflect this world in a very direct sense. 'Information City' is the simulacrum in which we live and exist, where our cultural identities exist primarily as representations of a real without origin, he explains.

* Writing the album Pedersen set no limits on his sample sources, instead taking fragments from a vast array of media, reflecting on the themes outlined above. This resulted in 'Information City' being completely stylistically unchained, giving reference to everything from UK bass genres to electro, footwork and synthwave. 'Downloaded 4 R. D4wkins' for example pits Moving Shadow reminiscent rave stabs against juke-like percussive workouts, while opener 'Real Without Origin' recontextualises cliche´ trap-style drops with hollowed-out, swaggering low-end, calling to mind recent hybrids of UK Grime and American hip-hop.

* At other points, Pedersen eschews the dancefloor entirely. Tracks like 'Lullabies for the Lost and Forgotten' or 'He Used His Bench Lathe to Form His Wooden Sculpture' provide respite from the thunderous barrages of percussion with slurred melodies and dream-like anime soundscapes.

* Comprising the fourth release from Foul-Up, 'Information City' is a brave proposition for a second album. Pedersen tackles it with vibrance and audacity, inviting us into a fast-paced world of bright lights and unbridled imagination.

Launch event on September 5th in Image Movement, Berlin with Beastie Respond and Eva Papamargariti

Hyperdub will release an EP by Burial on December 16th 2013. Comprised of three new pieces with a total running time of 28 minutes, it will be available on 180g 12" vinyl

Ground is an Osaka native, but his soul is truly that of a nomad, traversing the planet, befriending kindred spirits found in humans, animals and plants. He is exceptionally receptive to the beauty in everything that surrounds him—the incidental music of a city street, the orchestral chaos of a scrambling radio, the syncopated grace of migrating birds, the simplicity of an isolated hand clap—and as his roadmap continuously unfolds, he accumulates a vast catalogue of visceral tools to musically recount his experiences. 'Sunizm' is a cross section of the artist’s process—an array of complex microcosms overlapping to comprise a thematic whole—gathering field recordings, found instruments, jagged electronics, synthesized chanting, and weaving all into a dense narrative that appears obsessively constructed yet divinely improvised. 'Follow Me', the second of two singles surrounding the album, is complimented with a pseudo drum’n’bass treatment by enigmatic Greek artist Jay Glass Dubs, as well as a massively triumphant b-side entitled 'Ozone House', which is exclusive to this single release. Attention all humans, animals and plants, Ground and the ESP Institute present, 'Sunizm'.

Beijing-based techno producer HWA (aka ELVIS.T) is releasing his first 12" EP "Granular Line" on Ran Groove, the sub-label of Bejing's Ran Music. This EP has 2 Deep Pulsating Techno tracks included as well as one Droning Ambient track produced using his customized modular synth system. As one of the leading figures in China's techno music scene, HWA's left-field experimental sound design, delicate poly rhythmic beat groove, dark and twisted massive soundscapes and the full hardware workflow, have earned him a reputation across China's dance music scene. Granular Line is the crystallization of HWA's persistent efforts on using the modular synth to produce techno music, it is the new envelope of his techno sound aesthetic.

HWA was born and grew up in Taipei and kicked off his DJ career in 1998 and soon started to produce his own music. He relocated to Beijing in 2006 and immediately became a part of China's electronic music scene, which had just emerged a few years before and was on its fast-rising phase. HWA is considered a brute force in the promotion of techno music and culture in the country, he was the early co-founder of Beijing's Lantern club, the most influential techno club in China's capital, he was also the co-owner of Acupuncture Records, which is the only techno label in China back in the 00's. In the past decade, he has played in the finest clubs and festivals in Europe, such as Tresor in Berlin and ADE festival in Amsterdam, as well as the top clubs in Toyko, Seoul, and Taipei, where Asian's best dance music scene exists. In 2016, he appeared in China's first ever Boiler Room event with his modular synth system, created the climax of that night and his live set was considered one of the best moments of Boiler Room China.

HWA has deeply embraced modular synthesis in recent years and it has become the centerpiece of his music production workflow and live performances. He attempts to explore randomized beat sequences and experimental sound design furthermore. He's one of the initial members of The Modular Commune, a Beijing artist community focused on the use of modular synths, which has gained a lot of attention across the globe. Through his music work and live sets, HWA's unique athletics and understanding of techno music made by machines, has become a unique label of his.

With absolute devotion Shook has created an exceptional listening experience in which timeless influences of Hiroshi Yoshimura, Ryuichi Sakamoto, Steve Reich and Erik Satie are honored and thoughtfully integrated in his modern, energetic sound. Shook merges Japanese ambient and Indonesian gamelan with an uplifting mixture of electronic pop, jazz and funk. Inspired by city pop, techno pop and ambient Music for City and Nature spreads a new light on the contrasting balance between what we make and what we are. Shook: “In my 5th album I tried to document my emotional and mental state at this point in my career. It is inspired by the conflict between the energetic and busy city life and the calm, warmth and peace that nature gives. It isn’t a city ‘versus’ nature album though, it is about daily life existing in a gray area in between. I try to find a balance by connecting both sides. We can build a future in the city, but we must not forget that nature is our future.”

Time is Local is a project by Danish collective We like We and sound artist Jacob Kirkegaard built around a 12-hour live sound installation and performance at Thorvaldsen Museum in Copenhagen.

The piece was initiated and performed by the artists during the G((o))ng Tomorrow Festival in 2017. As they slowly wandered the halls and rooms of the museum for a whole day, they performed extended sound compositions for a visiting audience at each of the 12 chambers for a longer session - a haunting experience as the outside world disappeared and the focus was on quiet sonic moments unfolding in midst of the grand, reverberous space. For this album they have collected 12 fragments revolving around the chambers in the museum. Each chamber is being represented by its own handful of tones, instruments and voice. The statues within, depicted by neo-classicist sculptor Bertel Thorvaldsen get their own soundtrack of quiet emanating gusts. Barely heard frequencies reflect through the walls. The marble carved busts of Greek gods that line the museum hallways gaze eternally with a blank stare as decades pass and new audience arrives.

Although We like We should need no introduction to followers of the Sonic Pieces label, the Danish all female sound quartet consists of Katrine Grarup Elbo (violin), Josefine Opsahl (cello), Sara Nigard Rosendal (percussion) and Katinka Fogh Vindelev (voice). Together they have forged a dynamic and intuitional sound beyond genres through the last decade. Only two years ago they released the nordic neo-classical opus Next to the entire All. This time they emerge in collaboration with sound artist Jacob Kirkegaard. Jacob’s works are sonic reflections on complex aspects of the human civilisation, treating themes such as radioactivity, melting ice, border walls and tones emitted by the ears. Through the last decades he has released records and sound documents through labels such as Touch, Important Records and more. As a document of their 12h performance, Time is Local is a beautiful sonic evocation that shines as a bright line of sun through the cracks of a tomb.

'Earrings Off!' arrives next month via Tri Angle, and it's another searing blast of originality from a group who seem to operate without boundaries.

REPRESSED !!
Hellfire funk from the spirit world. The city weeps for it will never again know a man as righteous as Eduardo Unz.

Following up his pair of cryptically luminous EPs for Northern Electronics in the past years, Evigt Morker presents his debut album, Krona. With a shuffling atmosphere that's hard to pin down, the album chronically fixates on the degradation and construction of rhythmic drills with finely rendered parts and patterns. Spiralling the listener through a set of stormy soundscapes, Krona keeps placing the horizon just ahead, and just out of reach. The unease that Evigt Morker invites us into is electrically charged and threatening to crack. For all its syncopation we are relentlessly swerving through the works, afraid of teasing an arcing static shock from the blistering commotion. The album's propulsive tracks are settled against a pair of stunning ambient compositions that capture some of the tension from a distance. Technical dexterity and perfectly pitched intensity stakes out Evigt Morker's debut album as an impressive statement.

Pure worries from Leipzig — three club burners steeped in Detroit traditions, distilling the explorations in collective, nervy hypnosis of KM live sets. As the music slowly unfurls, there he is at every turn, subtly tweaking its parameters, redistributing its weight, pricking its grooves into a state of utterly infectious perpetual movement.
The two visions of Chilazon track opposite pathways: the first is twelve minutes of gorgeous, dubwise, aquatic techno, spattered with kicks and razor-sharp hi-hats, and smeared with ghostly echoes, then a terse mesh of broken drums, escalating to a quiet yet feverishly intense peak. Lanthanum is calligraphic swordplay, its toms and bass stabs warily circling one another in a graceful steppers' dance, spaced-out and fathoms-deep.

The 401 highway which connects Detroit on it’s southern end and Montreal some 900 km to the north east is quite possibly one of the most ugly, boring drives known to man. A seemingly endless stream of nondescript pine wood forests and cookie cutter suburban hell holes fill the gaps between 3 magnetic poles. Detroit, the Motor City of former untold grandeur, and current bastion of cheap rents and boundless American artistic enterprise. Toronto, the city Drake built, alongside the World Champion Raptor basketball team from which this EP takes it’s inspiration. And Montreal, the sin city of the north, the French Canadian Mecca of contact dancing strip bars, where bikers and the Mafia’s 6th family jockey for power and have everyone from the mayor’s office on down in their pockets. No great surprise then that this geographical well spring of nocturnal indulgence and scrappy street hustle has produced some of the greatest music purpose built for late night dance floors, be they housed in gay bars, illegal raves, private lofts, after parties, or forward thinking drug dens. And if any two people were qualified enough to recount the sordid tales one might find in the nooks and crannies of these secret sanctuaries of the wee hours, rest assured Ryan Crosson and Deadbeat have stories for days.

For the 20th release on Deadbeat’s BLKRTZ label, these 2 long time friends deliver 2 atom bombs of breaks driven groove filled with dubbed out vocals, massive funk and impossibly heavy bass weight, sure to appeal to fans of their previous work and Djs from across the dance music spectrum. House, Techno, Breaks, Two Step, Dub Step, Hardcore...File under HEAVY weaponry and love for days.

Debut release on Heko Records from up & coming duo Samo. Stacked release of neck snapping technicolor summer floor-smashers - get on it !

(2x 180 gr LP in a gatefold sleeve with download card) The debut album of Talamanca System, aka Gerd Janson + Mark Barrott + Philipp Lauer. Their past is your future!

On the white island, between Ibiza Town and the infamous fish shack high up on a rock next to a bird sanctuary, you will find the beach of Talamanca. Plagued by too much seaweed, anchored middle-class yachts and joggers, it is also surprisingly the spiritual home of a correspondent post-Balearic group. As luck would have it, a remix request by Mark Barrott bedded the International Feel boss in a trio with Philipp Lauer and Gerd Janson, alias Tuff City Kids. A highly sought-after 12-inch later ("Balanzat"), as well as fantasies of getting together to work on more material, led to a fruitful and effortless studio session on the non-Balearic outskirts of Frankfurt am Main.

The outcome of that meeting forms the homonymous debut album of Talamanca System. A documented vision, or a sunburned imagination of a day and night spent on said island, during a moment in time that probably never was or will be. Still summed up best by dungarees, long hair, yellow sunglasses, espadrilles or that famous picture of people grouped around roofless Amnesia's pyramid well, it is the food of the Balearic gods. But, dear nostalgia, stop right here! Even though Talamanca's debut flies the Balearic flag, it is not about turning back the clock, but rather about a past that could be the future. Dusted, danceable, driving, dreamy and dapper at the same time, this is an album for the club, the car, the beach, the (coke)float and the fountain.

Coined by the colourful and respective talents of the three individuals behind Talamanca, you will hear nine tracks ranging from up to downtempo, piano house smashers that would have deserved the prefix Italo-, percussion rituals captured by a group of Zoo animals on the loose, soundtracks for dusk and dawn, hushed vocals, rites of ambient passages, powerful synth ballads and vamp choirs. If this album were a car, it would be a Citroen 2CV remade by Tesla.

We've said it before and we'll say it again: their past is your future!

It's been some time since we've heard from Colin. Actually, not since that 'Fruits Of Zion' tape the put staff and shop regulars in a real spin back in 2015. Now the long wait is over, and we're now drip fed four new tracks from a source not specified. info as it comes.. small run, be quick!

Katsoulis has been making avant-garde electronic pop steadily since the early '80s, but it wasn't until 2014 that he transcended cult status. That year, Into The Light issued a collection of Katsoulis' early and unreleased material, The Sleeping Beauties.

In October, Alex Bradley's Utopia Records will handle a new record from the low-key artist. The press release says of the opener, "All The Blue Skies," "Katsoulis and his accompanying musicians deliver a diverse and contemporary work with a level of sophistication that will challenge the current electronic musical landscape." The label adds that "'Grand Delusions' sounds like it could work in a Berlin techno club, from a man that has probably never been to one."

Katsoulis is becoming more active in the underground electronic music scene as of late. He performed at the inaugural Strange Sounds From Beyond festival in Amsterdam in June. A 2015 remix EP featured Young Marco, Max D and Telephones interpreting tracks off The Sleeping Beauties.

To co-incide with 4 new albums on the label, Morphine gives a surprise RE-DOSE with label friends and heroes on re-flip duty.
More info soon

Pregnant Void returns with another of their deeply involving and thought-provoking albums, this time from Berlin based sound designer and live-performer Francesco Devincenti.

Devincenti has been making music all of his life and quickly established himself back home in Northern Italy. To further his talents he headed to Berlin to study at the S.A.E. Institute and soon went on to a job at Analogcut mastering studio. As such he is a sound design wizard with an exceptional ear for detail and someone who can get real meaning and soul of out the machines he often solders together himself. He is part of a couple of live hardware duos - MORK and TDV - and always fuses ambient, techno, distorted grooves, jungle beats and dub moods into his immersive recordings.

This new album draws on ten years of life experiences and uses music as a way of telling his own autobiographical story. "With the album I try to explain what I have inside in a way I cannot using only simple verbal communication: those moments of Brutal Reality where you lose something very important and cannot fully express yourself." Though always obsessed with finding his own musical voice, Devincenti is also inspired by studio masters like King Tubby, Adrian Sherwood and Mark Ernestus. His experimental music follows no existing path and is made on modular systems that result in unpredictable and unconventional ambience and rhythms. A number of collaborations add more flavours to this most rich and rewarding album, including friend Hi.Mo, label boss Simone Gatto and vocalist Alice Lobo.

Brutal Reality is filled with truly freeform electronic music - sounds without borders, but with very real narrative and an absorbing sense of emotion that makes it a moving listen in more ways than one.

A secret 10" heavy-hitter - both tracks are an explosive new blend of chopped up grime and violent breakbeat styles.

Vinyl only, no repress, don't sleep.

INSTINCT 07 is here in force and welcomes Jack Michael to the label.

Zygos has been non-stop killing it for a good few years now. Every dub he churns out is a madness and he is constantly pushing and evolving his sound for the better. We couldn't be happier to get the man himself back for his third release and second wax outing on the label. His signature techno / industrial influenced sound runs throughout the EP from the twists and turns of Rotation to the deep dark sound designs of Sick as a Dog. Big ups Georgio on this wikid wikid plate!!!

The Mancunian electronic music pioneers 808 State are about to return with Transmission Suite, their first new album since 2002.

Introducing Lost City Archives - showcasing the sounds of the UK's underground. Kicking off proceedings we have the enigmatic new-comer(?) Ash Brown, delivering 12 inches of 90's tinged nostalgia. Crispy.

DJ Support
Coco Bryce - "Well havin this"
Persian - ""Highly recommended Bass Bin Business, Sounds like something i would of made..."
Dead Mans Chest - "Dutty & dusty, dope rhythms!"

The return of the returner. 6 track Mini LP. Produced By William Burnett, New York. Sleeve design by Art Crime. Mixed & Mastered by Gordon Pohl, Dusseldorf. TIP!

“There was an aging writer called Mortise Koshimitsu who lived in a small apartment. The apartment was beset with problems. It was damp, the wiring was frail and in the summer the leaking pipes added a must and swelling to the wood in the windows that effectively countered the joys of the heat. Koshimitsu’s life had been lived chiseling away at circumstance, and circumstances had not proved easy. There was however, one small reliable rush to be had, and it lay through a gloomy doorway, down some stairs and past a register….”

New Age" is one of those tracks that get requested year after year - or in this case decade after decade! With origins in 2008 and played by every big name of the scene it has earned an undisputed anthem status and it’s the most wanted dub in the extensive Loxy & Resound catalogue."Stone Cold" on the double A-side is equally exciting. Vintage production from 2009 it combines Resound's trademark metallic funk with some dark vibes & haunting vocals.
Digital only "Forgot Why Mix" flips the script & sounds more contemporary now than ever, highlighting Resound as one of the most innovative producers out there.

Marie Davidson veröffentlicht 12' mit einem unveröffentlichten Song und Remixen von John Talabot & Silent Servant auf Ninja Tune!

Kurz nach der Veröffentlichung ihres neuen Album's 'Working Class Woman' legt die Produzentin & Spoken Word Künstlerin Marie Davidson jetzt eine 12' EP mit einer neuen Version der Album-Single 'So Right' und einem exklusiven John Talabot Remix auf der A-Seite nach. Auf der B-Seite findet sich der bisher unveröffentlichte Song 'La Ecstase' (eine Kollaboration mit Lamusa II) und einem großartigen Silent Servant Remix!!

"Cycle and Reveal" is the fourth full length LP of contemporary classical works by acclaimed composer Mario Diaz de Leon. Featuring bold performances by a cast of longtime collaborators, this compilation is an essential chapter in his celebrated series of recordings for acoustic instruments and electronics.

The output of Mario Diaz de Leon defies easy categorization, spanning the worlds of contemporary classical composition, experimental electronic music, extreme metal, and creative improvised music. Working extensively with an inner circle of close collaborators (ICE, Talea, and TAK Ensemble, among others) his classical works have been celebrated over the last decade for their “hallucinatory intensity” (New York Times), “snarling exuberance” (Pitchfork), “helter-skelter, electronically enhanced cadenzas” (New Yorker Magazine), and coupling of “crystalline clarity with the disorienting turbulence of a sonic vortex” (Wire Magazine).

The A-side features two works written in early 2017, which colorfully embrace hypnotic repetition alongside dynamic contrasts and distinctly embody the electrifying post-minimalism that Diaz de Leon is known for. Opener Sacrament is written for a trio of musicians from Talea Ensemble and features the composer’s shimmering, bass heavy electronic production. This energetic piece, driven by the virtuosity of marimba player and Talea executive director Alex Lipowski, makes use of rapid-fire arpeggiations and heavy rhythmic unisons. These are starkly contrasted with moments of reverberant echo, bursts of noise in the flute and electronics, and ecstatic rhythms. Labrys, written for ICE bassoonist Rebekah Heller, builds on the celebrated legacy of solo + electronic works heard on his 2015 album The Soul is the Arena. Built around virtuosic interplay between bassoon and synthesizer, Labrys features shifting and hypnotic repetition alongside expansive melodies and sub-bass frequencies.

The B-side consists of two works composed in July of 2016 which draw from primal, incantatory, and improvisatory sonic landscapes. Irradiance, a collaboration with cellist Mariel Roberts, begins with a series of spacious riffs exploring the extremes of the cello’s register and transforms over time into a climactic frenzy of noise loops. Tuning the cello’s low C down to a growling G, Roberts interpreted the sounds of each pre-recorded loop by ear. The piece gradually builds from cavernous depths into an ecstatic climax of anarchic noise. Concluding track Mysterium is written for the ICE trio of flutist and ensemble founder Claire Chase, clarinetist and artistic director emeritus Joshua Rubin, and bassoonist and current artistic director Rebekah Heller. Archaic melodies, improvised heterophony, spectral transformations, echoes of Klang-era Stockhausen, and the colorful noise of Moog and Ciat-Lonbarde synthesizers combine to create an expansive and wildly ritualistic atmosphere.

Cycle and Reveal was recorded in vivid detail by Marc Urselli (John Zorn, Laurie Anderson) at East Side Sound, Stephen McLaughlin at EMPAC, and mastered by Ryan Streber at Oktaven Audio. Diaz de Leon invited Melbourne-based visual artist Yuria Okamura to design the cover image and inner sleeve symbols. Sharing Diaz de Leon’s interest in the reinterpretation of spiritual art, Okamura’s cover “maps and reconfigures geometric patterns and symbols that reference esoteric symbolism, occult diagrams, religious architecture and decoration.”

Label boss Von D on DOR005

Here's a little story about this release on my label Dubs Galore:
"When Muttley sent me this tune I though to myself: "Wow what a nice classic from the golden Dubstep Era", so I asked him when this was released - assuming it was, and he said it never was released. I immediately signed it, knowing it's such a great and timeless tune. I asked Quasar for a remix and here we are now, Dubs Galore 005 coming in STRONG!"

Planet Euphorique continues to transcend boundaries and expectations with its lucky eighth release “Dream Portal”, a 4-track EP by Ronan.

The three tracks, plus a bonus remix from elusive, tech-wiz Reptant, were recorded over a two week period in Bogota, Colombia. Conjuring up vivid spectacles of a mysterious labyrinth; bodies unleashed and moving in unison.

The title track, Dream Portal, unlocks the gateway via a dank, sway-worthy roller, equally menacing and eclipsing, paving the way for the A2 “Crystal Viewer" where propelling snares layer across delicate harmonic tension and spatial delay. Springing sub bass filling the low ends to complete the fusion of trance-licked breakbeat and ethereal techno.

On the flip the situation continues to rise, Star Fissure delving into high-octane enlightened electro. Slick rolls and percussive fills make this a daring DJ’s dream. Kicks that feel like you’re being punched in the face, yet begging for more. Deep and driving, with delicate pads to take you into that elevated state. Meanwhile, the Reptant remix rolls up and lets you know it’s arrived. Attitude on tap, delivering lizard-tech to be teamed with a smoke machine on overdrive. Dripping bleeps and razored hi-hats to accentuate the originals’ naughty flair.

5-LP compilation Box Set from one of the key figures of New Age music, Suzanne Doucet. She produced a incredible run of cassette only albums during1982-84.. Very difficult to find these.. Now all packed together in this beautiful set!

Suzanne was born in Tuebingen, Germany where as a three year old, Doucet discovered her innate artistic gifts. Instinctively, she was always drawing, playing music, singing, and writing. By the age of 18, Suzanne was an established pop star in Germany with several #1 hits. She also made her mark as a composer, actress, TV moderator, director, engineer, and producer. At age 25. she took a sabbatical from the music business to go on a spiritual odyssey. In 1970 she released a triple album of field recordings and mind-expanding psychedelia under the name Zweistein. For the next ten years, she developed her own style of New Age music while exploring many areas of metaphysics and spiritual practices, including astrology, music therapy, tarot, yoga and the Kabbalah.

In 1979, Doucet launched a record label in West Germany named Isis, after the Egyptian goddess of feminine divinity. She formed the duo New Age with her musical partner Christian Bühner, and released the 1982 cassette album ‘Transformation’, which was inspired by a visit to Findhorn, Scottland. Suzanne and Christian recorded acoustic sounds such as waterdrops and vocals using sophisticated sound manipulation devices and muli-track recording techniques. The only electronic instruments used were the Jupiter 8 and the Roland TR-808 drum machine. The next year the duo began work on the follow-up ‘Transmission’, which released on cassette in 1983. After this release, Bühner and Doucet moved to Los Angeles, hoping to find more kindred spirits in the burgeoning New Age scene there. Doucet met Tajalli (William Wichman) whom with she would collaborate with on the 1984 cassette ‘Brilliance’. That same year Doucet married Video Artist and Yoga instructor James Bell. Together they recorded two albums, ‘Reflecting Light Vol. 1’ and ‘Reflecting Light Vol. 2’, using a Roland JX-3P, TR-909 and a Steinway Grand Piano. Both cassettes had mirrored covers, a reference to the Zweistein jacket 14 years prior.

For the first time Suzanne’s cassette music is available on vinyl, in a limited run of 300 box sets. Each is stamped with a rainbow foil of the goddess Isis and includes an 8-page full color magazine designed by Eloise Leigh with liner notes, photos and reflections by Suzanne. We also have a small amount of stand alone albums available housed in jackets using the original cassette artwork. All albums have been remastered by George Horn at Fantasy Studios. Doucet's career placed her at the forefront of blossoming New Age Music movement.

Sol Oosel presents an album with a complex mixture of tones and structures, striking a close relation between a sort of devotional music and a trancelike state. Beyond his own specific exploration of the possibilities of electronic modular synthesis, Sol Oosel searches for hacks in different states of consciousness by way of sound.

En allégeance à l'inconnaissable - Une étude en chorégraphie pour le flux d'énergie is meant as a musical aid for visualizing the ability to dance with and manipulate attainable flows of energy. Largely produced using modular synthesizers and the Roland SH-09, Sol Oosel stretches beyond the fields of ambient music, adding a special sense of drama to this psychoactive journey. Each song is built around solid structures and infused with a mystical atmosphere. Harmonically, this album is close to Hans-Joachim Roedelius' early works; it is emotionally positive, informed by pop nuances that are rarely found in this type of ambient music. Sol Oosel also owes to the works of Klaus Schulze; however, while Schulze was concerned with space and made music of the unknown but conceivable cosmos in his mind, Sol Oosel is more interested in Earth and the force that weighs us down in this complex physical reality. His music speculates on the relationships between inner and outer worlds. En allégeance à l'inconnaissable... is a soundscape and a choreographic exercise for relaxation, intentionally disrupted by "Here (Au Bord De L'Univers)", a deconstructive piece covered in multiple layers of repetition, progressive beats and kosmische pulsation which detours from the flow. In a way, it represents the bridge between all these cosmic and earthly energies.

This is Sol Oosel’s debut on Umor Rex. He previously self-released the album Janus, and was member of several bands and projects before focusing in Sol Oosel. He lives in the rural village of Tepoztlán, México, where he works as an artist, performer, sculptor, sonic landscaper, and dancer.

The digital version of this album includes a remixed version of "Temple Of Names" by Umor Rex longtime friend and collaborator James Place.

Bristol–based composer Ryan Teague presents Recursive Iterations, a suite of seven extended compositions that incorporate cinematic arrangements and cutting edge sound design within an algorithmic framework to striking effect. The resulting pieces combine elements of neo-classical, post–rave, and soundtrack music, to create an utterly compelling contemporary soundscape balanced by a calculated, almost architectural use of space and restraint.

The musical structure is derived from a custom–written algorithmic system that sequences harmonic and rhythmic events in ever–shifting patterns. Hyperreal electro-acoustic phrases and digitally synthesised fragments come and go in continual rotation, re-framed and re-contextualised by their proximity to other events in the sequence as the compositions evolve. The effect evokes a minimalist bricolage, hypnotic and kaleidoscopic in nature, and calls to mind artists such as Oneohtrix Point Never, The Haxan Cloak and Ital Tek.

At the same time, a core theme running throughout the record is a masterly use of absence and inertia influenced by the Japanese concepts of ma (間 - negative space) and the enso (円相 - circle), which serve to complement and counterbalance the diverse sound palette. By integrating these qualities, tension is built and resolved in equal measure, creating a dramatic sonic impression where fragmented rhythms, dynamic textures, subsonic basses, and delicate ambience all coexist. Recursive Iterations is a bold, powerful, and unique work that pushes sonic boundaries whilst revealing more with each listen.

audioMER is honoured to announce the release of a new LP Make Visible The Ghosts with music by Aki Onda (US/JP) and artwork by Paul Clipson (US). This album is the follow-up of Aki Onda’s Cinemage project Lost City - with Loren Connors and Alan Licht - released on audioMER in 2015.

On Make Visible The Ghosts, New York-based musician Aki Onda composed the soundtrack for the images of the San Francisco experimental filmmaker Paul Clipson, who suddenly passed away on February 3, 2018.

In 2009, Clipson and Onda met at the Amsterdam Schiphol Airport for the first time and shared a ride to the International Film Festival Rotterdam, where they presented audio-visual works in the same bill. Since then, the two artists - known for their highly personal approach with Super 8, 16mm, cassette Walkman and radio – maintained a close friendship over the next nine years. Their works deal with memory, time, space, and those reflections, and they had a lot to share.

Onda and Clipson completed their collaboration work Make Visible The Ghosts, a combination of vinyl LP of Onda’s music and large-size collage artwork by Clipson, a few months before Clipson’s departure from life. The work is composed of the materials they used for their performance in New York in 2012 and developed over the three years from 2015 to 2017.

Onda notes: “The loss of Paul has left a huge hole in our mind including his friends and collaborators. Paul is no longer here, and this is a chance to remember him and his images that extended and expanded our perception of how the world can be seen and heard.”

You're alone and you close your eyes. Don't imagine figures of light, make the darkness conscious. It becomes deeper, not eyelids anymore, and then something is around you, but you can't open your eyes, you're deep inside them. Merge into oneness, not bright above not dark below. Something with has no echo. Waves and motion, not space and time. If a tree falls in a forest where no one is listening, does it make a sound There are no signs in the snow. Why this dream of something cold The world is blue at its edges, the colour of that which can never be possessed. Blue flames, deep ice, twilight. How do you observe yourself without knowing that you're looking The other side of your face. Why don't you let the gap be a gap I was afraid there was too much space. When you stop focusing the image appears. Everything seen at once. Turn yourself into a point to get behind the surface. A messenger between two worlds. The hidden meaning behind alchemy: to be born again. You're not born into this world but out of it. Travel by heat, words are too slow. Sound knows how to get around edges, wiser than light.

Heaven is a work of contemporary church music. Centrally occupied with the subject of death, its conceptualisation was catalysed by Spiluttini’s discovering his mother’s preparations both for her own death and for his. He arrived at her home in 2015 to be led into the local church and shown the two adjacent places she had reserved for their urns. The tracks on Heaven together consist of an analogously personal and anticipatory negotiation with death.

Partly derived from organ recordings made in the same church, the album frequently enlists Arvo Pärt’s compositional method of tintinnabuli. Aside from the thematic logic of its sacred associations, the method suits Spiluttini’s tendency, in spite of heavy and dynamic passages, to minimise tonal complexity. His characteristic uses of gnashing bass, restlessly irregular pacing and serrated distortion return. This time, they combine with pads, harps, fluttering organs and swooping choirs.

Track titles throughout Heaven conjure intense emotional conflicts, especially those arising from experiences of embodiment. Touch isolation is a term for the toxic masculine stigma against platonic touch between men. If such a reference on an album preoccupied with death and afterlife raises the question of whether Spiluttini considers any touch – let alone platonic – to be possible in Heaven, the title ‘Flesh Angel’ perhaps answers it. As with ‘Body at War’ and ‘Weakened Centurion’, such a title positions the agitation of its music among ongoing struggles with body acceptance. Meanwhile, ‘Rainbow Bridge’ recalls the 1980s prose poem promising an eternal reunion in death with one’s beloved lost pets. In context, these various indices seem to capture the yearning speculation that, as the nexuses of experience, bodies are not discarded in death; on the contrary, they achieve a state of perfection.

Heaven revolves within dramatic and ever-changing vignettes. As church music, it lacks real communal participation or fidelity to hymnal text. Instead, it must come to terms with negation and eternity as dependable threats to generational and spatial distance, to personal struggles with earthly embodiment and to the anxious, hyperactive navigation of identity in late modernity.

(Edward Trethowan)

Calling Marcelle a DJ doesn’t wholly represent what she’s doing. (Three) turntables and a mixer is more the medium that she uses to create and share sounds, ideas and moments.

The same goes for her own productions. They don't have a fixed style, as can be heard on all five EP's released by the Munich label Jahmoni since 2016. They are free in attitude and music and cross boundaries between genres. Most tracks are a collision of ideas, a magically gritty, self-aware car crash as if Muslimgauze grew up in sunny Lisbon with the Principe crew as opposed to the grim North of England.

On her new LP 'One Place For The First Time' we find nine tracks brimming with ideas that ignore stale production norms. Sure, the pulsing drum 'n' bass-esque 'Hippies Use Side Door' is weirdly danceable, just like the cackling stomp of 'Respect Caged Animals', but can we dance to 'Technicians And Their Smoke Machines'? (Answer: We’d certainly enjoy trying). It's almost a jazz song, but like with everything Marcelle does, it's jazz from a different world and has proven to be a dancefloor smash when she’s played out the dubplate over recent months.

Marcelle's life-long love for far-out dub is clear in 'Dub (Dub)' and 'Respect My Snack Foods' is in the same 'educational' tradition as was the song about how to deal with constipation (olive oil!) from the 2018 'Psalm Tree' EP. Now we learn how to apologise. 'The Mother Of All Messes' (a UK newspaper headline about Brexit) introduces perhaps a more tender side, a comforting nursery rhyme plays while a muffled kick occasionally growls with distortion - as if it knows the importance of its place in the dance.

By the time the refrain of the intro track returns it seems to carry more significance, Marcelle has made her point quite clear. Defiant til the end… ‘Don’t touch the table!’ This particular sample is taken from Marcelle's legendary Boiler Room performance at 2018's Nyege Nyege Festival in Uganda where the MC of the event repeatedly declares that 'She Plays Vinyl' and therefore asks 'Don't Touch The Table!'. It goes without saying that the latter song is full of banging on the table noises.

The sleeve - as always with Marcelle - is very colourful and features photos of knitted egg cosies and images related to individual songs. It's a bit of a puzzle to find out which photo connects to which song, an enjoyable challenge, just like the LP itself.

Shining on lineups whether they’re cutting edge festivals, big clubs, touring circus shows or DIY garage venues comes naturally given she approaches all with the same mindset ('always the same, always different'), these causes are adopting her rather than the other way round.

Marcelle is a genuine innovator who remains inherently relevant by not following trends, not focusing on technicalities, having a sense of humour, dissolving obsolete structures, being excited, defying others rules while creating new ones, eschewing #tagline posers and ‘tasteless A&R wankers’, supporting artists that need it, supporting places that need it, supporting people who need it and not giving a fuck for as long as possible.

And HUGELY welcome living proof that you can excel in doing things differently and having a bloody good time n all.

James Marrs, London, March 2019

Djrum returns to R&S with two heavy hitting tracks on a double a-side release. This is his first original music to be released since the ‘Portrait With Firewood’ album in 2018. “A meticulous, moving electronic album.” Quietus “As audacious as anything in electronic music right now” Pitchfork Both tracks see him exploring his more dancefloor influences keeping the tempos high and the emotions heightened. While Tournesol takes in a characteristically broad set of influences - from braindance to Shaangan electro - Hard To Say focuses on the ambient-gabber sound that Djrum has pioneered. This is uncompromising music from a producer working at the top of his game.

New Material On NMG By Wellknown "Kromestar"

Inland is Vanessa Wagner’s continuation of the exploration of the minimalist composers register to complete the solo continuum of the Statea released in 2016 with the Mexican producer Murcof. Inland highlights a set of pieces, mostly rare or unavailable to date (Moondog, Nico Muhly, William Susman, Bryce Dessner, Gavin Bryars...) and some other well known (Philip Glass, Wim Mertens, Michael Nyman) that Vanessa Wagner performs with her classic pianist background and velvet sound.

Lucie Antunes is a French classically trained drummer and percussionist, inspired by the pioneers of minimalism. Her debut album SERGEÏ is a tour de force of eclectic music that leaves the listener amazed, almost hooked up in Lucie’s magnetic spiral of sounds. The eclecticism that pervades SERGEÏ is shown by Lucie ability to create labyrinths of sounds through the use of unconventional instruments such as marimba, vibraphones, celesta, tubular balls, glockenspiel and ondes Martenot.


Sergei is a statement of freedom. The same childish freedom that we run behind and that we desperately seek. Lucie, with SERGEÏ, achieves her freedom and builds on it, the artist that she is with no compromises but only with the determined ambition to break the boundaries, to shake genres and to make the eyes smile.

Unterton kicks off 2018 sideways with three tracks of high-octane electronics by Mark. 0-160 BPM in 15 minutes. Previous EPs for A Colourful Storm had a conceptual focus: the destructive effects of tech start-ups on Berlin's cultural landscape. Sound-wise, they paired frenetic, experimental d'n'b with musique concrète. On his Unterton debut, Mark continues further down a path of dark and psychedelic beat science. At times tranquil and hypnotic, other times charging forward between cracked whips and whiplash left-turns. 'Comedy is the dog that walks out of the room when you call its name."

Milan Knizak 1979's masterpiece never re-released before. Presented as a gatefold with the original design.

Milan Knizak (born 19 April 1940) is a Czech performance artist, sculptor, musician, installation artist, dissident, graphic artist, art theorist and pedagogue of art. Before everyone else - Christian Marclay, Philip Jeck, eRikm, Martin Tétreault, Otomo Yoshihide - there was Milan Knizak.

In 1964, Milan Knizak, a member of Fluxus from behind the Iron Curtain, sat down on a sidewalk near the Charles Bridge in Prague, laid down a paper carpet right into the street, and starts tearing pages out of books and burning them. Around the same time, he began to create music from defective, worn, damaged or broken LP's. These Broken Music compositions, his classic collages of noises created during performances and happenings, are widely regarded as important sound art documents on record.

"In 1963-64 I used to play records both too slowly and too fast and thus changed the quality of the music, thereby creating new compositions. In 1965 I started to destroy records: scratch them, punch holes in them, break them. By playing them over and over again (which destroyed the needle and often the record player too) an entirely new music was created - unexpected, nerve-racking, aggressive and even humorous. Compositions lasting one second or almost infinitely long (as when the needle got stuck in a deep groove and played the same phrase over and over). I developed this system further. I began sticking tape on top of records, painting over them, burning them, cutting them up and gluing different parts of records back together, etc. to achieve the widest possible variety of sounds." Milan Knízak, Broken Music

Foundation Audio are back at it again dropping this limited 10” gem out of nowhere. Sibla & Teffa make for a perfect combination on the buttons providing those warm vintage tones and classy beats that we’ve come to expect from the duo. ‘Bobby’ is a discordant swaggery monster steeped in jazz with the most concrete of sub heavy grooves. Truly unique stuff from the production dream team.

Nervous Horizon is very proud to present TSVI's debut album: 'Inner Worlds'.
The album is about reconnecting to one's true self and the discovery of the inner worlds: it is born from an ongoing artistic journey, which began in TSVI's childhood. The artist grew up with parents who practise Hinduism, which is quite unusual for an Italian family. In most recent times he was hugely inspired by his partner's religious and musical background, after she exposed him to Middle Eastern music and Sufi ideologies. TSVI started creating tracks that were influenced by bellydance percussionists such as Emad Sayyah and Hossam Ramzy, combined with Dancehall, Tarraxo and Trance.
The album is largely influenced by the role of music in transcendental Sufi practices and resembles an inner journey through different states of meditation and self-discovery.
Vedic and Tantric knowledge are also important here. Each track is a state of mind from the opening one, 'Root', to the last one, 'Crown', as they represent the first and last Chakras and all the other states found in-between.
Get ready to embark on a journey through mind, body and soul.

OG Deth” is ragga for 2015. Wheez-ie twists and turns his way through genre tropes. Mixing elements of jungle, footwork, and grime, “OG Deth” bashes its way through the wilderness. Can you keep up?

Can you feel it? Wheez-ie’s 2015 update has been destroying dance floors all around the world for quite some time! “Touchy” burns its way through 90’s garage at a speedy 160 bpm. Not for the faint of heart!

Pinchy Don, the disc-jockeying purveyor of all things off-kilter, esoteric, eccentric, and left-field has been wobbling around the world with his singular sensibilities and releasing DJ's-DJ mixes for years, and now he's finally channeling the accumulated energy and color into a series of vinyl-only releases under the aptly named P&F RECORDINGS.

There couldn't be a more perfect, fitting starting point for the endeavor than AMARINGO (a mysterious alias of synth extraordinaire JOHN CAROLL KIRBY) which is an homage to the deceased Peruvan Ayahuaska painter Pablo Amaringo, who's art is featured on the cover.

Just like Kirby himself, a purveyor of left field exotica (who's list of collaborators includes Sebastian Tellier, Solange, and Blood Orange - to name just a few), the release is simply too slippery and menacing to fit into any one genre bucket - as it rubberbands between blocky, percussive tribal stompers and lazy new age synth jams.

The opening tune, 'Manto de Fuego (Clock of Fire),' is a heavy, plodding, party-starter that, accompanied by smatterings of reverberant, brassy horns, marches along on the one. Following it is a jazzier number, 'Supai Rana (Spirit Frog),' all aqueous, rich bass figurations contrasted with bright, spongy synth cascades.

The flip is a more drawn-out affair, with 'Yacurunas (Water People)' stretching past a ten-minute runtime and being a study in hypnosis through earthy hand-drum loops, marimba and pan flute flourishes. It starts bright but turns on its head as it morphs into another meditative dance floor stomper.

We finish the ride and tumble back into the station with 'Angleles Avatares (Angel Avatars),' a tranquil, slo-mo twist on lo-fi tropicalia.

Get ready for some original DJ culture!
As cassette tapes are making a comeback it is time for us to revive Intrauterin Tapes after a 15 years hiatus with a new release by Intrauterin Recordings mastermind baze.djunkiii who is
bringing on his latest mixtape outing „The Gangster Files“ for all lovers of original and classic UK Garage / Sublow as well as real Jungle / Drum'n'Bass headz featuring a massive vinyl selection
of rare whitelabel cuts and essential classics.

The history:
Originally launched in 2001 and operating until 2004 the Intrauterin Recordings sister label Intrauterin Tapes released eight volumes in these first years, making a previously unprecedented move in German mixtape culture in focusing on studio recorded, MC-free vinyl only DJ-mixes for true bass music lovers, covering a musical spectrum from Drum'n'Bass, DarkJungle and UK Garage, put together by both hot, emerging talent from the local Hamburg
underground as well as a special final edition featuring US-based (Dark)Jungle legend and scholar Larissa Mann a.k.a. DJ Ripley for a preliminary closing in 2004.

Benedikt Frey returns to Live At Robert Johnson with three hypnotic cuts.

Dominick Martin Aka Calibre Is Responsible For Some Of The Most Beautiful And Sublime Tracks In Drum & Bass. Releasing On The Most Distinguished Labels, Including His Own 'signature Recordings', Calibre's Distinctive Sound Has Progressed Taking On Elements Of Jazz, Funk, Dub And Techno Whilst Losing None Of Its Soul.

Brian O'sullivan Aka Jet Li First Cut His Teeth On The Decks In The Late 80's Mixing Reggae, Hip Hop & Hardcore In His Remote Island Of Valentia, Off The West Of Ireland. His First Introduction Into Drum And Bass And Jungle Came In The Early 90s's When He Moved To Manchester.

Returning To Ireland He Began Promoting Drum & Bass Nights And By 2002 Envisioned The Hugely Successful Drum & Bass Festival, 'jungle Republic', The First Of Its Kind In Ireland, Which He Co-promoted With Dj Source & Bassbin Records.

His First Production Surfaced In 2004 For Bbc1xtra's, ' Xtrabass Compilation'. More Followed On Nu Urban And He Continued Releasing On, 'phase2recordings' Which Featured A Track From Calibre.

Jet Li & Calibre Come From Opposite Ends Of Ireland. Their Love Of Drum & Bass Would Have Them Meet Often And Their Friendship Grew. Having Played Alongside Each Other Over The Years In Ireland & Europe, Their Mutual Appreciation Led To Them Collaborating In 2016, Ending In The Completion Of 6 Tunes.

Their First Release Together Will Be Out On Function Records In July 2018.

Dj Support

Fabio, Storm, Jumping Jack Frost, Spirit, Randall, Need For Mirrors, Dj Marky & More

Gorgeous, intimate yet diaphanous ambient/shoegaze from Chihei Hatakeyama, limning a sublime, ancient Japanese atmosphere through steeped electronics and billow touches of guitar to leave you refreshed and light-headed like a good cup of the green stuff. A sterling way to mark his 5th LP in 10 years for Lawrence English’s Room 40 “A few years ago I went on a trip to the Asuka region. This album, ‘Forgotten Hill’, draws all of its inspiration from this trip. The experiences I had on this journey were used as compositional guides to compile the sonic impressions I experienced during this time. The Asuka region was once land that hosted the capital of Japan from the 6th to 7th centuries. Today, it is an unpopular rice-drenched rural area, and although there are few tourists compared to Kyoto and the northern part of Nara, the region still draws people as there it features various burial mounds, known as ’Kofun’. One of these old burial mounds is called the ‘Ishibutai Kofun’, which loosely translates as Stone Stage. When I was a child, I learned about the existence of this old burial mound through Tezuka Osamu’s Manga and since that time, I always wanted to visit there.
The Ishibutai Kofun has a special characteristic, as the stone chamber/tomb has become bare. It sits barren, having fallen outside of time, left on the slope of the hill. Usually this stone chamber should be buried in the soil, however this one is exposed. I do not know why it is exposed, whether it was under construction or if it was destroyed, but this sense of time and place surrounding this object really captured my imagination. It was the spring when I visited there, and yet I was the only person in sight. I have no idea what kind of stories are trapped within this tomb, all those things seen and heard by the rock. When I stood in front of it, I was captured by the feeling that I wanted to get on the stone stage, to be consumed by the burial mound. As I went inside the stone chamber I felt a strong sense of pressure. While getting down the stairs leading to the dark stone chamber, this pressure grew stronger, it was a very particular and strange sensation.
With this record, I aimed to create music, like a labyrinth, based on these days spent in the Asuka region. This is a record about time, about losing direction in time and wondering where it is exactly the past, the present and the future might meet, and under what circumstances this might happen

DJ HAUS'S FIRST MIXTAPE OF 2013 HAD EVERYONE FROM SKREAM, DISCLOSURE, HUD MO, BREACH & KODE 9, BICEP, CANING THE SHIT OUT OF IT... MUCH TO EVERYONES SURPRISE.. PLUS RAVE REVIEWS ACROSS THE BOARD DJ HAUS RETURNS WITH A MINI 4 TRACK EP INTRODUCING THE SPACE JAMS SERIES - WOW!!!!

Gantz debuts on Exit Records with two tracks that set him apart from his contemporaries. This release sits perfectly on the label, Gantz has captured the essence of what Exit Records is whilst also moving his artistry further. He delivers two vocal tracks, Garam ft Amos and Rabid ft. Elif Dikec. Amos is a part of A/T/O/S, a duo with a discography that included an album on Deep Medi, Elif Dikec is a classically trained musician and a producer in her own right.

Kanot is Jesper Jarold and Anton Kolbe. With their wide open ears and sharp sense of adaptation they have been involved in some of the last year’s most interesting Swedish musical acts - Fontän, Tross, Uran Gbg, Ultra Satan among others. With the help of Lindha Kallerdahl’s expressive vocals, Jarold and Kolbe weave an eclectic yet durable sonic textile. Call it music for psychadelic hiking, primitive dance beats or speculative folk music - most of all, it is unrestrained music, for the smartest and the dumbest kid in the classroom. In the dense, and at the same time airy production, some drums anchor themselves steadily into the ground while others lash out like reverberating rhythmic gunshots. The tones from Jesper’s guitar and fretless bass float like leaves on the Drangme Chhu River, at times almost drowning in effects only to resurface in surprising and skillfully chiseled melodies that could play forever. This Höga Nord Rekords 7” is just a teaser of an exciting collaboration of which we have yet only seen the opening credits!

The debut Pact Infernal LP gets a well deserved re press on all new coloured vinyl.

The concrète riddle of ’Thalia’ is the Nurse With Wound-listed and cultishly desired Roger Doyle
album withdrawn by CBS Classics shortly after its release in 1978. Less than 200 copies reached
shops some three years after his distinctive debut ‘Oizzo No’ (1975) - which was reissued by
Finders Keepers Cacophonic label to receptive ears in 2018 - and in retrospect the resurfacing of
‘Thalia’ follows that wonderfully odd LP to cement Doyle’s place among the outsider pioneers of
‘70s electronic and avant-garde tape composition
Arguably one of the most important experimental records to emerge from 20th century Ireland,
‘Thalia’ is coveted for its inventive, unpredictable, near-psychedelic brilliance, yet has remained
scarce due to major label politics, meaning listeners had to fork out a ton for a 2nd hand copy.
Now readily available on its intended format, the keening, breezy logic and abstract theatric
dramaturgy of Doyle’s work on ‘Thalia’ has been reshuffled to highlight its apparent surreality
and frolicking apparitions. Combining his studious research and prep work at Utrecht Institute
of Sonology (then home to Roland Kayn, Leo Küpper, Jaap Vink) and the studios of Finnish Radio
(Yleisradio) Helsinki with a finely honed improvisational intuition at his home studio in Malahide,
Dublin, the record yields a poetic diffusion of electro-acoustic phantasms meshed with politicised
and unsettling field recordings, alongside a mad, experimental solo piano piece.
The 3-part title track is the biggest attraction on ‘Thalia.’ Acting as a sort of shamanic extension
of Gaelic bardic traditions, Doyle guides the listener through labyrinthine dimensions, vacillating
tape FX with stark synth pulses, fragments of ‘Danny Boy’ and the unsettling sound of a woman
wailing or even keening (a lament for the dead) in only the first minutes, the piece spirals over two
sides between obtuse electronics and jump-cuts to melancholy strums, airborne melody and rabid
dissonance with the natural quality of Ireland’s ever-shifting interplay of sun, rain and clouds. The
relatively brief ‘Baby Grand’ follows as a sort of playful solo piano palate cleanser for the LP’s purest
electronic piece ‘Solar Eyes’, which surely recalls the iridescent expanses of Roland Kayn or Jaap
Vink’s cybernetic music as much as Coil’s ‘pHILM #1’ as ELpH.

Our debut vinyl release is a four track EP produced by Tom Chamoun aka SBK (Montreal) featuring collaborations with Ourman (Paris) & Quasar (Paris)

Shovel Knight began as a modest, yet highly promising Kickstarter project in March 2013. Billed as 'a groundbreaking love letter to 8 bits!' by Indie developer Yacht Club Games, this 2D side-scrolling platform game released in June 2014 to universal praise and accolades. Fans and industry professionals praised Shovel Knight for its charming retro-2D visuals, humorous story, fun characters and strong gameplay design, which all came together to offer a game that is nostalgic yet very modern. The efforts of Yacht Club Games paid off when Shovel Knight was won the prestigious 'Best Independent Game' award at The Game Awards 2014. The game's chiptune soundtrack, composed by Jake Kaufman and Manami Matsumae, is integral to the game's modern-retro identity and has been similarly praised for its outstanding arrangements, memorable melodies and strong technical composition. This definitive soundtrack contains all music from the original Shovel Knight game released in June 2014, with a vinyl tracklist crafted by Jake Kaufman himself. The package cover and inner-gatefold have been designed exclusively for the soundtrack by Hitoshi Ariga; an interview with co-composer Manami Matsumae; and character artwork from the game.

Samurai Music's Russian connection - Saint Petersburg-based Torn has refined his hi-tech dread to maximum efficacy since his solo vinyl debut on Samurai sister label Shiro in 2017. The Internal EP sees his sculpted malaise reaching a creative peak, completing construction on a distinctive desolation he now inhabits like a second skin. 'Acheron' - an inevitable collaboration with Homemade Weapons, sees these two masters of menace fusing their rhythmic prowess into a sleek, malicious tear, while the 3 solo tunes display Torn's newfound artistic maturity with pride and vigour. Sharpened breakbeat spears are deftly welded to Torn's pounding pulses of gloom, with lead track 'Internal' being the most dominating stylistic showcase on the EP. A forceful statement from one of drum and bass music's more promising new talents.

It's quite unbelievable that it is now 10 years in passing that Smokin' Sessions was launched as a Record label and their releases history has been nothing short of magnificent!

To mark the occasion the label is releasing a compilation - The Session - which will aim to consolidate the label's legacy and celebrate the label's future as a key player within the UK- and indeed the world's electronic music landscape.

Expect long out-of-press and highly sought-after classics & recordings from the likes of Djrum, Synkro, Geode, Biome, Versa & Rowl, as well as an abundance of fresh material from the label's new signing Escapism Refuge.

Escapism Refuge also provides us with a stunning DJ mix that accompanies the release that is a magical journey through the labels sound.

2 step beats with loads of shuffle provides the back bone of the Smokin' Sessions sound, with influences of Jazz, Garage, ambient soundscapes and a good serving of Bass to round it all off.

Double pack Vinyl includes Download Card.

Early DJ Support comes from Compa (Deep Medi), J Kenzo (Rinse FM), Synkro (Appolo / R&S), Biome (Levelz / too many to mention) N-Type (Rinse FM), Don Letts (BBC Raio 6Music), Lefto and Tim Parker (Rinse FM) too name some highlight names.

In celebration of Liondub International’s 10 year anniversary, NYC’s Liondub selected the top tracks from the Jungle To The World series and compiled them into limited edition 12” vinyl releases exclusively for Unearthed Sounds.

Volume 2 includes an incredible array of artists and producers including: Bladerunner, Serial Killaz, Marcus Visionary, Reggae Legends Johnny Osbourne & Ranking Joe, MC Navigator, Jamalski, Rocker T, Liondub, Bluntskull, and DJ Westy.

Guaranteed to move fast, this LTD 12” contains 4 tracks that been tried and tested on radio and in the clubs.


DJ Support
Crissy Cris, Bryan Gee, A Sides, Aphrodite, Dillinja, Marky, Profile, Doc Scott, Dr. Meaker, Erb N Dub, Freestylers, Jaguar Skills, Chopstick Dubplate, Jayline, DJ Phantasy, Ray Keith, Uncle Dugs, Serial Killaz, TC & more.

The new Samurai Music series of 12"s - Samurai Hannya - are based on the mythical masks of a Noh drama (a form of traditional Japanese theatre). Hannya masks capture the stages of transformation of a female character as she undergoes a metamorphosis into a demon / ogre. This transformation is caused by deep sadness and anger, fuelled by intense jealousy. The mask embodies the resentment and fierce obsession of this character. Its horrible look gives us an impression that it is not just a grotesque monster, but that it also expresses the deep sadness of human beings. A cautionary tale of the power of negative emotions portrayed aptly in this infamous play. Hannya masks are also very popular with tattooists around the world along with many other characters and symbols from the fascinating Japanese mythology.

The 12”s for the Samurai Hannya series are named after these 3 stages / masks and feature all new tracks from the Samurai family of artists created specifically for this project. The series introduces a new Russian artist Roho, plus the first two collaborations from label head Presha (with Homemade Weapons & Ancestral Voices) alongside label regulars Homemade Weapons, The Untouchables, Torn, Artilect, Last Life, Antagonist, and for the first time on Samurai, Weaponry artists Torana.

In December 2017, we released our first various artists LP, ‘Edition 1’. With this new release, we proudly present the second chapter of various artist EP’s titled; ‘Folio /2’. We have assembled a small group of our favorite artists for this 4 track EP: Hyroglifics, SubMarine, label head Alix Perez, and label newcomers Visages, Lavance, and Scepticz.

Om Unit's Cosmic Bridge label returns with 'Dark Matter', its first compilation since 2017's 'Cosmology Selections', offering a fresh snapshot of the exciting possibilities and experiments happening at the intersection of hip-hop, jungle and bass music; a hybrid sound the label has pioneered since its first release eight years ago. Across 14 tracks, 'Dark Matter' showcases Cosmic Bridge's growing global roster of artists: Moresounds, Danny Scrilla, Proc Fiskal, Margari's Kid, Oliver Yorke, J:Kenzo, TMSV, vromm, alongside new faces Samba and Rude Operator, and perennial favorites Es.tereo, Synkro and Djrum, the latter two in collaboration with label head Om Unit. Dark Matter is a finely crafted statement of intent from Cosmic Bridge and Om Unit, shunning easy self-congratulation for a dive into the musical potentials and connections of a sound that is now an established part of the global bass music vocabulary.

Jono Podmore writes… "After the release of our 7" single 'Miss Slipper'/'Lewes' on Psychomat Records in 2017 it was time for another release in keeping with our spirit of adventure and interrogation of established forms. We'd played a few improvised shows which lead us to think of combining the anvil of the audience with the hammer of recording. A plan was hatched to create an event that would lead to an artefact–both an open recording session and a recorded event: a site-specific incident and a time-specific document. A number of venues between our homes and workplaces in London, Köln and Düsseldorf were mooted. Suddenly Swantje found herself in possession of the keys to the Hallraum...

10th August 2018 was a balmy night on Worringerplatz. The good, bad and the ugly of Düsseldorf were out in force; promenading their profusion of languages, habits, needs and grudges. The architect of the platz built benches (Bänke in German) into the design, so the homeless that gather on the Bänke to put their tired feet up and have a drink, have become known as the "Bankers". Nestling under the trees on the northern corner of the platz is the Hallraum: a wee glasshouse that functions as a gallery, a venue and as a piece of public sculpture in its own right.

We set up our gear, a PA system and an array of microphones amidst an installation in the Hallraum, opened up the doors and windows, then played for the peoples of Worringerplatz, gathering an audience as we went along. Setting the panes of glass rattling, accompanying the trams, serenading the bankers and those hungry for Pizza und Kultur, we played karaoke to the sounds of the platz. As we busied ourselves in the Hallraum, fellow traveller Kai Winter, armed with a digital recorder and synchronized to the master clock, prowled Worringerplatz and beyond to capture the environment mingling with our sound writing and wave shaping. Later, all the sources were brought together and mixed exactly as they happened in time and place to produce these pieces.

The artwork takes a similar trajectory: photos from the event are mixed, printed, collaged, balanced, re-processed, enhanced and degraded to produce a unique and enigmatic image." – Jono Podmore, London, 16 August 2019.

We are super stoked to welcome back 3WA aka The Portuguese Serial Killer aka The Christiano Ronaldo of Dubstep for another fire release on Foundation Audio (this time around getting the vinyl treatment)! Pedro has got many tricks up his sleeves. Here are 4 of his finest. Make no mistake he will nutmeg you, dribble around you, Ronaldo chop past you and handball the finest goal without the ref seeing (and he’ll make it look easyyyy)… What’s more to say? The guys a wizard and makes some of the most interesting music in the Dubstep scene. Get to know if you don’t already!!!

From stunning beaches, to delivering some of the most pivotal tracks across festival season, SUNANDBASS have helped define the soundtrack of a party-going generation. Well-known for providing the weeklong drum & bass festival in Sardinia, they've also turned their attention to delivering the type of sounds which you'll find at their sun-drenched spaces. Whether that's the music of Satl's recent 'Bravehearts' EP or the forthcoming package from ArpXP, there's a range of tastes catered for on their record label.

ArpXP also has a personal attachment to SUNANDBASS – through his work behind the scenes, he's enabled the festival to grow into the renowned event that it is today. Based in Cagliari, on the same island that SUNANDBASS takes place, His style, from 120 to 170 bpm and with influences ranging from jazz to techno, from ambient to covers the contemporary bass music spectrum. His work as the visual and creative manager for SUNANDBASS, as well as seminal imprint Metalheadz, has meant that he’s continually stayed on the pulse when it’s come to label’s vision, something which is clearly reflected in his music.

His 'Somewhere Else' EP is demonstrative of his affinity for drum & bass music, featuring five tracks and a host of collaborative names. This should come as no surprise, with his influence within the genre and the extensive DJ support he's received (including figures such as Calibre and Lenzman).

Following his 2012 debut album 'Closer' and his releases on labels such as Metalheadz and many more, the 'Somewhere Else' EP is another return to form. From the grooves of 'Radar' with HLZ, to Visionobi's winding lyrics across title-track 'Somewhere Else', through to its Was A Be rework, ArpXP takes you on a journey. '2004' with its slamming drums adds itself to the track listing, whilst Robert Manos joins ArpXP for the smooth sonics of 'Lost'.

SUNANDBASS offer another high-quality addition to their growing catalogue of music and it's to see how they created such a revered calendar date within the drum & bass community. SUNANDBASS are ready for another seminal edition of their festival and with it comes a host of new music from their imprint.

The crucial elements in many Jungle tracks are in this E.P.
Atmospherics, breakbeats and basslines that sing to you.
Digital & Response start the E.P. with a 160 bpm, breakbeat, dubbed out 4 to the floor track called, ‘Broken Dub’.
‘Tell Me’ has a little bit of Amen choppage about it and rumbling bass topped with sweet and sensual vocals.
‘Hung Up’ is a drifty, spaced-out smooth number with bass that takes you to a place you’ve never heard before.
Finally, ‘Plastic Dreams’ reminds you of the kind of track you’d play at Fabio’s night, speed to get everyone up dancing.

The title track, “We On 1” is the pinnacle of footwork minimalism. Gut wrenching subs compliment Rashad’s own vocals in this syrup laden anthem! Not for the faint of heart!

Rashad teams up with longtime partner in crime DJ Spinn for “Come On Girl.” Drawing from their Ghetto House roots, Rashad and Spinn have crafted a club banger guaranteed to destroy dance floors.

Proudly presenting the 'Broken Home' EP from label newcomers Dogger, Mindstate & Liam Bailey. The title track has already found much acclaim, with Calibre ending many of his sets with it. 1985 Music is renowned for our minimal, but also more melodic, nuanced dnb, so we thought it fitting to go back to this sound, and these roots for this release. This soulful, musical 4 track EP is modern liquid at its finest, with the highly respected Liam Bailey on vocals laying down the hooks. Available on 5th April on vinyl and digital.

Proudly presenting the 'Broken Home' EP from label newcomers Dogger, Mindstate & Liam Bailey. The title track has already found much acclaim, with Calibre ending many of his sets with it. 1985 Music is renowned for our minimal, but also more melodic, nuanced dnb, so we thought it fitting to go back to this sound, and these roots for this release. This soulful, musical 4 track EP is modern liquid at its finest, with the highly respected Liam Bailey on vocals laying down the hooks. Available on 5th April on vinyl and digital.

Etch's 'Ups & Downs' album is a collection of dubs which date as far back as 2014 and up to the present day. The album's tracks are united by being examples of the artists' efforts to escape the shackles of reality by using music as a vehicle.

"Timeless", Goldie's first album in 1995, changed the face of the musical culture in England by democratizing the drum & bass scene, conscripting Goldie as a local star. But not only: with the
enthusiastic support from artists such as David Bowie, he crossed the Channel and the Atlantic.
However, while everyone was waiting impatiently the following of "Timeless", Goldie had other plans: with "Saturnz Return" (1998) he came back with a concept album of 150 minutes (in its CD version), innovative, experimental and cleavable.
21 years later, his radical and innovative vision was taken up and adapted by many artists, from Carl Craig to Pete Tong. For the first time, thanks to London Music Stream label, "Saturnz Return" is finally ready to receive the critical reception it should have received when it was released. The avant-garde has become a reference.

The long awaited answer from the notorious southern-hemispherian sound system, Subtle Sound System. This debut release from their record label aptly named Subtle Recordings is bringing some heavy weight straight out of Christchurch, New Zealand, first up with local legend Headland. Exquisitely imprinted 'no holds bar' by the masterful Optimal Media in a full art sleeve, this 180 gram, vinyl only, no-repress recording superbly ushers in a new beginning for the sound system and is another pillar of foundation to the future sound of bass music.

Headland, with his atmospheric soundscapes, sparatic drums, jarring percussion and punishing basslines, has been taking his unique sound to the world for the past few years and has sequentially been picked up by some of the most forward thinking labels in the bass music scene. From notoriety like Innamind Recordings and Zam Zam Sounds, Headland is one of the most noteworthy artists on the scene today and is a staple in sets from artists including, Samba, Mala, VIVEK, Commodo, Sleeper, just to name a few. Headland's infamy continues on Subtle Recordings debut release with the two outstanding tracks, Quiver and Deathbed.

From a spacious beginning, Quiver quickly builds pressure, manifesting into a track that by the end of, you'll have to regroup your crew as all would have been taken on their own solo journey. Navigate through high level percussion, sonic stabs, sub-temperate basslines and menacing vocals, all encompassed within a 130 bpm landscape where the richters leave you feeling vulnerable and insignificant. Quiver is a force of nature not to be taken lightly. After setting the stage, this behemoth pushes to another level, with erratic note changes and misplaced beats, before opening up to a plateau of relative safety within rolling basslines and familiar haunts. Recollecting yourself, you are once again thrust into unknown territory. A barrage of death blows commences until eventually you find yourself on the other side, disorientated, demoralised, but thankfully unharmed. With support from dons like Gantz, Boofy, J Kenzo, Mr K, Quiver has begun to leave its mark through the next frontier of bass music.

A usually silent, still and chilly affair, Deathbed is anything but, with its uplifting groove, conscious beat scape and warm bassline. But don't get too cosy, cause this assortment of frequencies is cold. Foreboding basslines. Wholesome mids. Trademark Headland accents. Deathbed builds in monumental 140 bpm splendure, in a simplistic formation, that will have you calling home to tell Mum of your triumphant return. Bask in all the glory as the track sheds back into its essential ingredients before collapsing into a well rewarded breakdown. Another confident drop will re-immerse you within the ride, reminiscent of what has been conquered and celebrated in the dystopian sound Headland has crafted in this atmospheric masterpiece. Banging dancefloors worldwide by artists like, Commodo, VIVEK. Deathbed produces the goods for an old fashioned shelling.

Four track EP featuring 1993 style hardcore/jungle tracks from one of the scenes hottest new artists Hyped on Acid.

FPO (onesheet currently in development):

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The digitally remastered release of JAK3's Moonlight Radiation is a menagerie of cyberpunk mutations arising out of the Memphis revival rap movement. The album's big, blown-out sound might have seemed an incidental result of an analog recording process in its original cassette release. Now, rendered in digital clarity, listeners can better perceive how JAK3 sculpts varying degrees of panic, aggression and resolve very intentionally through the hard mix of industrial noise, inventive beats, flush synths and recordings from a slew of rappers including Freddie Dredd (Toronto), Apoc Krysis (Memphis), and fellow Waistdeep Clique members Agnarkea and Calsutmoran.

The short format of Moonlight Radiation's 16 tracks allows JAK3 to cover a lot of ground, and even within a single track he keeps one guessing. Track 2, "2FAKE," goes from an atmospheric burn, to a slow drive with the snappy flow of Moistbread, and then abruptly crashes back into an oozing vortex of synths. The penultimate interlude "Return from Hyperspace" sounds like one is being forced through a hellish modem, only to land in a haunted and abandoned transmitter for the closing track, "This Night Will Never End."

Between, those tracks, one gets a tour of the wild possibilities that could come next from this producer and the sounds emerging from the Memphis chopped-and-screwed scene. In a milieu that is retreading the past, the mutants of Moonlight Radiation may seem to be arriving a little prematurely. But you can't stop evolution when the field is so wide, and young producers like JAK3 are moving fast.

Lokane has confirmed himself as a crucial player in the London bass scene in 2015, having already played at Scratcha DVA's ALLYALLRECORDS' Boiler Roomamongst veterans Mickey Pearce and Addison Groove, before even dropping his first record.

Now, after having released his debut EP on Infinite Machine last year, Lokane, akaLoz Caulton, has his next one soon to drop. 'Visions EP' is set to drop on vinyl and digital early in March on his affiliated label, Nervous Horizons as well as a remix ofScratcha DVA and Addison groove's 'Allyallrecords' being released on Hyperdub inMarch.

Lokane first caught attention when key producers and radio dj's began bringing his tracks to light across London clubs and radio stations. Plastician, SBTRKT andScratcha DVA were amongst the first to help build Lokane's reputation within the scene. Having aired guest mixes on Rinse FM for Plastician and Roska, Caulton has since shown us exactly what he's about in his outstanding ID Magazine mix, later followed by his high energy 'On Deck' mix for Vice's, THUMP.

Having progressed a long way from his previous low end, 140 inspired productions, Lokane has since transformed into the electric, Club based artist that we know him as today. With his unique style deriving from a diverse background of genres, you can be sure to expect an explosive merge of Club-inspired, future 808 sounds in his latest work and sets.

Fresh from the frontiers of modern jungle, Rupture returns with a monolithic EP from new-comer Mani Festo. The tightly textured breaks of 'Immortal' create the foundation for a set of stabs that will cut through even the foggiest dance floor; while 'Awake' balances a dreamy pad atop cascading percussion and a thick, rumbling bass line. On the flip, snatches of 808 claps flicker in the shadows of heavily crushed drums before a familiar sample of off-world blues noir flows across the entire operation in 'Hold the Line'' - a track that has earned a lot of attention since being on heavy rotation in Rupture residents' DJ sets. Finally, closing track 'Warehouse Theory' stacks disembodied organ riffs over driving breaks to round off Mani Festo's debut Rupture release.

WRWTFWW Records is immensely happy to announce the reissue of impossible-to-find cult album Lady Maid by Japanese outfit Normal Brain, available on vinyl, digipack CD (for the first time ever), cassette, and digital, with liner notes by acclaimed sound artist and mastermind behind the project, Yukio Fujimoto.

Originally released in 1981 as a limited vinyl pressing of 300 copies on Agi Yuzurus fabled experimental label Vanity Records (R.N.A. Organism, Dada, Sympathy Nervous, Tolerance), Lady Maid is a testament to the creativity of the early 80s Japanese electronic and experimental scene, encapsulating a prolific era when audio gear became affordable for musicians to explore sounds in the comfort of their home, free from studio time pressure and major label rules.

Entirely imagined and brought to life by an inspired Yukio Fujimoto, the 6-track opus was conceived with a Korg MS-20, a Korg SQ-10, a Boss Dr. Rhythm DR-55, anda Texas Instruments Speak & Spell! Its elegantly minimalist, honest and witty, very playful, cleverly pop, and downright fascinating. The a-side captures the fun side of avant-garde electronica, lo-fi wave, proto-glitch, and IDM, a joyful ride beautifully interrupted by the cinematic mood switch of the b-side - a 20 minute ambient piece flirting with sci-fi, melancholy, and hints of metallic darkness. Unclassifiable and marvelous!

Dubplate’s Don Persian has repressed this Hardcore Breaks Techno Riddim, seeing there were only 100 in existence before going for crazy prices, now including a mix from S.Bell capturing a shimmering soundscape vibe, adding perfection to his unsung abilities. This E.P. has some speaker destroyer’s on there, introducing the MixMaster Max into the pot alongside the Persian doing what can only be called world dub music. Sterling breaks shuffling at a downtempo 8 bit vibe with a really heavy bass! MixMaster Max’s history is interesting to say the least...

Born October 1966. Break Dancer in 1984, under the moniker Mad Max, started a crew named The Back Street Warriors, busking all over the UK at places such as Covent Garden/Leicester Square Performing on stage & in clubs. They once jammed with The Rock Steady Crew in Camden Palace in front of an audience.

Then in 1987 he became a DJ, playing all genre’s of music, he first played on RJR Radio, playing Electro, Hip Hop, Soul, R&B & Reggae. Moving forward he started playing Acid House & Four to the Floor Music styles, by the early 90’s he played on Weekend Rush & then went onto Defection, Touchdown, Don & Passion FM, playing Acid & Hardcore Jungle.

In the early day’s, MixMaster Max was one of the Innovator’s of Jungle music by mixing Hardcore, Reggae & Hip Hop together, helping other’s to produce, fuse & gain idea’s in the music industry. He was by Far the most Original, Innovative, DJ anybody had ever heard.

In 1991 he played alongside John Saunderson at the Camden Palace on a Friday night, he also played at the Famous Hacienda Club in Manchester.

He was the first DJ to create the Topsy Turvey, which is one turntable on top of the other, he came runner up in the DMC World Championships in the early 90’s.

He played at some of the Biggest Rave’s back in the day, Pirate club 93, Fantazia 92, Dungeon’s 91/92, Turnmills 92, to mention a few. He also played on Avenues FM & People’s Choice, which were legal Radio Station’s, not forgetting Kool FM & Centreforce.

He performed on stage with the We Papa Girl Rapper’s in 1990 at the Notting Hill Carnival. This Legendary Cult figure is a Master of the Nunchucker’s & TurnTable’s!

His innovative Mixes were ‘legendary’ he was a pioneer precursor to the Art form known as Jungle Music, not to mention his Scratching abilities, which was ‘extraordinary’!

For those that listened to pirate radio back in the day, he was the legendary cult figure that inspired us all, giving us the freshest musical styles that had never been heard before!

He can still be heard on Radio today...What an inspiration this Unsung Hero has been to us All!

After making his initial mark with a grinding fog of slowed Techno on Sigha's Our Circula Sound label, Michael Jefford aka Positive Centre has traversed the electronic BPM scale with a sonic signature of ghostly synthetics that make the switch between industrial aesthetics and illusory sound-scaping.
Within this nucleus, Jefford's recorded history as a Live Performing Artist, DJ and Producer has always reflected what at once can be microscopic, whilst still being the largest object in view. Each track on Forever Optimum sets a different location and perspective on an active set of mechanics - like watching fragments in motion, reacting to different forces.
Having previously released for a range of Techno's more adventurous labels including SNTS, Stroboscopic Artefacts, Opal Tapes and not forgetting his own In Silent Series label. Positive Centre's 3rd Album 'Forever Optimum' stands as a beautiful anomaly in the 2018 HORO catalogue. Continuing the point of the HORO label: being open to the beguiling musical arcs that keep us redefining our sound.

Profane's Guardian immediately starts into the main melody and rhythm with a filtered bass synth. Additional percussion elements both synthetic and sampled build on the central idea morphing between sparse and dense layering. Staying true to Profane's sound, hints of funk samples are dropped throughout the piece.
Iceberg 74 is broken soul music with a clangy, aggressive drum break falling on top of looped guitar samples and quick excerpts of soulful singing. In the second half, the bass starts reinforcing the rhythm bringing up the energy even more. The drums abruptly stop at the end.
Shift's Juju leaps into a vibe like late 90's dark jazz Tech Step but with large amounts of variation on the rhythm. The percussion is sharp and a rapidly evolving. Double bass and squelching synth notes trade off. This is a high energy piece.

Totem has a drum break which is a bit muted sounding sitting with sparse, delayed sax samples. The melody is a double bass loop which sits around the stuttering pattern of the drum break. The second half takes the melody and twists it into an instrument a bit like tuned steel drums.

SATL has already carved himself into the repertoire of drum & bass, something which can be seen through a succession of releases which have helped push him as a part of its more soulful trenches. SATL is a frequent traveler and performer at SUNANDBASS in Sardinia, also taking pride of place within our SUNANDBASS Recordings tour parties, enabling him to debut his music across a wide-ranging fan base. For him to release an EP on the SUNANDBASS imprint comes as little surprise, with the producer already deeply involved with the SUNANDBASS family.

The 'Braveheart' EP is an intricate look into the sounds which build SATL’s musicality – from its title track featuring Dan Stezo, through to digital bonus 'Maj', it pedestals the direction which has enabled SATL to receive such worldwide recognition. The winding pads of ‘Bravehearts’ and the gloomy lyricism of Dan Stezo gives a darker edge to the opening track, whilst 'Acid Trip' is an immersive experience, one with an urgency that catapults you into its first breakdown. 'Low End Theory' shakes through to its core with a stocky heaviness, then 'Maj' (digital only) takes you down a lighter route, one underpinned by its swatches of tinkling percussion.

From beginning to end, SATL takes you on a journey and it’s one with the mechanics that he’s becoming renowned for. Joining SUNANDBASS Recordings once again, it’ll be a welcome addition for any DJ and fan looking to add to another gem to their catalogue.