Beats News

Following a monster 12" from Bones & Natty earlier in 2019, Foxy Jangle returns with one of modern Jungle's freshest up and coming artists – Lynch Kingsley.

With previous releases on Rua Sound, Med School and Flexout Audio under his belt, Lynch hinted at his own darker new sound with 'Void', on Inperspective Records last year.

LK's Foxy Jangle debut explores this dark, complex space further, delivering a double uppercut of cerebral, visceral jungle futurism. With a clear nod to past masters, Lynch's craftmanship takes classic signatures forward into the unknown, with hyperdetailed sound design and razor-sharp precision drum programming across both sides.

Coming in at a combined length of 15 minutes, both tracks have a dense, epic feel, making for an intensive headphone workout. This is challenging music at its rewarding best.

Ten incredible albums culled from the deepest, weirdest co-op of record enthusiasts ever gathered under one banner. We've spared no expense packaging these, pairing the idea of the Art of Compilation with living and breathing art, creating little fortune cookies baked in a factory of forgotten dreams. Video games, pyramids, trading cards, matchbooks, a working planisphere, mazes, lottery tickets, film canisters, yearbooks, and various other exercises in design absurdity.

In January, we'll kick this mini-verse off with Escape From Synth City, a hero's quest worth of staccato synths, crack house Casios, off-brand drum machines, minimal Morricone, four-track fantasia, and a variety of other speculations on what the 1980s thought the future would sound like. Packaged in a 12'x12' Nintendo Entertainment System-styled jacket, replete with game sticker, die-cut outer sleeve, debossed cartridge inner sleeve, and art from our first video game, playable from the comfort of your PC

Kromestar vs. Ironsoul Pt. II. Heated dubstep and grime bangers from one of the pioneers of both dubstep and grime

Fede Lng is back on Axe On Wax.
This time he delivers a more chilled out Ep compared to his usual dancefloor output.
Ep features remixes from 2 of the most exciting female names in the game right now, Yu Su and Ciel + a collaboration with Miami based artist Mojeaux.

Global tracks is a mystery; browsing the name online gives nothing associated with the artist. All we really know is that Gothenburg is home base. Most points toward that this is Global Tracks first release and Hoga Nord Rekords are more than proud to be first out giving his/her music out.

With albums like 'Selected Ambient Works' by the Aphex Twin and cities like London and Sheffield as a ground for the sound, Global Tracks displays how breakbeats should sound in 2019. The music is mostly influenced by Jungle, but also by Footwork and Dancehall. The roots lie shallow but the phantom behind this music don't give up with trying to recreate the nineties straight up, instead he/she develops the legacy from all the best and most drug marinated DJ:s from England circa 1995.

Breakbeat has a new vanguard in this mysterious shadow crawler that we know almost nothing about, but rumor has it Global Tracks is locked up with the machines under ground somewhere in Vastra Gotaland in Sweden working on new broke up beats, ready to surface when the time is right for more, deep and ganja oozing dance music!

Iona Fortune crystallises and convects enchanting thoughts on the legendary I Ching in a keenly
awaited 2nd volume of ’Tao of I’, following from her resoundingly acclaimed 2017 debut for Optimo
Music, where lustrous synthetic subbass meets traditional Chinese strings with sublimely spirited
and timeless effect
Issued by Ecstatic as the 2nd of 8 albums by Iona exploring hexagrams of the I Ching, or ‘The
Book of Changes’ - a 2500 year old Chinese divination text referenced extensively in religion, art,
philosophy, psychoanalysis, science and mathematics - ‘Tao of I Vol. 2’ sees the Glasgow-raised,
Zurich-based artist refer to millennia of human experience thru an electro-acoustic prism of
Synthi AKS, Guzheng and Gamelan, newly expanded with Erhu, Kim, Yanqin, Zhong and Bawu. The
wider scope of her palette allows a greater detail of airy calligraphic expression to her multi-
dimensional microcosmos, channelling a wondrous energy in a fluidly melodic narration of mystic
ideas made musically tangible.
In eight parts Iona acts as conduit for extraordinary, invisible and arcane forces. Inspired by the
I Ching’s fundamental principles, her music resonates with a visceral and cosmic conception of
human essence, infusing minimalist frameworks with finely tempered but lush emotive cues that
bring to life the I Ching’s conviction that “music has the power to ease tension within the heart
and to loosen the grip of obscure emotions.” Iona’s music most beautifully manifests this idea
in concisely exacting forms and to contemplative ends, creating a slow, serene and harmonious
music that coolly commands relaxed states of reception, best for mulling over life, and stuff.
At once as light as a fleeting thought but permanent as an organism passing on its code, the music
conjures mindsets comparable to Coil at their uncanniest, the post-erotica 4th world sensations
generated by Jon Hassell, or the dark energy expressed in David Lynch films and their soundtracks.
Most crucially Iona achieves this through a synthesis of self-exploration and instrumental
actualisation, employing an unusual composition strategy of inner cultivation and empathic
performance to divine and realise a spellbinding, penetrative otherness.

Aspiring to connect with a world beyond our consciousness and our planet, nimiia vibié sounds
the interactions between a neural network, audio recordings of early Martian language, and
microscopic footage of extremophilic space bacteria. Here, the computer is a medium, channeling
messages from entities that usually cannot speak.
However, it is also an alien of our creation. Drawing on nimiia cétiï, Jenna Sutela’s project on
machine learning and interspecies communication, the record manifests a more-than-human
language. This language is based on the computer’s interpretation of a Martian tongue from the
late 1800s, originally channeled by the French medium Hélène Smith and now voiced by Sutela, as
well as the movement of Bacillus subtilis, an extreme loving bacterium that, according to recent
spaceflight experimentation, can survive on Mars. The bacterium is also present in nattō, or
fermented soybeans, a probiotic food considered as a secret to long life. Beyond Bacterial-Martian
culture, or Martian gut bacteria, the project attempts to express the nonhuman condition of
computers that work as our interlocutors and infrastructure.
Jenna Sutela works with words, sounds, and other living materials. Her audiovisual pieces,
sculptures, and performances seek to identify and react to precarious social and material
moments, often in relation to technology. Sutela’s work has been presented at museums and art
contexts internationally, including Guggenheim Bilbao, Museum of Contemporary Art Tokyo,
and Serpentine Galleries. She is a Visiting Artist at The MIT Center for Art, Science & Technology
(CAST) in 2019-20. The project originates in n-dimensions, Google Arts & Culture’s artist-in-
residence program at Somerset House Studios. Machine learning in collaboration with Memo
Akten and Damien Henry. Miako Klein in the contrabass recorder and Shin-Joo Morgantini in the
flute, with sound production by Ville Haimala.

When Giampaolo Scapigliati was a kid he liked to explore the hidden abandoned places in the outskirts of his hometown, Viterbo. Especially those natural pools in the middle of nowhere that attract tourists for their sulfurous healing water, not welcoming smell and obscure plants. What he cherished the most, though, was its fascinating aura, one that can only emanate from an immortal ancient site. This kind of mysterious mood is what inspires "Sulfureo", his second album as Lamusa II. Along its eleven cuts, Giampaolo experiments with wet percussive sounds, drum machines, syndrums, echos and analog and digital synthesizers programmed with sequencers and midi devices that, in his own words, "created different paths when crossing on each other". In contrast to all of this synchronization, he also experiments with guitars and bass, using a live "free approach" reminiscent of krautrock and new wave obscurities. Also near Viterbo is located the monumental complex of 'Sacro Bosco', where Giampaolo spent many afternoons walking and losing himself inside the weirdness and charm of that place. Surrounded by the grotesque sculptures, enigmatic buildings hidden among the abandoned vegetation and gloomy animals sounds he used to leap into imaginary alternative states that represented some kind of 'journey of initiation'. Now located in Paris, "away from home, from the nature and from those childhood places", he revisited all of those feelings and moods to create a sonic trip at least as equally fascinating.

Over the years, Phil Mison has become the go-to selector for those looking for Ibiza-themed compilations. None of his previous collections, though, have been quite as personal as Out Of The Blue, a compilation inspired by his first spell behind the decks at the Café Del Mar in 1993 - and the remarkable chain of events leading up to it.

Mison made his first trip to Ibiza in the summer of 1991 and quickly fell in love with the magical music being played by Café Del Mar resident DJ, Jose Padilla. On his return to the UK, Mison began to cultivate his own take on the laidback, open-minded style, recording mix-tapes of Ibiza style chill out' tunes to give to friends.

In November 1992, Mison was hanging out in Tag Records, Soho, when Padilla walked in. He plucked up the courage to speak to the Spaniard because earlier that summer Mison had given one of his friends some tapes to take out to Jose in Ibiza so he wanted to see if he had got them. During the conversation Mison invited him down to his next DJ set at Nicky Holloway's club, the Milk Bar and less than three months later, and clearly impressed by what he'd heard on the tapes, Padilla invited Mison to fill in for him at the Café Del Mar, beginning in April '93.

It's that first trip to DJ in Ibiza - a crazy six-weeks spent dividing his time between spinning records at Café Del Mar, hanging out in Jose Padilla's house in the hills, and meeting some particularly eccentric White Isle residents - that proved the inspiration for Out Of The Blue.

The compilation contains a mixture of records that Mison played in his earliest Ibiza sets, those that remind him of that period, and recent discoveries that boast a similarly warm, loved-up vibe. Mison is at pains to point out that it's not a track-for-track representation of his first sets, but rather a collection inspired by this most momentous of experiences.

As you'd expect from a selector of Phil Mison's standing, Out Of The Blue is an outstanding collection. Some will no doubt hear the influence of his mentor - the man he credits with effectively turning his DJing career around - in the undulating rhythms and new age melodies of Kamasutra's Sugar Step', the meandering synthesizer solos and Spanish language vocals of Congarilla's sublime Sacred Tree', and the lilting flamenco guitars of Gambarra', an unreleased mix from Mison's popular Cantoma project.

Elsewhere, listeners can marvel at the starry ambient bliss of Belgian legend Frank De Wulf's The End', recline to the saucer-eyed fusion jazz of the Christoph Spendel Group, shuffle along to tactile, hard-to-find period deep house from Language, Moodswings and Don Carlos, and marvel at The Cactus Rose Project's ridiculously rare Jelly', a sparkling, disco-era jazz-rock outing partly inspired by the Doobie Brothers' Long Train Running'.

Out Of The Blue may well be a very personal selection of tracks celebrating a moment in time, but it's happily one that we can all enjoy.

After Prins Thomas’ Ambitions album (released in April) follows a series of 12”s with remixes from the album! On this first release Prins Thomas gets remix treatment from Lauer on the album’s vocal track Feel The Love. 

The track is based around a sample of the track "Feel A Love" by one of the biggest pop-stars in Norway in the 70s and 80s, the late Alex (Naumik). The 12” contains a Prins Thomas Diskomix, album version and two remixes from Lauer.

ENV022 see's Rygby honour the label with his debut Vinyl.
Having created what we can only describe as a masterclass in being totally loyal to your own sound.

The collection features internationally acclaimed artists such as Haruomi Hosono, Ryuichi Sakamoto and Joe Hisaishi, as well as other pioneers like Hiroshi Yoshimura, Yoshio Ojima and Satoshi Ashikawa, who deserve a place alongside the indisputable giants of these genres.

In the 1970s, the concepts of Brian Eno's 'ambient' and Erik Satie's 'furniture music' began to take hold in the minds of artists and musicians around Tokyo. Emerging fields like soundscape design and architectural acoustics opened up new ways in which sound and music could be consumed. For artists like Yoshimura, Ojima and Ashikawa, these ideas became the foundation for their musical works, which were heard not only on records and in live performances, but also within public and private spaces where they intermingled with the sounds and environments of everyday life. The bubble economy of 1980s Japan also had a hand in the advancement of kankyō ongaku. In an attempt to cultivate an image of sophisticated lifestyle, corporations with expendable income bankrolled various art and music initiatives, which opened up new and unorthodox ways in which artists could integrate their avant-garde musical forms into everyday life: in-store music for Muji, promo LP for a Sanyo AC unit, a Seiko watch advert, among others that can be heard in this collection.

Kankyō Ongaku is expertly compiled by Spencer Doran (Visible Cloaks) who, with a series of revelatory mixtapes as well as his label Empire of Signs (Music For Nine Postcards), has been instrumental in shepherding interest in this music outside of Japan. Together with Light In The Attic's celebrated anthologies I Am The Center and The Microcosm, Kankyō Ongaku helps to broaden our understanding of this quietly profound music, regardless of the environment in which it's heard.

As once established by a south coast cohort - Cell Out lurk in a Solent estuarine backwash.

A diversification in style see’s the inception of the label to house the Cell Out project.

As yet, little has been revealed of the illusive make up behind the name, but the underpinning grooves, rhythm and percussive perfection remain the backbone of this wonderfully undefinable dance music.


DJ Support

Charlie G (Mixmag)
“These are solid”
-
Andrew Treagust (Data Transmission)
“sounds really old school 90's ina good way”
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Jay Scarlett
"Feisty Banger!"
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Loods
"I believe!!"

K15 serves up another slice of broken beat wizardry for Eglo Records, illuminating his trademark style of soul stirring synths and bouncing bass. Clocking in at just over 8 minutes, 'Devotion' is a dance music opus for the mind and body. Lifted from the forthcoming Eglo Records Vol. 2 compilation - due for release in late October - 'Devotion' will be available as a limited run 12" only single, housed in a special edition "10 Year Of Eglo Records' sleeve. Exclusive to the vinyl release the B-Side features K15's reconstruction of Patricks Gibin and Javonttee's 'Cloud 9', a track released earlier in the year, which see's K transform the four to the floor soulful house classic into an abstracted, broken bubbler, building until all the elements fall into place, climaxing into a low end groove. Essential broken beat for 2019!

Three tracks of darkness and mashup jungle by Sumone aka Sum. Sumone has been releasing since 2004 on various well known jungle labels like JungleXpeditions, Mosh-Hi Records, Aural Carnage Recordings, Sprengstoff Recordings, Planet Mu, Alphacut Records, Destroy Oh Boy and many others.

Four tracks of breaks warping and bass quakes. The Duke of Juke is known from his 10inch release on Anus Records and a 7inch on Ameise.

For over half a century, Takehisa Kosugi was one of the most unique and enduring figures in the Japanese underground. As an art student in Tokyo in the early 1960s, he joined the Fluxus-styled performance unit Hi Re Centre and then founded the improvisational ensemble Group Ongaku, but his most legendary project was The Taj-Mahal Travelers – a multicellular organism that included Kosugi, Ryo Koike, Yukio Tsuchiya, Seiji Nagai, Michihiro Kimura, Tokio Hasegawa and sound engineer Kinji Hayashi.

With a penchant for long psychedelic jams (some lasting 12 hours or more) The Taj-Mahal Travelers lived up to their name. Touring in a Volkswagen van across Europe and Asia in the early '70s, they eventually reached the actual Taj Mahal in India. Upon their return to Japan, they held a concert to raise more touring funds and released their very first recordings. Their debut album, July 15, 1972, would extend the band's matter-of-fact titling: all the tracks were named precisely for the times they began and ended.

With a grab bag of instrumentation (electric violin, double bass, santoor, vibraphone, harmonica, radio oscillators, sheet iron, etc.), The Taj-Mahal Travelers weave together mesmerizing waves of sonic texture. Featuring longtone concepts that Kosugi discovered while working with sound generators in New York in the mid-'60s, July 15, 1972 remains just as much a collective tone poem as psych workout. These leader-less sounds coalesce into a unified whole that feels both subconscious and sublime, as if the waveforms bypass the listener's ears and land directly inside one's synapses.

a1. Ulterior Motive - Trip Hammer
b1. Quadrant, Iris & Ulterior Motive - Intuition

Four track vinyl 12inch, pressed on transparent red vinyl, mastered by Simon at The Exchange and features Jungle tunes from Bukkha, Timetravel, LQ & Midnight Dubs.

This is the first release on LQ's (Echo Chamber Sound) second label, Run It Red, dedicated to the Jungle sound.

Run It Red has been running as a club night dedicated to classic and current Jungle since 2010 and finally takes the step out of the dance and onto vinyl. These tunes are the dubs that got a forward in the dance and will drop neatly in any session.

Next up we have a new dnb EP from label head Alix Perez - the Phantonym EP. One can really hear the many years experience and influences that have helped shape this masterpiece. It is beautifully complete, and is undoubtedly some of his best work to date. This is jungle/drum&bass in its truest unfiltered form.

This EP covers the whole spectrum from signature Perez soulful dnb (SWRV qand Vibrations), to gritty bubblers (Trinity), and finally the harder minimal percussive dnb he is renowned for (Phantonym). Mature, concise, and graceful dnb at its best. Out September 13th 2019 on 1985 Music on vinyl and digital.

Cardinal & Nun from Marseille, France delivers his debut ep for L.I.E.S. with a four track no holds barred synth punk assault. Injecting energy into the dead, channeling chaos and turmoil into his music, he rips through four tracks with a rough yet somehow elegant approach...raw to the bone yet flawlessly arranged. Synths that sound like guitars, guitars that sound like synths, metallic drum machines with a human touch and deranged vocals fuel this record til the end. Think Screamers meet Chrome meet Liasions with a healthy dose of southern california gutter punks on meth and you're in the right place. Marseille is where it is all happening right now and this is a documented confirmation of it!

Lithuanian producer Mantas Povilaika, aka DJ JM, has announced new five-track EP, ‘No Days Off’ – his inaugural record for blossoming club label, Nervous Horizon.

After first starting to emerge on the London club scene radar back in 2015, Nervous Horizon label heads TSVI & Wallwork played some early JM material at their debut London Boiler Room session in 2016, sparking a relationship that has since birthed collaborations on TSVI EPs ‘Sacred Drums’ (2016) and ‘Rambo’ (2018).

After releasing a further two full EPs on NKC’s hard drum label Even The Strong, ‘No Days Off’ forms a natural extension of his work with TSVI, only this time more extensive and detailed. From the anthemic, late ‘90s euphoria of the title-track to the searing club energy of ‘Mad Move’ ft. TSVI to the dark, pulsing techno flicker of ‘Bar Bell’, it is an EP forged at peak time and only tempered by mystical EP closer, ‘Original Taste’ – a track inspired by local Lithuanian club sounds and faraway worlds.

Yo Falty why don't you do the old school shuffle anymore What happened, maaaaan OK, held this one back from 2011. All the garage and 2-step workouts I made were inspired by hours and hours of listening to Horsepower Productions, Zed Bias, El-B, Darqwan... I studied them. This tune in particular inspired by Benny Ill himself. Ill Bent was never released, I always held back some exclusives for my sets. No one had it. Benny Ill remixed the track in fine style, both Straight up and with a Fat Larry spin. We were talking, Benny and I, and he mentioned he used to live in Brooklyn. So he submitted Is It Safe, a tune he made while living not far from where I live now in NYC, to conclude the EP. Heavy! (note, the first letter in Benny's last name is a capitol 'i') Track A1 produced by FaltyDL

DownloadCode Included !

’Shock Industrialization’ pits modern masters of industrial noise, Japan’s Linekraft and key Hospital
Productions disorderly Alberich, in a killer, pummelling split session.
With blatant disregard for your aural health, the pairing pull no punches in four torrents of
acrid filth seemingly wretched up from the belly of the beast. For those concerned, ’Shock
Industrialisation’ highlights the contrast between American and Japanese noise conventions thru a
prism reflecting on Cambodian civil war and it’s arguable predecessor of the Korean war.
Linekraft’s side speaks to a sense of psychotomimetic chaos with the howling bitterness and
astringent textures of ‘Bunch Of The Serve The Enemy’, while ‘History Of My Betrayal Act’ opens
with intelligible vocals that become mired in waves of attrition, joined by cranked-up sirens and
consumed by tarry bass distortion.
Alberich’s side is arguably more linear, sputtering and railroaded like Kareem’s most brutalist
clatter, but also distended with blown-out noxious clouds ofdistortion in ‘Tube-Ni mine Shaft’,
before offerign a sort of vocal response to Linekraft’s call in ‘Mountains Of Soul’, burying his
signature, hellish voice in clambering, white hot noise.

Exercises in Estrangement is Marcus Fjellström's first album, initially released a decade and a half ago. Listening back to it now only re-confirms the unique mind of the Swedish composer, who sadly died in September 2017, only 37 years old.

Marcus was an avant-garde composer and audiovisual artist exploring the edges of classical music. The word "classical" here means nothing in the usual sense, as he would bend the rules to his liking - and hence create a completely own sound that is hard to define. A student of the conservatory in Piteå, Sweden, Marcus´ path was unlike most composers with similar backgrounds. His love for the bizarre and macabre would send him on a descent into the darkest corners of musical experimentation. A trajectory that resulted in some of the most peculiar and fascinating sound documents created in the last two decades.

For his debut album, Marcus made a record that not only lives up to its name, but really is a profoundly mind expanding listen that might sound even more intruiging today than back in 2005. With titles such as Planchette, Kandinsky Kammer or Anstice reflections on everything from spirituality, resurrection and abstract art is being undertaken, all while adding a big dose of the absurd. As Tiny Mix Tapes wrote back in 2005: ”Marcus Fjellström's Exercises in Estrangement is an unsettling, visionary work of modern composition that falls soundly within the idiom of contemporary electronic music yet evokes the darker aspects of the work of many of the more brooding mid- to late-twentieth century European classical composers.”

Marcus worked with the Swedish Royal Ballet, the Scottish Chamber Orchestra and Sinfonietta Cracovia as well as numerous other orchestras, ensembles and soloists, artists and filmmakers. He spent the last half year of his life scoring the AMC series The Terror. In his works, Marcus often aimed to combine opposites so that they don’t contradict each other, but rather fuse into a natural, third element - “High” and “low” culture, the naïve and the sophisticated, good and bad taste. These are all elements that comfortably blend together in his works. Musical influences range from electronic acts such as Aphex Twin and Autechre to 20th century composers such as György Ligeti and John Cage. Further influences include impressionist composers Maurice Ravel and Claude Debussy as well as film music composers Bernard Herrmann, Angelo Badalamenti and Zdeněk Liška.

Vinyl edition ltd. to 300 copies, incl. 8-page 12" booklet with drawings by Marcus Fjellström.

Experimental solo cellist Oliver Coates [RVNG intl, PRAH] and techno-dub minimalist Spatial [Infrasonics] coalesce with the new installment for the Decouple ][ Series by subverting—through subliminal interventions and refined focus changes—pre-packaged music forms and textures in favor of new self-organizing tendencies. Surprisingly enough, two producers of such different DNAs converge to a similar systemic approach, delivering a set of music that flows with solid and endearing consistency.

“The 4 units of musical material ‘Path in, J Lover One, Yomi, Umbo’ came into one together through a kind of dream logic” explains Coates . “They are contradictory, non-developmental and block-like, sitting across from each other like David Lynch's Rabbits”. Hence each section seems to seek for completion and fallacy at the same time in a form of non sequitur disjointed conversations. From the heavily processed cello intro of ‘Path in’, to the instant avant-classical Reichian ‘Yomi’, to the infectious breakbeat brutalism of ‘Umbo’, Coates enhance the plasticity of music to help to reconfigure familiar styles or patterns from known feelings and corresponding language. This plasticity is the way to unlock mental fixations, move things around and make fresh compartments for pleasure.

Electric sound-waves that pulse through our sleep …and our dreams”

Quieter Than Spiders release their long-awaited debut album Signs of Life. The Chinese-Anglo band was formed in Shanghai in 2012 and has been quietly rising to prominence among the electronic music community with what the group self-styles as ‘Shanghai Synthpop’. Online music magazine The Electricity Club included Quieter Than Spiders in a list of their favourite new artists and described them as “What OMD would sound like if they formed in the 21st Century”.

Signs of Life was self-produced by the group and combines their contrasting styles of uptempo synthpop and slow reflective melancholy. The album features 10 tracks including familiar songs such as Hibakusha, Shanghai Metro, The Land of Lost Content and No Illusion. There are also 10 remixes by artists such as Kevin Komoda from Rational Youth, Vile Electrodes and The Silicon Scientist. Signs of Life also includes 8 mini interludes which the group describes as ‘brief dream sequences’. Group member Leon Zhang said: “the album includes a slower and more experimental side to our music that people haven’t yet heard from us, especially songs such as The Signs of Life and The Statues which are more personal and introverted.”

The album was recorded in both Shanghai and the UK and was mastered in Germany by Stefan Bornhorst (aka The Silicon Scientist). The group did not use a formal recording space which gave them the opportunity to experiment. “We used minimal equipment which gave us the opportunity to record songs in a variety of places. We even recorded parts in an old deserted Shanghai building earmarked for demolition, and in an overgrown tunnel that we found deep in the English countryside”.

Joachim Nordwall digests and mutates dub in unique industrial style on The iDEAList’s almighty
follow-up to a tape and 7” in this killer mode, bringing guest vocalists, JA’s Nazamba and polymath
John Duncan, for a deeply crooked ride worthy of rinse & repeat
Picking up where his raw ‘Early Tactical Experiments In Techno & Dub’ left off in spring 2019, the
rugged styles of ‘Say Yes to No’ poses only slightly less risk of contracting salmonella with a more
stewed and treated suite taking in proper songs starring Nazamba and John Duncan amid all
manner of virulent, wayward electro-dub variation.
As with his superb tape for Industrial Coast, that wicked 7” with Genesis P-Orridge, and even
his recent albums as Joachim Nordwall - ‘Conventional Wisdom’ with John Duncan, and the
collaborative CD ‘Communication Is Key’ - The iDEALIST naturally highlights fundamental links
between dub and noise - the core principles of manipulating sound in space - with a critical blend
of tactile playfulness and rigorous pressure.
The two vocal cuts are outstanding in their own rights; ‘Bigga Boss’ features Kingston-based poet
and playwright Nazamba utterly possessing the opening shot with his baritone growl, rooting the
LP at one pole, while John Duncan’s equally compelling appearance on a similar riddim in ’Tough
Doubt’ comes to epitomise the project’s direct approach toward alloying and allying styles with
alchemical suss comparable to The Bug, Ossia or Andreas Tilliander.
Vocals also spill out into the LP’s other tracks, but here they’re more textural and elusive,
scudding thru ‘Everyone Fucking Relax’ in a way recalling DJ Scud’s thudding remix of Bong-Ra,
or masticated into intelligibility on the amorphous dub-noise lurch of ‘Inner Space Dub (Insane
Version)’ and the LP’s cataclysmic closer ‘Say Yes To Dub’, which are all held tight in contrast with
the more defined techno and electro-dub structures of the LP’s club-ready highlights, ‘The Ecstasy’
and ’Shit Skull/Golden Mind.’
It’s a hugely enjoyable album - one that leaves bits in your teef and gets up in your head like a
healthy dab of shatter.

Piloted by Total Science, Computer Integrated Audio aka C.I.A Records remain a reputable source for all things Total Science along with a core of welcomed allies and newcomers. Serving as a beacon for purist drum and bass/jungle lovers, C.I.A proceed to bring the heat during these long Summer days.

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” EP vinyl releases exclusively for Unearthed Sounds.

Volume 3 includes an incredible array of artists and producers including: DJ Hybrid, Marcus Visionary, Reggae Legend Horace Andy, Truespirit and Camp Souljah. Guaranteed to move fast, this 12” is very limited and contains 4 tracks that have been tried and tested on radio and in the clubs. Support From Crissy Cris, Bryan Gee, A Sides, Aphrodite, Dillinja, Marky, Profile, Doc Scott, Dr. Meaker, Erb N Dub, The Freestylers, Jaguar Skills, Chopstick Dubplate, Jayline, Phantasy, Ray Keith, Uncle Dugs, Serial Killaz, TC & more.

Daniel Menche follows up his triple CD opus Sleeper with the razor drone constructs of Melting Gravity. Hailing from Portland, Oregon, Menche is an iconic musician with three decades working with intense noise, immersive ambience, and turbulent field recordings. With Melting Gravity, Menche continues to carve his spot as a figurehead in the experimental community.

The title of Melting Gravity refers to an allegory on the human pursuit of transcendence with all of its connotations to weightlessness, ascension, flight, out-of-body experiences, and just getting high. Gravity, on the other hand, becomes that which negates and nullifies those transcendent pursuits. In the context of this particular allegory, gravity is the devil. Music, long a vehicle aimed towards transcendent ideals, becomes the weapon to defeat gravity, to defeat the devil. Daniel Menche wields the weapon of music in composing the mercurial grandeur that is Melting Gravity.

Implementing an elegant arc of acceleration and dissolve, Menche presents a slow-motion tumble of drones from his signature manipulation of FM synthesis, oscillators, and sustained tones from various stringed instruments. The tangles and tendrils of these extended frequencies are bright and liquid, rich in harmonic complexities though mottled with a scrap metal discord. Menche balances these slippery, luminous overtones with a dub-inspired lattice of recursive bass tones. Read as an industrial mantra or as amplified minimalism, Melting Gravity stands as an exemplary work in Menche’s storied catalogue of recordings.

Daniel Menche’s lengthy discography contains over 60 albums, many of which have been published by some of the most esteemed experimental record labels. Over the years he has worked with Editions Mego, Sige, Touch Music, Alien8 Records, Ash International, Utrecht Records, and many others. He has collaborated with Mamiffer, Andrew Liles, KK Null, John Wiese, Aaron Bradford Turner, Joe Preston, Anla Courtis, Zbigniew Karkowski, Kiyoshi Mizutani, and Kevin Drumm. He has performed extensively in North America, Japan, Europe, and Australia.

Jim Haynes, August 2019

he first audio document ever published by Fluxus artist Geoffrey Hendricks (1931-2018). There is a romanticism found in Geoffrey, that, in my mind, sets his work aside from his Fluxfriends. Known for his timeless sky paintings, applied to canvas, cars, clothes, and so on, the conceptual married the majestic. He was a master painter, whose work could have filled cathedral ceilings. Instead, he chartered his bow alongside George Maciunas, John Cage, Dick Higgins, etc. in the 1950s. Hendricks became a prominent member of Fluxus, shown in exhibitions around the world for over 60 years. In the 1970s, composer Charlie Morrow approached Hendricks about recording an album for the New Wilderness Audiographics cassette series. This became a 40-year dance of orbiting schedules and slipping dates. The sky aligned in 2014, and a recording session at Ear Up Studios in New York manifested. Geoffrey's connection to nature not only focused upwards at the sky, but always downwards to stones. 'Rock Music' consists of a box of rocks being cast across a room. Pounded on wood, soft and hard, the sonar-like snapping echo mapping the dimensions of the room. Small bells hover over the rubbing of stones humming to each other. You can tell that this was a therapeutic ritual he practiced for years, not merely an improvised recording concept. With the LP is a booklet that includes diaries of his stone collecting on Cape Breton island in 1973, beautifully infused with dream recollection.

The cassette of 'Music for Sky Slate Wall' was discovered by chance earlier this year in the vast archive Hendricks left behind. It holds Geoff's close friend Philip Corner performing at an Emily Harvey Foundation exhibition in 1999. Corner responds to the Hendricks installation, interpreting the wall adorned with watercolors of day and night skies, grey slate, and a ladder hanging more paintings and golden ornaments. Philip Corner performs with prongs, Korean shaman cymbals, his voice, and a shoe. Their charming friendship can be heard in the interplay. This project was made possible by Geoff's widow, Sur Rodney (Sur), his children, Tyche and Bracken Hendricks, Philip Corner, and Charlie Morrow.

Includes 16-page pamphlet with essays by Tyche Hendricks and Charlie Morrow, diaries and artworks by Geoffrey Hendricks.

Annus Horribilis is a solo album written and produced by Italian sound artist Giuseppe Cordaro (aka Con_Cetta), that sonically describes one year of tangled pages and cable connections. It’s the suffering of sleepless nights captured and filtered within a modular system to create a dark sonic vision.
Featuring esoteric readings, alongside distorted tensions and primordial rhythms. The breeze of Medusa's wind pulls alog synth drones and mystical invocations.
Giuseppe Cordaro previously hid himself behind the pseudonym Con_Cetta (Moteer). He is a sound sculptor, ecologist and he has devoted himself to electronic music since 2005.
Giuseppe explores many different languages in the field of electronic music. His music moves from electroacoustic minimalism and sounds very close and warm, mixed with lush mediterranean sounds.

He has collaborated with several artists: Robert Lippok, Ben Frost (music for six guitars performance), Head Dress, Simon Scott (Slowdive), Giorgio Sancristoforo, Corrado Nuccini and Jukka Reverberi, Emidio Clementi, Grey in Sparkle, MonoLogue, Luca Sciarratta (musicians), Giuseppe La Spada, Quayola, Elena Mazzi, Sara Tirelli, Apparati Effimeri, Gabriella Sancisi, (video-artists), Francesco Fei (director).
Cordaro has previously released audio projects on Moteer, Crónica, Zamzam, Sound In Silence and Fluid Radio.

Mára is the solo project of Faith Coloccia, the hermetic composer, songwriter, and vocalist who has a central figure in numerous projects including Mamiffer and her ongoing collaborations with Alex Barnett. Her arrangements for piano, organ, electronics, guitar, and voice often take the form of deconstructed plainsongs, as elegant variations of a melody that smolder and dissolve into heavy-lidded assemblages of shadow, fog, and echo. As Mára, she continues with her signature aesthetics, while laying bare the emotional core of her being.

Here Behold Your Own follows the very limited Surfacing cassette from 2015. The album began to take shape shortly upon the conception of her son and evolved to encompass her becoming a mother in conjunction with the re-engineering of her creative processes. Coloccia reflects upon the album’s origins, stating "A lot of the material that I used to make this record felt like the last glimpses of ‘me’ before I became another me. Almost as soon as I conceived I felt the old me slipping away, and so these recordings and photographs were like the last time spent with myself before I changed."

Mára’s melodies draw from the lullabies that Coloccia would sing to her son. Dating back many years, she has employed the practice of hastily recording fleeting ideas, fragmented songs, and melodic phrases onto tape and then later drawing from this vast archive of documents to flesh out the broader compositions and arrangements. On Here Behold Your Own, the leitmotifs repeat as ghostly reminders of things past, appearing once as a soothing vocalization and later through church organ or piano and vice versa. It is not only the melody but also the encompassing swathe of timbral residues that lend to the album’s emotive thrust of the bittersweet, the nostalgic, the solemn, and even the holy.

Coloccia sites Gavin Bryars’ Jesus Blood Never Failed Me as a principle inspiration in the making of this album through its intertwine of sadness and joy. In truth, there is a very similarly sculpted cascade of passions evident on Here Behold Your Own with further comparisons to be found in Áine O’Dwyer, Philip Jeck and The Caretaker.

Jim Haynes, August 2019

Father Fugue is Nour Mobarak's first full-length album. The Los Angeles-based artist spent years sculpting this LP, and the result is piercingly emotional. A foray into her being; a sound artist, a songstress, a sculptor. Nour's creativity orbits an ever-moving center. Thus, glimpses, reflections, and splinters of her oeuvre embody Father Fugue.

The side-long titular piece on the LP is unlike anything I have ever heard. Nour describes the piece: "the left channel of 'Father Fugue' is composed of conversations with my father, Jean Mobarak, a polyglot who has a 30-second memory and lives in the mountains of Lebanon. The right channel is composed of improvised song." Nour and her father speak through four different languages (French, Italian, English, and Arabic), a full transcription and translation is included with the LP in a 24-page booklet. They speak of cars, of soccer, of Italy. They speak in games, in rhymes, and in song. The sonic division of voice and time across the stereo pattern is captivating.

The second side of the album is comprised of eleven songs. The word "song" must be taken widely and liberally in this instance. Elements were recorded in her car, in the shower, in the ruins of Oaxaca, Mexico: a rainbow of personal documentation. The vase holding the bouquet is of jubilation and abstract humor. A chanson written by Nour's great-great-grandmother, at the turn of the 20th century in Constantinople, is sung throughout the LP. The first side concludes with her and her father singing it in duet, as Nour's solo performance begins the second side.

Bound by time, Father Fugue reveals Nour Mobarak's expression from and response to her father's place and memory. A flip of the record uncovers her expression and response to her own.

For this edition of the LFRMX-series Len Faki is turning to 1990‘s trance and acid. The bpm might be
lower than back in the days, but there‘s just as much energy coming off these irresistible tunes in their
updated versions.
Featuring the original‘s sizzling synth work by Kompakt co-founder Wolfgang Voigt‘s early
collaborative projects, Planet Love Ink strikes an upbeat chord in order to show off its grand piano
break for maximum effect.
Equally tapping into the early nineties, Structure – We are Structure is a weighty acid banger with no
frills attached. Straight, honest and nailing era‘s vibe to the core. B-Side‘s all about old school trance,
booming breaks, and epic synth-sweeps, in this instantly captivating, elevating and driving rework of
Illuminatae – Tremora del Terra, a hymn to many back in the days.

Remo Seeland’s Hollow Body is a suspenseful exploration of the interaction between sound environments and individual perception. It was sparked by an intense physical experience the Swiss artist had during a residency in New York City. "The subway became a sort of ‘atonal symphony’ for me, provoking a full-body experience with the rattling of the overcrowded, airless trains," the Hallow Ground founder explains. "However, while the old subway is not exactly beloved by everyone, it also represented for me the melancholic meta-level of the moloch above it." The album, his first under his given name, makes this disparity audible over six tracks in which the visceral and the personal become at once abstract and universal.

Based on field recordings from both urban and rural environments, Hollow Body aims to mirror another of Seeland’s psychosonic encounters. "In the highlands of Iceland, I noticed my pulse lowering and my breathing decelerating," he says. "Just shortly after that, a single insect’s buzzing seemed so loud to me that I became even more aware of the silence surrounding me." Silence, perception, order and the curious dialectics of the outside world and the inner workings of the human psyche are the central questions of "Hollow Body.

Recorded in New York, Reykjavík and Zurich, Hollow Body draws extensively on field recordings and sees Seeland collaborating with Hallow Ground-affiliated artists Norman Westberg (Swans, guitar on Body Innovation and Hollow City) and Reinier van Houdt (Current 93, e-bowed guitar on Hollow City and Rhodes organ on Pulse Points Green), as well as the Swiss-based US-American musician Steve Fors (Deaf At Sea, trombone on Second Coming). The diversity of the source material is mirrored in the stylistic richness Seeland lays out with this LP. From the lush, bass-heavy drones of the opener Body Innovation to the downbeat-driven Second Coming and, finally, the haunting organ sounds of Night Within, Hollow Body forms a holistic entity that integrates idiosyncratic compositions into a coherent narrative.

Hollow Body was also conceptually inspired by Seeland’s research as a cultural scientist with a focus on Southeast Asian cultures, specifically the anomic tantric cults of India. It thus serves as a mediator between not only the individual experience of site-specific sounds and general ideas of sound production in and about space, but also between different compositional techniques ranging from drones to synthesized vocals and more primitive forms of ritualistic music. Its sonic abundancy is to be understood as a direct result of its underlying idea: at its most challenging, this record also makes the most coherent statements about the order of space, sound and their cryptic relationship with the human body.

Soundwalk Collective was given unprecedented access to the halls of the emblematic nightclub Berghain, Berlin. A re-incarnation of the legendary Ostgut club, the focal point of Berlin’s techno subculture. The Berghain building is a former East German power plant that is remarkable for its enormous dimensions, 18m high dance floor and minimalist constitution of steel, glass and concrete. An architectural space that facilitates experiences of sacredness, collective oneness and egalitarianism, Berghain is known for its impressive sound system, extended after hours, and the defining sound of Berlin techno.
For Oscillation, the collective placed 147 contact sensors on all surfaces inside and outside of the club: concrete walls, steel staircases, water pipes, ventilation tunnels, air ducts, metal frames, cages, fences, dark rooms, toilets, engine rooms, industrial glass windows, pillars, DJ booths, ceilings and more. Over the course of multiple club nights they mapped out the whole structure, and progressively recorded the entire movement of the building under the impact of the hammering music.

Culled from live performances in Los Angeles in 1980, Towards A Total Poetry holds radioplays and sound poems by Julien Blaine, Adriano Spatola, F. Tiziano, and Paul Vangelisti. Two concerts were organized by poet and professor Vangelisti and broadcast on his KPFK radio show. A rare gathering of extreme French and Italian sound poets in California, flown out on with an arts funding grant (my, how things have changed!). A jarred specimen on a golden platter of a time passed.

The electricity of the performances is unparalleled. Sadistically funny, dizzy with confusion: a map lies dissected on the table. Adriano Spatola (1941-1988) is the most beautiful Italian post-war poet, also publisher of Baobab, Tam Tam, Geiger editions. His stage presence is that of a drunken wolverine, thrashing his words and letters, madly chuckling and whispering secrets to himself. Spatola interprets a disfigured rendition of “Buddenbrooks,” a traumatic and shocking radioplay, held alongside his infamous “Aviation / Aviateur” and “Al Capone Poem,” read with explosive tension. His younger brother, F. Tiziano, is a more mysterious figure. His radioplay, “Los Angeles Bridge,” has four characters: North, South, East, and West. Quibbling through a fever dream over a card game. Professional voice actors were hired for all of the radioplays, translated from Italian by Vangelisti (as with all of Spatola’s English publications). French artist and sound poet Julien Blaine (1942) composed the play “Passe / Futur” – utilizing his actors as verbal instruments: buzzing and howling as carefully as dots on sheet-music. His sound poems are hilarious, “Amputation” mimics the sound of four severing surgeries, and “Mots d’enfants” still confuses me as to what exactly is going on… Paul Vangelisti’s works open and close Towards A Total Poetry. The Los Angeles poet and publisher of Red Hill Press organized the affair and was able to hold his own against such powerful artists. Paul’s pieces are conceptual, opening with a fitting typewriter hymn, “Radio,” and concluding with “Auld Lang Syne,” the Ms of the phone book sung by chorus.

These are some of the strangest radioplays in existence. A format I feel is underused. The infusion of drama and comedy and open air to fill... oh, the possibilities.

Limited LP Edition of 250 copies, 12-page booklet with essays and poems by the artists.

Wire Parasitism EP is inspired by the electronic music which was produced during the end of the 80's and beginning of the 90s by the likes of Richard H. Kirk, Psychic TV, Coil, Dave Campbell or Lagowski (to name a few). Walid El Barbir uses his unique producing & sampling skills to create contemporary and industrial sounding compositions out of found footage like occult documentaries, rave stabs or Emax sound-libraries. Walid El Barbir is a part of the collective Les Points based in Zürich, Switzerland. His art/music draws from 90's rave utopias, occultism, progressive & accessible frameworks as showcased at their offspace Mikro - a physical room which has no doors and opening times during exhibitions and raves - making an institution available to all social layers.

Okinawan talent City1 has been making some serious moves with his unique dark productions as of late and we are honoured to welcome him to the Subaltern family.

* Speak Out feat. Rider Shafique
In the mighty title track City1 delivers a clinical slab of bass science which gravitationally pulls deep into a different dimension. The dreamy yet dark atmosphere and vibrant basslines are graced by the elevating bars of none less than the notorious Rider Shafique - one of bass music’s finest vocalists hailing from Bristol.

* Koroga
Going even darker, City1 opens up another world in this trip of a track. Koroga rides on relentless dark synths and keeps switching up the pace, leading the listener through a maze of eerie sounds - be careful though, the walls are closing in. Dangerous!

* Zee
Zee is just as otherworldly as the first two tracks. With heavy hitting basslines and snappy percussions, City1 delivers yet another absolutely unique roller. Whenever you thought the track had arrived at its peak, it takes another, even wilder turn.

Massimo Carozzi is a sound recordist, sound designer and musician based in Bologna, Italy.

Since 1994 he has looked into relations between sound and image, sound and script, sound and literature, sound and space. Massimo Carozzi has created sound design for theatre, documentaries, short films, installations. As a musician he collaborated both in studio and on stage with various musicians and sound artists such as Andrea Belfi, Stefano Pilia, Margareth Kammerer, Valerio Tricoli, Claudio Rocchetti, Luciano Maggiore, Sinistri, 3/4HadBeenEliminated, Starfuckers.

In September 2000 he founded the group ZimmerFrei whose artistic practice ranges from video art to documentary films, sound and environmental installations, as well as photography, performances, workshops and public art projects

Suzanne Doucet 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’ and the follow-up ‘Transmission’, 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. In 1984 Doucet married Video Artist and Yoga instructor James Bell. Together they recorded ‘Reflecting Light Vol. 1 using a Roland JX-3P, TR-909 and a Steinway Grand Piano. The cassettes had mirrored covers, a reference to the Zweistein jacket 14 years prior. An a-causal combination of visuals and sound, based on the analogy of Archetype Symbols will create expanded associations and emotional experiences for the consumer and allow a creative state of consciousness and openness of the Inner Being in all directions. All songs have been remastered by George Horn at Fantasy Studios and each album is housed in jackets using the original cassette artwork.

In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep.

Animated Violence Mild was written throughout 2018, at Blanck Mass’ studio outside of Edinburgh. These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief - the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it.

I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated — brought to life by humankind. Violent — insurmountable and wild beyond our control. Mild — delicious.

WRDubs return with a unique coupling of musical missiles from 2 of our favourite UK producers and badmen.

The FRANCO EP is an exploration of sonic tone; from rich soulful depths, to a vibrant palette of hip-hop and funk-laden beats, the debut offering from FRANCO is a polished entry. Here is your chance to become acquainted! Featuring Australian hip hop legend Plutonic Lab on drums & production and Natalie Slade on vocals.

The debut 12" from Sydney-born, London-based producer Logic1000. First discovered by Four Tet, lead track ‘Please Forgive Me’ has since made it into the sets of Daphni, Ben UFO, Anthony Naples and DJ Python. Limited to 300, the white label also features the footwork-influenced ‘Derrière’.

Demon Records goes on a journey through time and space to the world of the Mighty Boosh. This is the classic BBC Radio 4 comedy that launched the careers of writers and leads Noel Fielding and Julian Barratt. The series made it’s vinyl debut as a strictly
limited coloured edition for Record Store Day 2019 and is now reissued on three black 180g heavy-weight vinyl. Housed in a gatefold sleeve with original artwork by Noel Fielding and sleeve notes by Julian Barrett, Noel Fielding, Rich Fulcher & producer, Danny Wallace. Written by: Julian Barratt and Noel Fielding First Broadcast: BBC Radio 4, 16th October 2001

Porridge Bullet reveals it’s third “Bullets” compilation with five dancefloor lifters.

AIWA is on warm up duties stomping away with bubbly saturated electronics. He hails from Budapest by the way. On to Madis Puuraid aka Profile and “Teramachi's” shimmering ambience lead by a funky drummer. Let this one roll a while before you show off your mixing skills. Estonia’s ug-scene oldtimer Neuronphase makes his second appearance on the label with nods to breakbeat. “I Have None” will make them come closer. Fact. There’s a second track by him on here too… Ruutu Poiss stretches his wires between Amsterdam & Tallinn with ease –– “Mjau” purrs in his unique broken-not-broken style.

Hey kids –– no digi!

Ravaged and warped breakbeats haunted by wailing euphoric noise, vivid and graphic reflections of fractured post-industrial hardcore, moments of poetry flashing within a thick impending fog. This is our soundtrack. A unique and visionary achievement; a wholly original future of beauty and despair: brutal, gritty, alive and urgent, blooming in the ruins, spiraling and raw, howling with life.

Under the tree - In The Cave - At The Water, there's where you'll find Eleventeen Eston, savouring the shade since his 2014 debut LP 'Delta Horizon' turned the spotlight his way. Taking shelter in the subterranean, the Perth musician has found a sound saturated with entheogenic splendour, growing something gorgeous from the grotesque. Finding a natural home on Hamburg's Growing Bin, Eston emerges into the daylight with a dreamy LP.
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The vision quest begins with 'C in Sympathy', a freefall into the perverse beauty of the Domus Aurea, brought to life with E2-E4 electronics, chorus pedal shimmer and muted bass. Leaving the grasslands we dip a toe in the water with the hypnotic ripples of '2 d'Or (Cab Chassis)', a Carl-Craig-goes-New-Age number which fuses the electronic and acoustic to perfection. Delicate piano, crystalline synth tones and tape-saturated emotion lend their cinematic charm to 'East Perth Stories (Closing Titles)' before the propulsive bass and soft focus groove of 'The Four Fountains' hits you with the heat haze. Eston takes another tapey diversion on the sci-fi synthscape 'I Remember', while the coastal cool of 'Thread & Truth' picks up the wavy white funk baton from Spike.

The B-side brings more beauty as the drifting and dreamy ambience of 'I Float, I Am Free' gives way to the Windham Hill guitar licks, snaking bass and billowing textures of 'A Squall, 1988', offering a welcome echo of the wonder of Wilson Tanner. 'Where There Is Rain' sees Eston tune the Ute radio to 96FM Perth, marrying cascading keys, evocative vocal samples and lush guitar with a solid 80s pop beat, before he slows the pace for 'Sand Man' a skewed and stoned bit of beach funk that's perfect for seduction. We part ways with the panoramic 'Dory On Swan', a serene soundtrack to lapping waves and magic caves. Always in season, Growing Bin do it again.

Hauke Freer flying solo on Pen & Paper 03 for the first time since his infamous XK XK. Well, not entirely, as austrian beatsmith Sam Irl took PART 1 on to his Studer Console, equipping the beautifully trippy composition with that exact ammount of sonic glitter and gold. On the B, Hauke drags us far out into an enchanting chord progression, as the seductive 4G demonstrates filigree elegance to an almost fragile degree - bewitching we say.

LMAJOR marks his return to WNCL Recordings with another set of blistering originals, accompanied by in-house remixes from Boxwork and West Norwood Cassette Library

Words from the label:

Our imprint marks its five years anniversary this year and to celebrate it's offering up five special various artist packages across 2019 limited to 250 copies each, featuring material from the likes of Vid, The Mole, Cinthie, Shinichiro Yokota, San Proper, Akiko Kiyama, Com Sin aka Cosmin TRG, Subb-an and more..

Tokyo-based Far East Recording artist Shinichiro Yokota opens the '5 Years Anniversary Series 02' with 'I Know You Like' a harkening back to the days of soulful, musical house courtesy of jazzy synth lines, warm chords and choppy bass running alongside a swinging drum groove and vocal hooks uttering the track's title.

The Mole follows on the flip side with 'A Simple Day', turning in a typically raw and funkinfused workout via dusty drum sounds, looped guitar licks, warbling low-end tones and an underlying psychedelic feel that always makes The Mole's tracks unique. This project also sees a new design concept for the imprint from London's David Surman's painting installation project 'Paintings For The Cat Dimension' which ''explores the motif of the cat as emblematic of internet aesthetics, a place

Amit Presents 'splinters'
'a Generation Of Eclectic Artists All Under One Roof'.
Splinters Is An Anthology Of Electronic Music From Some Of The Most Exciting Established And Emerging Artists Working Today.
Each Bring Their Own Unique Style, Flair And Vision To The Album, Weaving Together Their Disparate Voices To Create An Aural Kaleidoscope.

Charles Trees. Myth, tall tale, legend of a human being, one of those people who one minute you'll be scouring reddit for obscure content and the next, stepping on stage to casually DJ to thousands of people like “no big whoop” at a French music festival. Charles is unassuming, the kind of person who effortlessly mixes ghettotech into soul for lulz, who samples a speech (/rant) by Funkmaster Flex in an acid track, or rides BMG & Derek Plaslaiko’s “True Story of a Detroit Groove” with Velvet Underground’s “Sister Ray” for 8 minutes straight.

Charles' relationship with electronic music started early. In high school, Dave Shayman (Disco D) introduced Charles to DJing and he was a regular at Dubplate Pressure*– Todd Osborn's now-legendary record store in Ann Arbor. By 1998, he was already playing on raves in Detroit. A year later, he was the first person to show Zach Saginaw (Shigeto) to Ghostly International, arguably altering the course of our lives forever. In the late 2000s, they became label mates on Moodgadget, the record label of Jakub Alexander (Heathered Pearls).

Through out the years, Charles has been a musical mentor (whether DJing, producing or throwing shows) to many, danced at every weekly at every venue in Ann Arbor & Detroit, produced Hip Hop, and fronted a psych rock band. He has released music on Moodgadget (US), Musique Large (FR), Lovemonk (ES), Vanity Press (US) and JFX Lab (FR). Today, between DJing, hosting radio shows and producing new music, Charles regularly throws shows/parties/raves, and hosts a monthly at Deluxx Fluxx.

We love Charles Trees and we're proud to present "2019," the eighth record on Portage Garage Sounds.

*Additional reading: Dubplate Pressure: was the precursor to Technical Equipment Supply; how Todd Osborn was discovered by Richard D. James and signed to Rephlex Records; where Sam Valenti IV, the founder of Ghostly International, met Tadd Mullinix (Dabrye, JTC, Charles Manier, X-Altera); one of the reasons why we're all here

"Got No"
Hit the ground running.
Chopped up vocal stabs and a playful syncopated melody accompany this percussion heavy two-step shuffle as it speeds down the Lodge on a Friday night in Detroit.

"Think First"
Undeniable rhythm section pocket.
Acoustic bass and dirty ride symbols swing alongside lush keyboards and sprinkles of light melodicism in this psych house banger.
Think St. Germain with CAN playing a warped version of "Rose Rouge."

"In Arms"
Crave the rave. Whips crack and sizzle in this dubbed out techno slapper. A modern take on a classic sound. Trees conjures an era close to his heart: when the warehouse was church and service didn't stop until the sun came up.


"Acja feat. Marcus Elliot ("12 club mix)
Beautifully understated and triumphant.
This closer marks the return of Detroit Saxophonist Marcus Elliot (Detroit pt II - PGS 001). His notes dance and soar over a creeping acid line, while driving drums and warm pads effortlessly take you home in this powerful house anthem.

'For his first EP in two years, and second release on Leicester's Grade 10, Forever returns with a six track exploration of hazy, dub-inflected sounds entitled 'In Your Own Time'.

On the A-side, the tense atmospherics of 'Depth Charge' give way to the sun-kissed chords and dancehall-esque rhythms of 'Watch This', finally being rounded off with the record's title track - a sub-driven 7 and a half minute roller, where percussive patterns and dusty chords drift and weave amongst each other.

Side B continues on to more dub-leaning tracks, with 'Alpine' picking up the pace and echoing pulsing synths in to the abyss, followed by a drugged out 'Opioid mix' of the title track - a drum and bass combo sat somewhere between Memphis rap and classic soundsystem rumblers. Closing out the record is 'UR', plunging in to the depths with sonar-like samples and echoing vocals like ghosts trapped in the machines.'

Paramida's Love On The Rocks imprint readies its eighteenth release, in this, the year of our lord, 2018 - the latest instalment on the ever-evolving, hard-to-define label is a decidedly non-dancefloor oriented, melancholic/euphoric instrumental number from promising Lon-don/Lisbon producers Elles & Violet.

Elles, fresh from her Netil Radio & Rádio Quântica residences, alongside Violet, with a string of releases under her belt on One Eyed Jacks , Cómeme, Paraíso, Snuff Trax and her own imprint, Naive, deliver big time here with A Life Lived In Fear Is Like A Life Half Lived, a warm and bubbling acid future closing time jam that has all the feels of watching the sun rise over the city with your best friends on ecstasy.

Backed with 4 heavyweight remixes from Love On The Rocks fam Kasra V, Prins Emanuel, Etbonz and Massimilano Pagliara. Pure love.

Romain Azzaro come's back on his own imprint with a Rouge Mécanique Extended Play compiled with cinematic shaded instrumentals and a heady mix of post-punk, ambient and noise. Bringing acoustic life to electronica, his signature sound rolls over the Ep with elegance and versatility.

In 1985, I started working as a sound engineer in the famed Far Studios of German hit producer legend Frank Farian in Rosbach near Frankfurt, and there had an array of gear at my disposal that not many producers could afford, and know how to use in consequence. In the center a high-end Neve studio desk, but also the finest machines created by mythic brands like Linn, Kurzweil, Publison, or Quantec. Confronted with this considerable amount of opportunities on a daily basis, I soon decided to use what I was surrounded with for my own musical ideas, and started experimenting with it in my spare time. My perception of sounds quickly surpassed what I had known before. The equipment offered me many possibilities to position sounds within a song and I learnt how to compose by filling up all the places in between the speakers. There was not only left and right but near and far as well, and even up and down. My preferred perspective grew to be that of standing in front of the speakers, "looking down" on a song from a slightly higher position. The material was recorded on analogue reel-to-reel audiotape, which I subsequently edited and deconstructed manually with a razor blade, an edit block and a roll of audio splicing tape.

'By Your Side' is the second solo release of the year from Will Saul, it follows his spring 12 'Bugs' which gathered support from Gilles Peterson on his BBC 6 music show as well as Leon Vynehall, Midland & Deetron. Never content to sit still in one style or genre 'BYS' see's will exploring his love for electro, acid and tripped out left of center house. With more EP's on the horizon for the autumn we find an artist full of inspiration, elated to be back in the studio and enjoying his most fruitful production spell in recent history.

For well over a decade, Erkki Veltheim has been involved in some of the most critical contemporary sound works
performed in Australia. Celebrated widely for his performance approach, that orbits outward from his extended
violin practice, Erkki Veltheim’s recorded works are grossly under represented. With Ganzfeld Experiment, his first
published solo recording, he lays out his methodology for creating music that is intense and provocatively ex-
trasensory.
Veltheim’s Ganzfeld experiment is an audiovisual work for electric violin, video and signal processing. In para-
psychology, a Ganzfeld experiment is a test for evidence of extrasensory perception, particularly telepathic
communication. It is based on the Ganzfeld (German for 'total field') effect, which describes the tendency of our
central nervous system to invent patterns in random, uniform sensory data, for instance hearing voices in white
noise or seeing images in visual static.
In a Ganzfeld experiment, a test subject is exposed to such a continuous uniform stimulus field, while another
person attempts to send them telepathic messages. Using this premise as a starting point, this edition replicates
elements of this experiment in order to explore synaesthetic hallucinations. The electric violin’s signal acts as a
tool for gradually manipulating and transforming static noise in both the audio and visual domains.
Drawing influence from esoteric and occult numerology, Tony Conrad and Brion Gysin’s experiments with flicker
and the Dreamachine, and Terry Riley's ‘Persian Surgery Dervishes’, which fuses composition with improvisation in
a long-form ecstatic and trance-like work, Ganzfeld Experiment resides in a tradition of transcendental minimal-
ism.
From Erkki
“I’m always interested in how structure interacts with randomness, form with formlessness, and ways in which
sound can be used to transform a listener’s perception and sense of time and place. I’m also often looking for
ways to expand my musical ideas to other media, through ritual, installation, or visual elements. An important
motive in my work is the idea that through sound (and these other elements) we can enter different realms of
experience: the mystical, the magical, the shamanistic. In ‘Ganzfeld experiment’, as in many other of my works,
I’m particularly searching for an ecstatic experience, one that transports the audience outside of their rational,
everyday selves. The constantly panning white noise and visual flicker are intended to induce a hallucinatory
state where one’s sense of time and perception are disoriented, becoming prone to suggestibility by the repeti-
tive but subtly morphing sounds and images.”
ABOUT
Erkki Veltheim (b. 1976 Finland) is an Australian composer and performer. His practice spans noise, audiovisual
installation, improvisation, notated music, electroacoustic composition and multidisciplinary performance. He
has been commissioned by the Adelaide Festival, Vivid Festival, Australian Art Orchestra, Sydney Symphony Or-
chestra, Musica nova Helsinki, Punctum and Maison Folie, Mons, Belgium (for Mons 2015 European Capital of
Culture program), and his pieces have been performed by groups such as the London Sinfonietta, defunensem-
ble and Sydney Symphony Orchestra. He composed orchestral works for celebrated indigenous musician Gur-
rumul's posthumous album 'Djarimirri' (2018), which debuted at No.1 on the Australian charts, and won 4 ARIA
Awards and the 2018 Australian Music Prize. He plays violin in the improvising trio North of North, with Anthony
Pateras (piano) and Scott Tinkler (trumpet), and has performed with musicians from a wide range of styles and
backgrounds, including Chris Abrahams, Bae Il Dong, Han Bennink, Berlin Philharmonic Orchestra, Anthony Burr,
Cat Power, Brett Dean, Ensemble Modern, Robin Fox, London Sinfonietta, Jon Rose and Wadada Leo Smith. He
regularly collaborates with the artist Sabina Maselli on audiovisual performances, film works and installations.
++
ERKKI VELTHEIM
GANZELD EXPERIMENT

Presenting ten experimental/ambient compositions performed live in a living room in 2017 with a Buchla Music Easel, and some pedals, then edited.

This 3 track EP comes out from Limited E's vault called Retro Vol 2. Each of these tracks represents the early emergence of Jungle musik from the early 90s. E.Lets Go - This track made in 1992 by Potential Badboy was groundbreaking as it had soul elements n soulful house vocal which was unheard of back then. This track pushed the boundaries in the scene as soul n jungle beats inter-mingled.When it was played by Micky Finn in Ministry of Sound nightclub it was repeatedly jack up on that night.
EE.Part 1 - This track made in 1992 by Potential Badboy called Part 1 has a continued flavour of the original 'Lets Go' with the soul vocals. Pushing the musik further as the scene started to change and basslines became more dominant.EEE.Part 2 - This track made in 1992 by Potential Badboy called Part 2 is a re-mix of Part 1 and continues the flavour of the soulful vibez . With more hardcore n jungle breaks dominating along with heavier basslines this is jungle at its fineness.

Overview
Australian electronic composer Todd Anderson-Kunert creates a deeply reductive electronic drone work
for Moog System 55.
About
Every recording project explores a gap that exists between uncertainty and realisation. It can be a
treacherous zone of investigation, one that can frustrate as easily as it can reward. In this expanse of pos-
sibility, artists and musicians traverse a particular set of variables within which the potentials for their cho-
sen work are realised.
When Australia artist Todd Anderson-Kunert, commenced work on his debut edition for Room40, Conjec-
tures, he was intent on approaching this zone of entanglement with equal doses of curiosity and strategy.
Undertaking a residency at Melbourne Electronic Sound Studio, which is run by Room40 comrade Robin
Fox and artist Byron Scullin, Anderson-Kunert began trawling through the vast array of synthesisers within
the facility.
After some time, he began to realise the answer to the creation of Conjectures did not lie in some survey
of modern electronics, but rather an interrogation of one machine. With this strategy in grasp, he sat at
their Moog System 55 Synthesizer, one of only a few existing in the world and set about creating a deli-
cate but richly timbral album of reductive electronics.
From Todd
I feel I don’t know much, it’s not that i feel stupid, but often I feel like I’m trying to engage with the world
while simultaneously trying to understand it. It’s a gap in some form of knowledge I’ve learnt to appreci-
ate, a contemplation of details and how they relate, but where many are still unknown. When trying to
translate this feeling into linear form, the word Conjecture feels appropriate, mainly due to a complimen-
tary duality of meaning.
There is the ‘formation of conclusions based on incomplete evidence’, and so there is a form of under-
standing and comprehension without knowing. However there was also what was referred to as an ‘obso-
lete’ use, which was the interpretation of occult signs. And so here there is a similar type of guesswork
happening, however the material that is being considered could be described as ephemeral, experien-
tial, or maybe at times non-tangible. The details I’m trying to correlate aren’t always hard scientific facts.
They can be thoughts, feelings, impulses or superstitions.
The album formed a rumination about engaging with this experience, and in that elements of confi-
dence, doubt, mystery, connection and quite literally the unknown, not as abstraction but as an actual
thing, an entity. Sonically it uses only electronic sounds in order to interrogate frequency, dynamics, and
timbre, being influenced by genres of Noise, Modern Classical, Ambient and varieties of Electronic exper-
imentation. Recordings that were close to me during this period include works by Eliane Radigue, Sarah
Davachi, Pan Sonic, Stephen O’Malley, Okkyung Lee and The Haters.
I still feel that I don’t know much, but I wouldn’t have it any other way.

The fourth various artists compilation album on Netherlands based 030303 Records... Splitradix has been given the honour to kick off with a wonderfully meandering acid epos, reminiscent of 808 State's more obscure output, with a euphoric element entering about halfway. Zaphyd takes the energy level up a bit further with a strange dry beat driving the tune which is full of melodies trying to elbow each other to the side in the friendliest possible way... Side B opens with Star Flip by Holovr where a series of classic throbbing acid basslines are accompanied by an unsettling melody, not for the faint hearted! The Exaltics' What If We Could is a haunting bubbly motherfucker of an acid track, not totally unlike Polygon Window's Untitled, pure dark bliss... The C side then starts with a brilliantly bouncing contribution containing a beautiful melancholic theme by Piepiep, one of 030303's co-founders. Argentina's Nacho M Meyer is the mastermind behind Planeta, yet another dreamy cut full of Detroit-like melancholy. Zelfkant, the first contribution on the D side, is by Betonkust and feels like a classic Warp Artificial Intelligence armchair track with a touch of wave/electro. One of the best tracks on the comp then, is by Dirty Data, who delivers a track full of twisted breaks, hectic bleeps and eerie synths, mind blowing this one... Kramphaft is behind the final contribution to the compilation, again a sinister and dark one with haunting melodies spun out over unusual hard hitting electro breaks. All in all, very warmly recommended, this compilation full of bouncy and screwed up acid from the sewer!

Summer tunes by upsammy, Tammo, Oceanic, Amandra & Mattheis and Konduku. 180g solid pink vinyl.

Sebastian Mullaert and Kontra-Musik have been involved in a love affair for quite some time - an affair that even resulted in an offspring called The Dance that came out on Kontra-Musik last year. Sebastian Mullaert is of course first of all known as half of Minilogue, a duo so influential in the hypnotic field of Techno that Korg recently named a synthesizer after them. Lately, Sebastian has focused on his solo path under the Wa Wu We moniker, releasing stripped back and personal music on his own Wa Wu We label, the cryptic S.E.L.F label and now on Kontra-Musik. On the title track Travellers, Sebastian Mullaert uses a straight up techno formula that may surprise listeners who haven't followed his move into Wa Wu We territory. You almost get the impression Sebastian buried a recording destined for a rigid techno label in a deep forest back in the 90's and has now decided to uncover it again, finding that the track has matured under the black soil. The sharp edges are now covered in smooth moss and the soundscape is immensely deep and moist. But it's still a vibrant and very much effective track. Above all, it has loads of free space to let the listeners make up their own journeys as travellers into the world of sound created by Mullaert. We float, on the flip side, is a beautiful and meditative ambient piece. It's also the fastest way for the urban dweller to find him or herself floating in a serene lake surrounded by strong, green trees instead of floating in a sea of stress and anxiety. A set of headphones and this new release from Kontra-Musik and you're there.

Veyl Industries is releasing ‚Dreams & Memories‘, the debut work from Ori, one half of TV.OUT. This 8-tracker
features malevolent electronics, experiments with noise, textures and blood.

Soul Deep Exclusives is proud to present our latest vinyl release! This time we've recruited 4 talented producers that have created 2 tracks of musical bliss. Greek producer, mSdoS, has gone to the other side of the world to collaborate with Subsid, a Brazilian Producer, to craft up the song entitled, "Malibu". The song oozes with uplifting musicality and summer vibes, heating things up for the warmer time of the year. British producers, Payback & Conspire, team up to produce the second offering. The track offers up a more edgy sound, but is softened up by its epic pads and dreamy soundscapes. Overall, these 4 producers have created some classic music that will stand the test of time. Classy vibes!

Nasty Electro-Acid and Techno from the lost mind of Shinoby including an repetitive & paranoid, spiritual yet sexy psychedelic techno funk remix by Unit Moebius

Finally we are ready for the big announcement!! MS050 - V/A - Moonshine Recordings 10 Years [Versions & Excursions] will be released in June. For this very special release we have compiled remixes and alternative versions of some of our all time favourite moonshine singles. Across 2x12” vinyl you will find remixes from the ones of Radikal Guru, Von D, Bukkha, RSD, J. Sparrow, Dub Conductor & Numa Crew. You could already hear some of the tracks being played on heavy rotation from dubplates during the last 2-3 years. Don’t sleep!

NS013 is a sample of the forthcoming album by
Nomine Sound wonder boy Boylan (more info soon),
who is doing a lot of damage and about to do a lot
more!
A monster of a track called Start Up, featuring the
mighty Flowdan on vocals, who drops a very unique
"Flow" compared to what we are used to.
A fusion of heavy Grime, Spoken Word, Dubstep,
Jungle and Drum & Bass = an absolute corker that will
vibe up any dance. "watch ya basins I'm telling ya"…!

Kami Is The Fourth Opus Of Foudre! - A Telluric Drone Quartet Composed Of Frédéric D. Oberland (oiseaux-tempête, Le Réveil Des Tropiques, The Rustle Of The Stars, Farewell Poetry), Romain Barbot (saåad), Grégory Buffier (saåad, Autrenoir) And Paul Régimbeau (mondkopf, Autrenoir, Extreme Precautions) Who Meet Punctually For Sessions Of Ritual Improvisation Where They Invoke Noise And Drone And The Deities Of Chaos. Improvised And Recorded Live At Le Rex De Toulouse Supporting The 10th Anniversary Of French Doom Metal Band Monarch!, Kami Extends The Cosmogony And The Sound Of The Band By Taking Excursions Into The Invisible And Ambiguous Side Of Nature. In This Orgiastic And Surprising Mix Of Sonic Textures And Rhythms, You May Hear Strange Phenomena, Summoning Of Animistic Spirits, Shamanic Calls, Siren Yellings And Growls. The Original Chemigram Artwork Was Created By French Artist Fanny Béguély By Painting With Chemicals On Light-sensitive Paper. Following The Sold-out Earth Soundtrack (gzh71, 2015), Kami Delivers An Immersive Soundscape For Abstract Clubbers, Where Kosmiche Electronic, Power Ambient And Industrial Punk Music Are Freely Invited To Commune. This Pagan Ceremonial Is An Ode To The Ever-changing Vortex Of Life - A Sonic Dream Machine For The Occurring Now.

300 Beer-coloured Vinyl With Black Inner, Poly-lined Paper Sleeve.

Repetition is learning. Retrace, the new EP from Jeff McIlwain aka Lusine, moves along this line of thought, reflecting the Texas-raised/Seattle-based producer’s recurrent, iteration-embracing approach to music-making and living. Following 2017 full-length Sensorimotor, which explored the body’s instinct versus the brain’s intent, this introverted 4-tracker finds McIlwain just as kinetically-curious. Balancing focused programming with washy, less concrete sonics, Retrace plays with the unexpected by drawing from slight variations on the same idea.

Sequenced into his trademark mix of polyrhythmic synths, processed vocals, and organic instrumentation is the more prominent use of a looper. The technique lends each composition an uncanny kind of multiplicity. Opener “Not Alone” repeats and stretches vocal phrasings from Hardly Art-signed American singer-songwriter Jenn Champion, building onto itself until a climactic, near-duet reset. South Korean musician Yousun Cho aka CIFIKA brings a fluttering of bilingual directives to “Step On,” a buoyant exercise in electronic pop. The title track embodies the whole, allowing a single synth pattern to morph, regenerate, and bloom before returning to its original form.

Glasgow-based soundsystem and production unit, Mungo's Hi Fi, are pleased to announce the release of new album ‘More Fyah’, a stunning collaboration with UK singer and MC, Eva Lazarus. Released 19th July via Scotch Bonnet Records, the album follows the success of their 2017 hook-up on the extremely popular ‘Amsterdam’ EP. A genre-melding masterpiece, ‘More Fyah’ traverses between reggae, dub, dancehall and other bass flavours. Eva seamlessly tackles every track with her unique lyrical flow and wide vocal range, matched by Mungo's infectious signature sound. From the rocksteady relick of ‘Dub Be Good To Me’, the ragga mash-up title track ‘More Fyah’, the summery riddims of ‘Light As A Feather’, featuring London reggae artist Kiko Bun, to the roots sampling ‘Babylon Raid’, featuring Jamaican reggae legend Max Romeo, Mungo’s have a sound that is deeply rooted in dub and reggae’s lineage, backed by the sharp, sassy and slick vocals of Eva Lazarus. Raised out of one of the most musically creative cities in the UK, Mungo’s Hi Fi have made a massive contribution to Glasgow’s musical story with a respectful nod to Jamaican sound system tradition. Founded in 2000, Mungo’s was formed by two like-minded DJs, inspired by the free party scene but following the Jamaican tradition of King Tubby and Jah Shaka. True to reggae/dancehall’s DIY ethos, they built their first sound from speakers found in a skip and began producing on an old Atari. They started inviting visiting vocalists to their regular nights in Glasgow to hold the mic and then join them in the studio. Following early recordings on London’s Dubhead records, including debut album ‘Mungo’s Hi Fi Meets Brother Culture’, they founded the Scotch Bonnet Records label in 2005. Today Mungo’s Hi Fi’s three DJs, Craig, Doug and Tom play all over the world, assisted by the team at Scotch Bonnet Records: all committed to spreading their philosophy of serious, seismic productions plus easy going democratic dancehall fun. Highly collaborative, they’ve worked on remix projects with Leftfield, Coldcut, Submotion Orchestra, Kahn and Prince Fatty in the UK to Major Lazer in the US and are currently expanding links with East African Records based in Uganda. The vocal collaborations go much further, from foundation Jamaican legends such as Sugar Minott, Ranking Joe and Johnny Clarke to contemporary artists like Charlie P, Kenny Knots, YT, Solo Banton, Parly B and Marina P. This is Eva's first full length album, having recently featured on tracks with Swindle, Zed Bias, Jus Now and Gentlemans Dub Club. A multi genre artist, she has been making waves worldwide, fresh from her first global tour which took in Panama, Dubai, Uganda, Kenya, India, Vietnam, Australia and New Zealand. Her releases include The Nextmen vs Gentleman's Dub Club ‘Pound for Pound’ and Benny Page ‘Front Left’. She is also set to release her first solo EP later this year and has a starring role in ‘Kid_X’, a theatre production that charts a futuristic romance between a boy with a bionic heart and a famous rooftop selfie queen.

Spectral Empire are George Thompson (aka Black Merlin / Karamika) and Kyle Martin (Vactrol Park / Land of Light). With the release of Iron Muscle they are celebrating 10 years since their debut ep Innerfearence saw the light of day in 2008 on the now defunct THISISNOTANEXIT record label. Legend tells all track were made around the same time (2008-2009), at what was back then Kyle's studio in Archway, London, however opinions remain divided over the validity of this info. What is remembered for a fact is that they'v used practically every home appliance and improvised noise they could find, record and harness, in order to create the feeling of what they describe as a ' Robot walking' for the title track Iron Muscle. Anything from kitchen drawers to DVD's and cutlery was sampled and then drenched in effects and manipulated in order to create what came out as a cinematic futuristic piece to dive into again and again, a soundtrack for an unwritten sci-fi movie, or just a dramatic soundtrack for your everyday lives.. With See the invisible, rules do not apply. An arpeggiated groove sitting on a steady half time 60bpm beat, its like the perfect soundtrack to the perfect car chase. Mediterranean riverbed guitars- not-guitars, sirens, and a heavy (dreamy) atmosphere fill the voids and keeps the track pushing forward throughout... The 4th track on the record is a never before seen the light of day epic remix by Die Wilde Jagd, that back then still included Ralf Beck (Unit 4) as an active member of the band (back when they were still known as Der Rau¨ber und Der Prinz). The release will be a vinyl only release, and is already getting massive support from the likes of Vladimir Ivkovic, Michael Mayer, John Talabot, Red Axes, Manfredas, Trevor Jackson, Lena Wilikkens, Man Power and many more...

Ideas call for realisation, realisations turn into habits, habits then quickly turn into traditions, and traditions become an intrinsic part of culture. Born at the turn of the new millennium as a symbol of a new era for electronic music, Kompakt's longstanding TOTAL series returns with its 18th iteration, spreading over two CDs the essential of the label's last few months of intense activity and extended breadth of resources, blowing out its 25th birthday candle with the breath of a young, throbbing heart.

Introducing faces new and familiar, full-scale hits and criminally overlooked tunes, TOTAL 18 recollects glorious moments on the dancefloor and further intimate ones between friends, inviting the listener to flick through a family album marked with tracks as distant yet eerily close as Sonns highly sensual 'Tame' and John Tejada's propulsive 'Detector', Terranova's elegiac 'Let It Fail' and Rex The Dog's mind-altering 'Crasher' but also, and as usual, its lot of unreleased cuts - transcending the mere retrospective nature of the classic compilation format for a further complete core sampling of Kompakt's zeitgeist.

With a handful exclusive deliveries courtesy of label co-founder Jürgen Paape - here making a rare appearance with the humbly-titled opener 'Well It's Paape', &nd's one and only Aaron Ahrends with the nostalgic 'Eyes Closed', Tobias Thomas and Michael Mayer as Thomas/Mayer, Lebsanft & Raquet and the poetic synthesis of 'Signale', Cologne figure Jörg Burger on electro-punk- wave mode, minimal Danish talent Christian Nielsen and Voigt & Voigt for a session of left-of-centre techno, TOTAL 18 sweeps the spectrum back and forth, navigating from the deeper umbra onto the brighter shades seamlessly.

A wide-scope snapshot of the label's recent past, immediate present and near future, TOTAL 18 moves and shifts, from the power of dancefloor-oriented pieces such as Tom Demac & Real Lies' 'White Flowers' (here presented in its house version), Dixon's silky revamp of Vermont and Gui Boratto's euphoric club weapon 'Forgive Me' onto the funky electro pop flavours of Fahrland, cosmic dub-tech jazz of Ghost Vision and robot bounce of T. Raumschmiere's 'Augen Zu' for a whelming tour d'horizon. Kompakt's annual yearbook as seen through Michael Mayer's eyes, for your ears and pleasure. A collection of music to discover and rediscover.

"It's become such a nice tradition to put together TOTAL compilations. It feels a lot like going through one's photos at the end of the year. Memories come back to mind from moments when a particular track made its first impression on me or how the same track would become a highlight in my DJ sets at some point. Each track has a story to tell. Apart from the obvious big tunes, TOTAL's also bear room for the sleeper hits, those tracks that were criminally overlooked. With a bunch of new exclusive contributions thrown in the mix there's plenty to discover or rediscover. KOMPAKT's annual yearbook seen through my eyes for your ears and pleasure" - Michael Mayer

Ideen rufen nach Realisation, Realisationen werden zu Gewohnheiten, Gewohnheiten werden dann schnell zu Traditionen und Traditionen sind ein wesentlicher Bestandteil von Kultur. Initialisiert an der Schwelle des neuen Millenniums als Symbol für eine neue Ära elektronischer Musik, kehrt Kompakts langjährige TOTAL-Serie zum 18. Mal zurück. Das Wesentliche aus den letzten Monaten intensiver Labelarbeit und der Fülle an Material wird auf zwei CDs ausgebreitet und bläst nebenbei die Geburtstagskerzen zum 25. Labelbestehen aus - mit dem Atem aus jungen, starken Lungen.

Vorgestellt werden neue und bekannte Gesichter, kristallklare Hits und sträflich übersehende Tunes. TOTAL 18 erinnert an die Momente auf dem Dancefloor und die Gespräche danach, die den Hörer einladen durch ein Familien-Album zu blättern, das gefüllt ist mit Tracks so fern und schon unheimlich wie Sonns höchst sinnliches - Tame' und John Tejadas forttreibendes - Detector', Terranovas elegisches - Let It Fail' und Rex The Dogs bewusstseinsveränderndes - Crasher'; aber ebenso, und wie gewohnt, seinen zahlreichen unveröffentlichten Cuts - die bloße retrospektive Form des klassischen Compilation-Formats wird transzendiert, um den kompletten Zeitgeist Kompakts einzufangen.

Mit einer Handvoll exklusiver Beiträgen von Label-Mitbegründer Jürgen Paape (hier mit einem seltenen Auftritt in dem bescheiden betitelten Opener - Well, It's Paape'), &nds einzig wahrer Aaron Ahrends mit dem nostalgischen - Eyes Closed', Tobias Thomas und Michael Mayer als Thomas/Mayer, Lebsanft & Raquet und ihre poetische Synthese auf - Signale', Kölns Koryphäe in Sachen Electro-Punk und Wave Jörg Burger, Minimal-Talent Christian Nielsen aus Dänemark und Voigt & Voigt mit einer Techno-Session vom linken Flügel: TOTAL 18 grast das gesamte Spektrum ab, nahtlos von den tieferliegenden Kernregionen bis zu den helleren Plateaus.

Aufgenommen in der Totalen ist TOTAL 18 eine Momentaufnahme, die die jüngste Vergangenheit, unmittelbare Gegenwart und Nahe Zukunft des Labels einfängt und sich um die Kraft von am Dancefloor orientierenden Stücken wie Tom Demac & Real Lies "White Flowers" (hier in der House-Version) bewegt und wandelt. Mit Dixons seidig sanften Remix von Vermonts - Dschuna' und Gui Borattos euphorischer Club-Kanone - Forgive Me' bis zu den funky Elektro-Pop-Geschmäckern von Fahrland, dem kosmischen Dubtech-Jazz von Ghost Vision und dem Roboter-Bounce von T.Raumschieres - Augen Zu' sorgt TOTAL 18 für eine mitreißende Tour d'Horizon. Kompakts alljährliches Jahrbuch gesehen durch die Augen Michael Mayers, für die Ohren und Vergnügen von euch. Eine Sammlung von Musik zum entdecken und wiederentdecken.

"Es ist eine schöne Tradition geworden die TOTAL-Compilations zusammenzustellen. Es fühlt sich ganz so an, als würde man seine Fotos durchgehen am Ende des Jahres. Erinnerungen an Augenblicke kommen zurück, als ein bestimmter Track seinen ersten Eindruck auf mich gemacht hat oder wie der selben Track irgendwann ein Highlight in meinen DJ-Sets wurde. Jedes Stück hat seine Geschichte zu erzählen. Abseits von den offensichtlichen big tunes lassen die TOTAL-Compilations immer auch Raum für die ,schlafenden Hits', jenen Tracks also, die sträflich übersehen wurden. Mit einem Strauß an neuen exklusiven Beiträgen gibt es einiges zu entdecken und wiederentdecken. KOMPAKTS alljährliches Jahrbuch gesehen durch Michael Mayers Augen, für deine Ohren und Vergnügen." - Michael Mayer

Matthew Sage is a composer, producer, label owner, and publisher based in Chicago, IL. Since his
earliest recordings, Sage has carefully considered and crafted each of his various approaches
to experimental music. His debut LP A Singular Continent was an endless epic that charted
imaginative aural cartography and seemed to soundtrack actual worldbuilding. Now, after five
years personal changes and growth, Sage returns with his tried and true sonic trademarks, but
with a noticeably liberated approach to his brand of experimental studio music.
Catch a Blessing shows Sage in a much more impulsive light. Where past work existed in space
that was cerebral, meditated, and composed, the music here is more natural, playful, and effort-
less.
Opting for chance and the unknown rather than rules and conceptual rigor, Sage “practiced” an
amorphous technique that led to profound moments of accidental, unplanned beauty.
The moods and modes are constantly, entirely at odds with themselves: private vs. public, abject
vs. profound, rural vs. urban(e), and so on. Where other players of experimental studio music take a
more high-minded, often stuffy approach, Catch a Blessing floats in airier, more refreshing modes.
It’s endlessly lush but sincerely marked by decay. This is naturalism in the truest sense.

a a1. F.O.I - One More Stripe LionX & Drama1 Remix
[LionX & Drama1 Remix]

Msymiakos (Miss-a-me-akos) droppin some serious heat for PPJ 002. Proper Jungle at its finest!

A1. from The Triple J broadcast. Live at The Palace, Melbourne, 1992.
B1. recorded at The Pier in Seattle, 1993 and broadcast from MTV USA, except B6 & B7 from Saturday Night Live, 1992.

STANDING OVATION was a short lived project from Clacton on Sea, UK, created by the very young Paul Bramhall and Glen Redgen in 1982, while they were still at high school. Armed with a Casio MT40, a Korg Polysix, a Korg M500 and a Boss DR55 drum machine plus a guitar and a bass they booked a local studio on 22nd October 1983 and recorded two songs in one day. The two tracks were released on cassette by the also local Falling A label shortly after. They continued making electronic music for a further two years and seeking collaborators through the papers they managed to include a drummer and a lead guitarist, but the sound changed and was no longer the electronic sound that Paul desired. After a few local gigs they drifted apart with musical differences.

The WHAT MEANING / TIMES OF FUN cassette didn’t have much repercussion back then and being impossible to find nowadays we decided to give it another try on vinyl. WHAT MEANING is a true minimal synth masterpiece, with its pulsating bassline and overall dark feel. This genre just doesn’t get any better. TIMES OF FUN is a much brighter, poppy tune that puts a smile on your face.

The two songs have been transferred and remastered from the original ¼” reel tape and the also minimalistic but beautiful hand-drawn original artwork has been adapted and enhanced to fit this 7” release.

We are immensely proud to bring it to you as a limited, hand numbered edition of 275 copies, housed in an old-fashioned, matt finish card-sleeve including a download code.

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


The first track out of the gate is a recognizable Vladislav Delay piece, but instead of gently flowing rivers of sound, instead we have a series of stiff, machine-like rhythms applied to his classic infinitely deep pads and ambient environmental sounds. It just continues to pile in more elements until becoming almost indistinguishable from his natural, organic flow. From there we move into somewhat more familiar territory but still unusually stripped down and mechanical for a Vladislav Delay joint. It’s fascinating to see such an intricate songwriting process laid bare in such a way, often exposing each individual, nearly bottomless sound in isolation.


Deeper into the album, things veer into decidedly more abrasive and synthetic territory, at times becoming an almost unrecognizable artist for a moment, only to be eventually subsumed under layers of shifting ambience that could only be Sasu.


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

In celebration of Liondub International’s10 year anniversary, Liondub is proud to present the 2nd 12” EP taken from Saxxon's premiere full length LP "Action Saxxon - Jungle Odyssey". Saxxon’s success and extremely loyal fan base is the result of years of hard work crafting stand out tracks that are infused with a classic jungle sound that draws from Soul, Funk, Jazz & Reggae.

Boytronic is a synth pop group from Hamburg, Germany. The duo began composing music as the soundtrack to sex shows on Hamburg's famous 'Mile of Sin'. Their first single 'You' was released in 1983 and became a Top 10 club hit in many European charts. 'Trigger Track' was released in 1984 as a B-­side. 'Bryllyant' was originally released as a B­-side to the 86 remix of 'You' on JDC Records. A Belgian DJ played the song at 33rpm and convinced the band to release this slower speed version in 1988. It became the band's second most successful release and a hit across Europe. This EP features both the 1986 U.S Remix and 1988 33 1/3 Plus 8 Remix of 'Bryllyant', as well as the original 1983 Extended 12' version of 'You' and a special edit of Trigger Track never before released on vinyl.

Compilation of mainly unreleased Aardvarck material from one of Rush Hour's favorite and dearest producers. It's a beautiful listen.
Limited Edition Of 300. Every sleeve is unique - achieved with a computer generated randomization process for each print. BIG TIP!