Beats News

The time-stopping tract of ’In Demons In!’ is a naturally elemental drone collaboration between
eminent experimentalists Jim O’Rourke and CM Von Hausswolf for their eternal admirers at iDEAL
Recordings
Offering a transfixing peek behind the curtain of pure black hole drone dynamics, ‘In Demons In!’
finds the American in Japanese exile and the proclaimed monarch of the imaginary kingdoms of
Elgaland-Vargaland meeting on common ground after 26 years of international correspondence.
Initiated in Tokyo 2016 and completed over the proceeding two years in Japan and Sweden, the
uncompromisingly adventurous results are galactic in scope and viscerally metaphysical in
presence, conjuring scales of abyssal bass and diffused, atomised, abstract dark matter that make
the listener feel like a speck of stardust floating in infinity.
Using sound as a magickal tool for psychic transport and to finely model notions of the
metaphysical that typically elude human comprehension, the near 40’ work feels to collapse
billions of years into a glacial moment. Location recordings made in Kathmandu lend an barely
there iridescence, like microbial filaments flickering in the endless darkness, to their plunging,
subharmonic basses and vaporised mid-upper registers, where spectral forces comb thru the
piece, only very gradually altering the weightless keen of its planetary mass and mental traction.
Ultimately, and fans are likely to agree, ‘In Demons In!’ amounts to a vitally definitive entry in both
artists’ catalogues, marking right up there with the most abstract wonders of O’Rourke’s electro-
acoustic Steamroom volumes, while manifesting some of the most fascinating results from Von
Hausswolff’s ongoing investigations into drone music’s paranormal properties. In other words: it’s
Grade A+ zoner music.

‘The Royal Garden Covered In Ash’ is a dream sequence of layered and mulched horror-style organs
and synths concocted by ambient explorer Fabio Orsi and the maestro Brian Pyle of Ensemble
Economique and Starving Weirdos. It’s a proper goodun - highly recommended if yr into Dean
Hurley’s super atmospheric Lynchain sound design.
Seemingly crafted to soundtrack bouts of sleep paraylsis, or the the heavy-lidded hypnagogic jerk
phase, ‘The Royal Garden Covered In Ash’ says its piece in gloaming strokes with an overtone of
menace that never quite manifests but lurks liminally, gnawing at the subconscious.
‘Belief is a whisper’ helms the front with a subaquatic swell of nocturnal crimson/blue/black hues
that give way to Pyle’s typical, Vangelis-like brass flares and ghostly synth figures that fleet out
of view just as quickly as they appeared, while the narrative subtly lures us into really noirish
mindspaces.
’You’re So Close, I Can Almost Hold You Again’ phosphoresces on the back, hovering in and out of
view with a beautifully elusive quality - sometimes tangible and shimmering, at others smudged
and just outta reach - in a proper aether dream style.
Beautiful, eerie music.

UK mastermind Phil Gamble aka Girl Unit makes a powerful return with Song Feel, his debut full-length album and first release since 2012’s acclaimed EP Club Rez, featuring Kelela, Taliwhoah, Ms Boogie and more.



An essential member of London’s eclectic Night Slugs camp, he’s back with a fully developed body of work featuring six key vocal collaborators. While still steeped in low-end pressure like his past work, Song Feel r eaches toward a classic timelessness: time-honoured elements of production sit seamlessly alongside the most contemporary sounds, as Girl Unit densely layers radio gloss and big melodies over beats that take influence from a variety of Club and Pop sources.



Since the start Girl Unit has always taken influence from pop, preferring to hear music with vocals both on and off the dancefloor. Here he has created a unique sonic environment for each of his collaborators to tell their story. The record opens with ‘WYWD’, featuring R&B iconoclast and long-time collaborator Kelela gliding over intimate street soul sonics and luminous funky leads. Next, a volatile West Coast bassline and stadium-size dancehall percussion guide British singer Taliwhoah through elegant synth washes on ‘Stuck’. On ‘Wreck’, Brooklyn rapper Ms Boogie spits hardcore verses that twist and turn along GU’s erratic lows, creepy atmospheres and drillin’ drums.



‘Pull Up’ featuring Tampa’s Thast delivering a menacing confrontational flow over gliding subs and eerie staccato. Los Angeleno Rush Davis sings metaphysical soul over a saccharine choir on the slow-burning ‘Evidence’. Lastly, London’s Brook Baili dances with big piano chords and jubilant basslines on the radio-ready swing of ’24 Hours’.



Though Girl Unit gave his features free reign vocally, clear themes of changing relationships in a modern era emerge across Song Feel, lending the record a curiously frothy yet intimate sensation. In-between, blissfully stripped-down instrumental interludes bind everything together, giving the album’s host and creator some much-deserved solo time.

Hailing From Montreal, Canada Is M.s.l. For Their Bakk Debut The Duo Present Three Rugged Floor Oriented Tracks. A Fast Paced Belter For The A Side And Two Nuanced Electro Tracks For The Flip. Comes In Hand Printed Artwork Provided By The Bakk Quebecian Consulate.

-
1
Breach One
9' 36''
2
Interlude One
3' 26''
3
Breach Two
7' 05''
4
Breach Three
9' 32''
5
Interlude Two
2' 29''
6
Breach Four
7' 34''
Breach dives into chaotic systems and reflects on the recent events of protests and riots in the world, exploring the build up and release of tension and energy in a new form of pitch black metal electronics and polyrhythmic structures.

Zeno van den Broek is a Dutch-born, Copenhagen-based composer and artist. Van den Broek works in a multi-sensory way to research and express physical, social and acoustic notions. He utilises audiovisual means to create site and concept specific works. This trans-disciplinary method has a strong conceptual foundation, originating from a background in architecture, which enables Zeno to comprehend and reveal the richness and complexity of spatial, visceral and physical perception. He works with a characteristic artistic language based on minimalist and fundamental elements such as sine waves, lines, noise and grids.

Released on the occasion of Thomas Baldischwyler's booth in the collaboration section at ART COLOGNE 2019.Through a Soundcloud mix by London Crew Front Left Life, Baldischwyler was pointed to the mysterious Laton 12" VI AUX by the Austrian project FON (Formation ohne Namen) which was released in 1997. The project consisted of Johann Groiss und Manfred Söllner, but it was mainly Söllner who was responsible for the production. Baldischwyler got in contact with Söllner in 2018 when he stayed in Vienna and asked him if he could release some of his recent productions, for the second time - after 20 years - on vinyl. While reading a documentation about the SS division "Feldherrenhalle" burning some of the most important works of Austrian artist Gustav Klimt (Especially "Schubert at the piano" from 1899) on the last day (May 8th, 1945) of the second world war in the Austrian manor house Immendorf, with this idea, Baldischwyler started to make the artwork and Söllner selected the tracks which are now in the "hidden" grooves beside the recording of a 1969 workshop for fire safety in California, USA.

ASA 808 delivers his debut mini album, merging his boundary-pushing club tracks with forward-thinking ambient & post-rock influences, dominating the space between the two.

Over the course of several EPs with the Berlin based TOYS label and an acclaimed three-tracker on George Fitzgerald's ManMakeMusic imprint, Asa has established himself as something far beyond a standard dance music producer. With every release, he hones his off-kilter approach to electronic music, continually adding new strokes of colour to his catalogue.

His debut mini-album is no exception: every track bleeds with melodic intricacy and brooding arrangements, showcasing Asa's unique capacity to flip the script.

DJ Support: Addison Groove, Alex Do, Avalon Emerson, Barker & Baumecker, Ben UFO, B. Traits, Breach, Charlotte de Witte, Damian Lazarus, Dark Sky, Erol Alkan, Etapp Kyle, Frits Wentink, George FitzGerald, James Zabiela, Leftfield, Maceo Plex, Marcel Dettmann, Marcel Fengler, Sasse, Skream, Tensnake, Tom Trago, Whitesquare

Repress available in early May.

Faitiche releases a new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA’s meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.

"Watching the Japanese sound artist ASUNA playing the organ, some people might be surprised. ASUNA is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.

I first met ASUNA when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed Signals Bulletin. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.

Whether using prepared organ, Casio keyboards or mechanical plastic toys, ASUNA creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.

The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.

It is no coincidence that ASUNA owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ..."

Jan Jelinek, Berlin 2018

"Mannequin Records and Platform 23 come together to start a series of stand-alone reissues of the music of post-punk / industrialists Bourbonese Qualk, starting with their 1983 album Laughing Afternoon. Formed in Southport during the late-70s, the band came to prominence out of South London's squat scene via their own Recloose Organisation. Early releases including the band's first experiments put to tape and the now highly sought after Sudden Departure compilation featuring luminaries Colin Potter, Eg Oblique Graph (Bryan Jones) and Lol Coxhill, laid the foundations of their burgeoning sound.
Recorded and produced at the Recloose Studios in Camberwell in 1983, Simon Crab, Julian Gilbert and Steven Tanza infused their music with politically charged atmospherics, instrumental exploration, heavily laden reverb and dub, all projected by drum machine rhythms to assemble a musical collage which encapsulated strands beyond contemporary music.
Track titles decipher little, as with the music, a discourse not belonging to a set style or movement, but crossing boundaries of supposition, pushing distortion and outernational leanings towards something else, a primordial discant. While tape loops warp the ears and spoken vocals propel songs like Blood Orange Bargain Day and To Hell With The Consequences and contrasting guitar acoustics pierce the mood on Qualk Street and Spanner In The Works, the overall embrace is claustrophobic, embedding a foreboding for the times. This unique, indulgent, cross genre melting pot where pounding rhythms, wailing trumpets, mournful melodica and electronic pulses all spiral in a contagious dissonance that heralded Bourbonese Qualk to the wider world.

n 2014, the Resono project was set up to study a number of highly reverberant locations around Scotland, with the aim of exploring and experimenting with the sonic qualities and possibilities offered by each.

Research for the project took place in spaces including a water reservoir, giant sea caves, oil storage facilities, an abandoned munitions factory, an early 19th century ice house and a cathedral. Among them was a 200 feet tall disused concrete silo, built in 1964 by the British Sugar Corporation to store sugar beet, but abandoned just eight years later. With the exception of a brief revival in the early 2000s for grain storage, the structure has remained empty.

The extreme acoustics exhibited by Cupar Grain Silo are an accidental artefact of it's ambitious industrial architecture, with a reverberation time approximating 36.5 seconds. Using impulse responses made within the structure, bespoke music was produced, sympathetic to these acoustics. These compositions were then reamplified back into the space in front of a live audience on Saturday 21 May 2016.

Resono was supported by New New Media Scotland's Alt-w Fund with investment from Creative Scotland.

Here we go with one of the most valuable records in the steaming pile of Bogwoppas. This one was bootlegged a couple of years ago from dodgy Youtube rips. So we thought we would go all out on an official reissue for you. Sadly the DATs were long since lost in the midst of time. However a NM copy was sourced and a small fortune spent on restoration. The guy who does the restoration usually works on African Jazz music on Shellac records. So he is used to doing his magic on much worse audio. The upshot of the restoration is the 4 tracks sound almost as good as the original masters. Bear in mind it's a 25 year old record with all the crackle and pop that goes along with that. We've tried to polish these turds without ruining the original vibe too much. The audio samples are the masters we used for production so you can hear them before buying.

Sorry this one has to be a couple of quid more as we shelled out a small fortune on the restoration. You know the score if you want the original though. So hopefully you're not too miffed!

A prelude to their upcoming second studio album, SCAR present the 'Hide In Plain Sight EP' on Metalheadz.

Now 5 years deep into their collaborative project, Survival & Script have continued to forge their own sound resulting in an illustrious back catalogue most could only dream of. The 'Hide In Plain Sight EP' is a fitting addition, encompassing some of their best work yet with 4 tracks primed for the dancefloor.

"including the "en route to Thailand " album on CD-r and the Sound Voyage "Schattenspiel Dub/ Golden Garuda Khidja remix" 12" .FREESOULINC002cdr & 003 . limited edition of 100, handstamped CD-r sleeve with 24k gold leaf."

Sworn Virgins are back on Soulwax/2manydjs label, DEEWEE with two more hugely effective club tracks entitled ‘Lazer Beam / Take Your Lady.

From the green hills of Albania to the back rooms of New York City, Sworn Virgins bring the light. A strangers hand on your shoulder, bright red painted finger nails scratching your thigh, all those beautiful things that made you leave that small town you came from. Greased up and ready to go, close your eyes and take it in.

Dj Tango (rip) Was A D&b Scene Legend And Originator.

This Series Are Remastered From Digital Originals And Include Dubplate Only Versions Of Some Classic Tracks From The Early Years

Early June 2019 Frankfurt am Main based label MMODEMM unleashes DRUMS – the first of a series of vinyl compilations in the spirit of signature sounds, stating a tribute to sound-libraries – a deconstruction of your favorite preset sound-groups.
DRUMS will be followed by sound-themed releases FLUTES, VOICES and SLAPBASS within the next months.

DRUMS features a proggy composition by Eva Geist (Macadam Mambo), a raving clave inferno with odd, pitched chants by Cienfuegos (L.I.E.S.), a dance-floor drum-solo straight from Ireland by Lumigraph (Opal Tapes, Mr. Saturday Night) and last but not least – a drunk masterclass drum-lesson by Peder Mannerfelt (Avian, Berlin Atonal Rec), taking house apart with his “Dumb Drums“.

Alex Jann returns to Censor for the label’s second excursion into the unknown with three direct communications and a mix of the title track from Rotterdam’s Animistic Beliefs.

The EP’s title track Computoid.Transmission.X is a pulsating drum workout laced with dystopian pads, laser-cut leads, anxious bass lines and an evocative mutant vocal from an A.I. system gaining consciousness.

Animistic Beliefs create a darker texture in their Electric Eye Mix of the title track, sending the vocal and lead sound straight through the stratosphere via complex bass and arp phrases that filter and stalk around the lead bringing a deeper and more contrasting A2.

Firewall Culture comes as an intoxicating trip on the B1 with off-world FX, feral acid lines and a spacetime-defying style of vocal that haunt Alex’s work.

Jupiter Storms on the B2 ascends the EP to a higher plane with deep washes created from evolving pads adding space and movement to the final track of the release, all accented with glacial micro drops, syncopated beats and tight trickling synth sections. The release was mastered by Keith Tenniswood at Curve Pusher.

Japanese maverick ALTZ teams up with relative newcomer IGAXX for a wonderful debut on the new LADYBUG imprint...

Having released the superb 'Permanent Vacation' on ALTZMUZICA a few years back, the two made a musical connection that has come to fruition with their celebrated Star Child parties & this collection of mesmerising cuts.

Osaka born ALTZ has forged a genre-defying career both behind the decks and in the studio, always unconventional, he combines a wealth of influences into something genuinely fresh.

He capably takes the A side here, with 'Ottie' a loose, musical and low-end heavy Theo style jam, while 'Sly' is a gurgling synth-out.

Tokyo's IGAXX steps up for the flip, with the atmospheric and intricately realised 'Sonorama' leading the charge. 'Minotaur's Dish' presents us with another exquisitely layered number, with aquatic undertones and a hypnotic appeal. Finally 'Unnn' leaves us with another beatless synth exchange, ending what has to be one of the strongest debut 12's we've heard in a while !

Bybo Funk's interstellar and futuristic sound returns in the form of a brand new LP entitled "Black Eye Galaxy".

June Records presents their seventeenth release, ”Diataxis" by Ioannis Savvaidis, which is comprised of 4 recordings and their accompanying texts.

Diataxis is an audio interplay between Optical Networks terminology and the main artwork of the release. The sound is transmitted throughout abstractly and emotionally structured spaces.

Recorded live in Savvaidis’ studio in Athens between July and December 2018.

We're delighted to share this record from the Moscow-based recording artist OL aka Oleg Buyanov. His most recent work, the double LP "Height Difference" on the seminal Gost Zvuk label, saw him transmit his research in soviet sound heritage into a range of genres and tempos. On "Dismeteo", we see him inhabit a similar atmosphere, refracted through a different lens of influence. In Buyanov's own words, "The tracks are like concrete blocks & buildings lost in the woods. It's a point where correct geometry and mathematical constructions meet with organic forms.

Third Space was inspired by a digital painting of a house by Marilyne Blais. A printout of the untitled work was pinned to the wall in Casa de Haikustudio, becoming an unexpected influence on the record. The duo realized early on they had started to imagine the soundscape inside the dream-like dwelling. The depth of field is fuzzy, angles are confused, and the structural integrity is unclear. On Third Space, People Plus wander freely between real and psychedelic territories, dipping into trip-hop, downtempo, and jazz. They find their sonic context in a hybrid space - neither the bedroom nor the dance floor.

Third Space is the second release from People Plus, a collaboration between Joli B and Mood Hut's CZW.

Cygnus aka Phillip Washington returns home to CPU with Deep Analysis. Six tracks of nebulous compositions all containing his signature emotional and melodic electro.

Sheffield Bleep is an ode to CPU Records complete with an old school vocoder rap over CR-78 rhythms. Deep Analysis is an answer to one of Washington's favourite tracks 'Sleep Paralysis' by Mikron. Ultraterrestrial, Her Majesty and Descent of Man are beautiful si-fi electronic music without comparison. The E.P. wraps things up with Hallucinate Data cementing Cygnus as a master of the genre.

The second release on the galaxy inspired Tour Messier label is the debut by Rotterdam based musician-dancer-choreographer-filmmaker Davide Bellotta. He's a familiair face for anyone who attented one of the performances of the Conny Janssen Danst modern dance company, also based in Rotterdam. In his music Davide Bellotta explores the inner realm with softly repetitive synthscapes, organic guitar stabs and star sprinkled musicbox notes. Davide Bellotta creates rich and layered textures with handplayed and sequenced instruments, all delicately woven together to create an intimate and personal musical fabric, expanding beyond the mere here and now, touching on something timeless.

“Le Lisse et le Strié is a new work by french composer François J. Bonnet, released under his project name Kassel Jaeger. Based in Paris, Bonnet is the Director of INA GRM. He is also a writer and theoretician (The Order of Sounds, a sonorous Archipelago and The Infra-World have been published in english by Urbanomic). As a musician, Bonnet has been collaborating with artists such as Stephen O’Malley, Oren Ambarchi or Jim O’Rourke and most of his recent work has been published by Editions Mego.

Le Lisse et le Strié has been conceived as an exploration of the two antagonist concepts of “smooth” and “striated”, applied to the realm of electroacoustic sounds. If the “smooth” is linked to “nomos” as an open space of organic distribution, the “striated”, on the contrary, is associated to “logos”, as an enclosed space defined by a grid.

Elaborating a dialogue between these aspects, Kassel Jaeger draws here an intermediary space where pulsations become textures and layers, and where rhythmic elements are found in the qualities and bodies of sounds instead of being functionnalised, pre-determined sound objects, abstracted and frozen onto a temporal grid. The concept of “striated” is made audible only through the sonic landscape it inhabits, like the stripes of the camouflage fur of wild animals only exist as such in the woods and long grass, disappearing into a potentially uselessness in a desert plain.”

Tallinn's Rando Arand joins up with LIITHELI to release four deep cuts entitled 'Alles' EP.

Rando Arand is an electronic music producer from Tallinn, Estonia with a background in sound design and experimentation. Arand released his first record on Asphalt Soliloquies back in 2017 and has since gone on to perform live at clubs and festivals around the Baltics sharing stages with likes of Dorian Concept, Gerry Read and King Midas Sound.

His 'Alles' EP sees him join Ali Asker's LIITHELI imprint who focus on supporting local artists from Estonia's capital following the likes of Mava & Nebukat, 1212a and the label boss himself, in addition to remixers from across the globe like Vakula and SH2000.

'Maandub' gets things rolling with dubbed-out aesthetics fusing hypnotic low end, meditative chords and eccentric synth stabs before 'Moondub' delivers soulful keys, deep riding bass grooves and fluid percussion.

'Joondub' maintains the breezy atmospherics as it delicately layers alleviating pads, organic pulsations and floaty modulations before 'Avardub' finishes things off with emotive melodies, fast-pitched, natural drums and melancholy tones throughout. Rando Arand 'Alles' EP drops on LIITHELI on 1st May 2019.

Some Became Hollow Tubes floating in the ocean.

6 self recorded improvised drone rock waves from Eric Quach (thisquietarmy - relentless DIY powerhouse) and Aidan Girt (Godspeed You! Black Emperor).

Chords loop, pedals get pushed, pounding drum parts get added and subtracted, it starts quiet and gets loud. Eric no longer needs to worry about the rhythm, Aidan no longer has to worry about the song structure. All four ears stay cocked and listening even if neither of them are very good at keeping eye contact.

One life to live, pound drone and loop this moment into the present, hahaha let’s keep joking, it's ok.... the music has our sadness. This world is dying, the machines are getting better and better at eating material things to create nothing and all we can do is make wordless music in response.

The album was mastered by Harris Newman (Godspeed You! Black Emperor, Tindersticks etc).

A True piece of Hardcore History, Reminiscent of the early Rave era, a time when there were no rules. ‘Hardcore’, just before the fruition of what Jungle came to be. Experimentation in Rave music was at its utmost: chopping up 8 Bit beats & breaks re–inventing a fresh Drum Sound, Bassline’s that make your eye socket’s shake, idea’s that followed no rules. This is some of that missing History...

Originally produced in 1992, this was scheduled to be Dlux’s first official solo release on ‘Brain’ records. With lots of hype about ‘The Darkness e.p.’ (Bizzy B & DJ Dlux) 1993, The Fontage E.P. release was delayed, & finally shelved, making way for Dlux’s updated sounds of ‘The Realtime E.P.’ which got released back in 1994 on Brain Progression.

The Fontage E.P. is Dlux’s earliest material to be featured on the ‘Lost Dat’s’ series. The Dat’s have since corroded beyond repair, this was salvaged & lovingly restored & remastered, so this piece of History could get an outing on ‘Existence Is Resistance’.

Don’t miss out on this authentic piece of music history from a true Underground legend!

HATEAU: O you singer, solitary, singing by yourself—projecting me;
O solitary me, listening—nevermore shall I cease perpetuating you;
Never more shall I escape, never more the reverberations,
Never more the cries of unsatisfied love be absent from me,
Never again leave me to be the peaceful child I was before what there, in the night,
By the sea, under the yellow and sagging moon,
The messenger there arous’d—the fire, the sweet hell within,
The unknown want, the destiny of me. O give me the clew! (it lurks in the night here somewhere,) O if I am to have so much, let me have more!

Kip Carmen and Danny Horton are seasoned men of music. In the early 70s, Kip was signed to Memphis’ legendary HI Records. He also had releases on independent labels, including Queen Bee, Reveille & AFE (with Danny), plus an LP in 1979 on Long Islands Sounds.
In August 1982 at Normandy Sound Studios, Rhode Island, the cream of New York and Boston session musicians assembled to record songs for an album release. Due to a prolonged recession in the music business and the onset of CDs, the recordings were shelved.
IZIPHO SOUL have captured two masterpieces: TECIHILA, which in Native American means ’I Love You’ in a powerful and spiritual way. It’s a post disco jam with sensuous lyrics - one of those songs where you can ‘picture the scene’. The B Side - THOUGHTS OF LOVING YOU - continues the alluring theme at a slower tempo.
Some releases require more complex licensing work, bravery and belief. I am personally thrilled for Kip and Danny that these unique pieces of music have been rescued, restored and released on vinyl.
Wanna get on the Tecihila train



Out on 3rd May. Limited to 300 copies

We are extremely proud to present these unreleased demos by New York Jazz/Soul singer Lou Watson. Recorded in October 1977, at the early stages of his singing career, these compositions were just too good to remain undiscovered!
Produced by Ronald Foster of Ecstasy Passion & Pain fame, Lou blends his sonorous baritone over a guitar, bass, piano and drum backing. We hope you enjoy their rawness and beauty!


Out on 3rd May. Limited to 300 copies.

Gremlinz & Jesta Follow Up Last Summer's 'Empty Promises EP' With A Bold Statement In The Form Of 2 Tracks Crammed Full Of Heritage And Allure In A Welcome Addition To The Metalheadz Platinum Catalogue.

Lee Gamble signs up HXE (fka HEX) for a tightly coiled, hard-edged quartet of deco-rave recces in
the space between sound designer techno, mutant Latinx styles, and polluted megatropolis vapour
noise
Run out 3 years since the London-based duo’s debut with Liberation Technologies, and proceeding
their 2017 EP for Antifur, the ‘INDS’ EP is loosely structured around the practice and aesthetics of
modern, large scale industry. Its 4 tracks are brutalist in resolve and construction, but each derive
a sense of (perhaps perverse) pleasure and sensuality from the warped virtual/physical tension
and crunching industrial intensity of their sounds.
‘Rozay’ opens the A-side with an alarming sort of Industrial dancehall smackdown, all panic-
station strings and pummelling, off-kilter bass with unyielding effect, while the reticulated
writhe of ‘Worm’ synchs breathless synthetic gasps with mechanically reclaimed rhythm with
‘floor-flailing force, and ’Spill’ alternately sustains and vents the tension with lurching, gnashing
dembow dynamics.
Following Zuli’s ‘Terminal’, which ranked highly in the Wire’s AOTY chart, and Nkisi’s resoundingly
acclaimed ‘7 Directions’ album, HXE are a fierce new addition to UIQ’s gang of dancefloor mutants.
In a stark reflection of the music, ’INDS’ will be accompanied by artwork and video in collaboration
with Paris-based sculpture artist Anita Molinero, whose process of salvaging and irreversibly
deforming industrial objects and materials patently mirrors the process and abrasive, malformed
nature of HXE’s music.

Venerable avant-garde composer John Duncan follows his prized cycle of cover versions ‘Bitter
Earth’ [2016] with ‘Conventional Wisdom’; a truly beguiling new suite of original, stony avant-blooz
songs produced in collaboration with iDEAL boss Joachim Nordwall, and marking another high
point in both of their catalogues After coming out as a vocalist to memorably striking effect in
2016, Duncan compounds the effect with ‘Conventional Wisdom’, placing his original lyrics in stark
arrangements ranging from shortwave radio-streaked dark ambient settings and Mika Vainio-
esque isolationism, to deathly dubs driven by Nordwall’s rugged rhythms in a style that heavily
recalls Jay Glass Dubs’ recent ‘Epitaph’ LP.
An original and close associate of LAFMS co-founder Tom Recchion, and collaborator with
everyone from Chris & Cosey to Asmus Tietchens, Merzbow and Andrew Mckenzie (The Hafler
Trio), Duncan is well versed in the art of f*cking with music. Doing so since the ‘70s, it’s only in
recent years that more “typical” song structures have crept into his style with most transfixing
effect, gathering the attention of many who previously weren’t necessarily exposed to his music.
Whether stemming from a perverse pleasure in twisting popular music, or a matter of changing
with age (dude is 65), we’re just not sure, but either way Duncan is now coming out with some of
the most broadly appealing, yet incomparable work in his 50 year-wide catalogue.
Aided by Joachim Nordwall, the pair convene a set of songs every bit as fascinating, eerie as
the cover image of a birdcage mask bound in barbed wire. The title track emphasises the stark
mystery with nothing more than meditative vocals, gamelan strikes and daubs of shortwave,
before ‘Hard Swallow’ catches him huskily channelling Lee ‘Scratch’ Perry at a spooky distance,
while the disembodied dub tropes of ’Soft Eyes’ come uncannily close to aspects of Jay Glass Dubs,
and ‘Say No’ says it in the bluntest, most bluesy terms. The most desiccated, strung-out material
however is saved for the B-side, with the sferic resonance and stereo-strafing vocal of ‘The Joke’
planing out into the cracked hush of ‘The Beautiful Attempt’, before he and Nordwall effectively
duet in the finale ‘The Red Hot Alternative’, where Nordwall also supplies pranging percussion and
Coil-esque synth abstraction.

Dixon Avenue Basement Jams are proud to present "Rainbow Body" by Nightwave on their new sub-label Neutralizer Records.

New music from Nightwave is what life is all about.

Check out her new fantastic release for Dixon Avenue Basement Jams’ Neutralizer sub-label if you’re in any doubt. Rainbow Body EP is 4 tracks of Detroit influenced dance floor damage, taking in and breathing out lush melodic techno, driving ghetto beats, steppin’ authentic electro and bold yet synthy house music. It’s a release that does it all and with such style and confidence. You’d be a fool to miss out.

Limited Hand Stamped Vinyl and crazy story inlay included

Banlieue Records presents LAKERDA, an LP by ALTKAT.

No stranger to records that side-step club conventions, Banlieue’s latest release truly stands out from the rest of its catalogue.

Altkat is a Turkish-Armenian musician born in the late 40s and active since the 60s when he first started experimenting with an Anatolian saz, a two track tape recorder, and a fluegelhorn. Today, the saz is still there, the bugle is gone and the tape recorder has turned into a computer. Altkat, who spends most of his time working as a percussionist for sephardic and balkanic bands, is above all interested in the transformation of noise into music and does not shy away from using synthesizers and drum machines, along with his saz, to create his music.

LAKERDA exists somewhere beyond the “traditional” and “non traditional” realms. It is marked by hybridity and the encounter of seemingly opposite notions, such as tradition and modernity, East and West, past and future, but also acoustic and electronic and more abstractly, here and there. This album takes the listener beyond these oppositions and invites him or her to approach Altkat’s music not on ultimately fallacious “either/or” terms, but simply to receive it as it is, a fourth world record, with each track on the album a palimpsest that encapsulates previously mentioned oppositions and transcends them in the process.

Full of morphing textures, metallic resonance, layered arrangements, plucked saz strings, pitch-sliding winds, shimmering melodies, bleeps and blops, peculiar samples and other disorienting sounds, this album seems indebted to the aesthetics of private press albums from the late 20th century. While some of these have recently been reissued by labels such as Music From Memory, Into The Light and Stroom to name but a few, Lakerda also feels more contemporary, and it is certainly not out of place in Banlieue’s catalogue.

It therefore seems apt to conclude this presentation of the record with a paragraph written by Joe Muggs after listening to LAKERDA and which has been printed on the LP’s labels.

'Causality moves differently in the fourth world. The flows of generational influence can be altered or even reversed. Exotic is normal and normal is just another shifting layer among many. Continents rediscover each other in new orders, distant stars loom close, and strange music like this comes not from far off but inside your mind.'
Joe Muggs

Proudly presenting the UNITE EP from a producer that really needs no introduction - FRACTURE. This is Jungle, drum & bass, and hat inimitable Fracture 160 bpm magic. This release sees collaborations with Manchester's MC Fox, and from label head Alix Perez. Out 7th June 2019 on vinyl and digital.

Marvellous synth rhythms are the key-player on ZEIT008, Roman Debnar’s Dark Matter EP.

Stefan Smith has channeled an elevated reverence for process, texture and synth-extrapolation with the forthcoming release of his self-titled LP on the Sapiens imprint. A relative new-comer to the land of rapid fire releases and dance floor formulae, Smith is deeply steeped in the art of music creation, performance and theory.
As a graduate of Mills College's revered music department, Smith's prosaic understanding of music partially explains his migration to Sapiens, a label headquartered in Paris, France, which, under the direction of techno luminary, Agoria, has been expanding the realm of possibility for what a techno label can become. Collaborating with musicians, visual artists, film directors, shamans and sound designers, the young Sapiens platform releases may include political speeches, radio hits, dance floor tunes, sensorial or cognitive music or a gentle computer
virus'. Smith's LP contribution will definitely fall on the more delicious end of this spectrum, having woven a synth-lovers dream tapestry.

The nine tracks composing the album, Stefan Smith', draw the listener in on a river of oscillators, which push just past the banks of perceptible sound with with flawless production and loving sound treatment. The idea behind the album is very raw and organic. Stefan Smith focuses on atmosphere, mood, tones, and frequencies, rather than melodies. His productions are a response to the subliminal, and about feeling.
This album came together from a natural flow of working with computers and synthesisers, and also from the musical connection fostered Sebastien Devaud (Agoria). His approach to the album's production was to edit as little as possible, keeping the original feeling of chance and temporality intact. We can sense here Smith's intuition as sound designer, a role which has enabled him to work with artist Nicolas Becker and through this association further contribute work to the Philippe Parreno 'Anywhen' exhibition in Tate Modern Turbine Hall. The feedback
generated by studio experimentation gives birth to new ideas for aural shapes and textures. If one were only to lie back and identify the various wave forms, like butterflies and birds flittering through dappled sunlight, in each track's canopy of bountiful synth elements the mind's eye would dance with the steady intervals of Smith's real-time probe of his machinery, however, deep tracts of emotion and effortless grooves won't allow for a purely sensory listen. In the spirit of exploration, enjoy the ride.

Electronic Body Music, abbreviated as EBM, is a term whose origin stems from the Belgian group Front 242, chosen to describe their electronic music; cold and dancing, free of the dominant influences of the time. Powerful, cold and minimalist electronic rhythms were the hallmarks of this new genre.

The movement quickly garnered followers with the British group Nitzer Ebb but also in the rest of Europe, with the likes of Borghesia and The Neon Judgment, later signed to labels like PIAS, Antler- Subway, Wax Trax!, Mute, Off Beat, Zoth Ommog, Pendragon and Metropolis.

EBM’s popularity grew rapidly in the underground scene during the 1980s and early 1990s, especially in Europe, before breaking through in the rest of the world, also influencing the subsequent electro-industrial scene.
‘Dancing In Darkness: EBM, Black Synth & Dark Beats From The 80s’ - to give it its full title - is a compilation of some of these bands; bands that changed contemporary music in terms of ideology, politics and aesthetics.

CD version in digipack with poster booklet. 2LP version in gatefold sleeve.

Part of The Optic Sevens Reissue Series
Limited White Vinyl Includes Poster & Postcard
Originally released in 1985 on Reception Records. The debut single by The Wedding Present is reissued here on white vinyl using the original (Reception Records) artwork .

Fabio & Grooverider have been at the forefront of UK dance music for over 3 decades. This is the roots of their story told through music.

The 2 London DJ's are part of the DNA of the global Jungle / D&B movement and they have remained relevant, cutting edge, authoritative and essential to this truly underground art-form since it's inception. RAGE could arguably be the ground zero of Jungle. The party was started at London's cavernous Heaven club by Fabio & Grooverider in 1988, at the height of Acid House fever that was making it's way up and down the motorways, slip-roads, fields and warehouses of the M25 and further beyond every weekend, troubling the nation, the police, your parents and the press as it went. RAGE was a different beast, it certainly channelled some of that Acid energy but pitted it against the new and exciting sounds emanating from Belgium, Amsterdam, Detroit, Sheffield, Essex and Hackney and in turn created a new style, a new sonic attitude and energy in the process. Rumbling bass-lines, narcotic synth rushes and roughly chopped and sped-up breakbeats all merged into a style that we now know as Jungle. Nothing like this had been heard before, this was a brand new style and it was coming out of London's West End and Fabio & Grooverider were the people firmly behind it.

RAGE is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today, Fabio & Groove are still shutting down raves and festivals every weekend all over the world with their superior DJ sets and musical knowledge guided by their pioneering spirit. This musical selection you hold in your hands, the first of 4 parts, sees them delve into their prodigious memories and record boxes to select a true musical representation of the very beginning of one of the UK's most unique and influential musical movements of the last 50 years. Across 4 x 2 x 12"s compilations we are taken on a journey through the sounds of RAGE, accompanied with personal track by track notes from us. Music from London, Detroit, Sheffield and beyond features, with a deep selection of tracks such as Tic Tac Toe's monstrous roller 'Ephemerol', Top Buzz's anthemic 'Living In Darkness' and the deepest Morales dub of D-Mob's 'That's The Way Of The World' . This will be a true masterclass in the sound of the underground, from the inside out.

This is a masterclass in the old-school. The roots. There is no filler here, it's simply ALL killer. Lovingly selected and programmed by the masters - 'The Living Shock' & 'The Ladies Choice'. Produced in conjunction with Above Board distribution and Fabio & Grooverider. All tracks mastered from original sources and fully licensed. Mastering by Optimum, Bristol. Artwork and design by Atelier Superplus. 2019

Following on from his percussion driven 'Rhythm Trainx Vol 2' EP on the renowned Running Back Ketiov returns with something special for the fourth outing on his own self-titled label. The 'King Of Hypocrisy' LP is a journey of personal development and musical discovery built around soundscapes, field recordings and new monotone arrangements. From the start the Ketiov alias has been about free expression and musical direction and in stark contrast to the Running Back EP this record shows the broad spectrum of the artist's influences and inspirations. Each track holds a special meaning and background story, written in private and kept private until totally finished. From the spooky vocals of 'the Wait' to the blissed-out guitars of 'Today' and the analogue arpeggiators of 'Dual Morality' the ten short tracks come together as an exceptional personal listening experience, which leave us wondering... what else does Ketiov have in store for the future

Pedro Zopelar and Benjamim Sallum started jamming and performing live sets in São Paulo in 2016, when Ben was only 15 years old. At that time they where doing freaky improvised live perfomances in tribute to a popular youtube video called “My Girlfriend Is Programming The Roland TR-909, Making a House Beat”. Using that huge name the duo performed live before Theo Parrish at the RBMA festival in São Paulo 2017, and was the first that the track GIDI was played. In 2018 “My Girlfriend” releases their first record dropped by Subsubtropics, (a Brazilian label that previously released “Dreams”, “Design a Wave”, “Seixlack & Zopelar” and more).

The Apron EP is a compilation of My Girlfriend’s tracks there are more influenced by a Brazilian approach on neo-soul, house and funk. From the first raw jams to these particular vision from “what is Brazilian music from nowadays”, the duo represents a fresh sample about what is happening into the club music scene there. Benjamim Sallum is resident at the famous party “Mamba Negra” headed by Cashu and Laura Diaz (Teto Preto, Carneosso), and since his 15yo developed a fast progress on the art of making tracks and DJing. He runs his own label “OXI”, where he often drops some crazy cassettes EPs from himself and his friends. Zopelar is multi instrumentist, DJ and producer based in SP, responsible for the keyboards, synths and basslines of the record. He studied piano on his youth and made music college in rio with 18 yo. Based in SP after his studies till now, he runs another well known party named “ODD”, where Funkineven played in 2017 (both Rio and Sao Paulo editions) and knew all that crew.

The opening track “piercing”brings pads and strings recorded and manipulated on a MPC sampler with some dreamy lead synths on top. GIDI is a tribute to all the church keyboard players in the world. And there is also another tribute to a specific music school from late 70’s in Brazil called club da esquina (“B2 Corner Club”), headed by legendary singer and composer “Milton nascimento”, is a typical sound from Minas Gerais, State where Pedro was born and raised till his 17 years old.

Having previously collaborated with the likes of Shafiq Husayn, Chester Watson and Foreign Beggars, electronic space funk outfit Paper Tiger return from an explorative journey to the dark edges of the cosmos with their long-awaited third album ‘Rogue Planet’.

The Leeds and London-based outfit (whose collective playing credits include Yellow Days, Werkha, Nubiyan Twist, Cinematic Orchestra & more) once again seamlessly combine elements of live recording and improvisation, their emphasis on blending organic sounds with electronic production techniques. The result is music which is interesting and technically proficient, but remains vibrant, colourful and funky -captivating both in headphones and on the dancefloor.

Just like the journey from debut long-player ‘Laptop Suntan’ to sophomore album ‘Blast Off’, and in-keeping with the band’s space travel fascination, ‘Rogue Planet’ is a cosmic leap from its predecessor. Band leader Greg Surmacz explains: ‘There is still humour and a sense of playfulness hopefully -largely provided by our MC Raphael Attar -but the overall sound is much more lush, jazzy and soulful. We wanted to make something that fits into our universe but hits a deeper emotional nerve’.

With diverse guests ranging from the legendary Steve Spacek on lead single ‘The Cycle’ to Olivia Bhattacharjee (the vocalist of Gondwana Records-signed Noya Rao) on the shuffling, leftfield beats of ‘Bioluminescent’ and Chicago-born but LA-based MC Lando Chill’s quick-fire delivery on the ironically titled ‘Slow Motion’ the album is a rich and varied listen. It’s a record drenched in futuristic soul, brimming with textured samples and intriguing progressions demonstrating the enviable musicianship on show here. G-Funk-esque melodies run throughout, joined by reverberating celestial horns and scattered drum patterns.

The HARP EP is to be released on PRAH Recordings and offers a balance of movement and feeling. ‘Banshee’ and ‘Feeler’ are both dance tracks intended for the dancefloor, whereas ‘Why Can’t I Remember Your Name’ and ‘Heart’ are two tracks meant for times of contemplation.

Inspired by the time when hardware was the only real option for making dance music, applying the same limitation and tactile approach lead to the creation of these tunes from a technical perspective. The equipment used was primarily analog and outboard, with the utilisation of tape for recording ‘Banshee’.

London via Margate composer, producer and multi-instrumentalist Raven has collaborated with many well-respected artists including Kate Tempest, Paul Weller, Mica Levi, Kwes and Bullion. His music upholds a balance between the orchestral and electronic, abstract and conventional. Parallels can be drawn to the artist Arthur Russell,
in terms of their diversity, creating tracks you can dance to, but also songs and music for reflection.

All tracks are taken from the results of the second week of Raven’s PRAH residency in Margate which has seen the likes of Kelsey Lu, Adult Jazz, Ben Vince, Lone Taxidermist, James Greenwood, Deep Throat Choir, Flamingods Lung Dart & London Contemporary Orchestra. Each have spent time writing and recording in the studios
as part of a free artist residency program offered by PRAH Recordings’ arts wing the PRAH Foundation.

4 excellent old skool but modern Jungle Tekno tunes from Matt Teksteppa Wilkins on his new imprint, Innercore Project

Cyberspeak multidipliscinary collective keep on programming. The second output from the label goes deep inside the restless character of Katatonic Silentio, a sound artist driven by cyberfeminism and queer culture who perfectly express the collective accellerationism. Emotional Gun is an half-stepping beats masterpiece, seven tracks crossing mystic territories full of pulsating soundscapes, apocalyptic and cinematic atmospheres with a painstaking attention to details.
Mixed at Zona9Studio
Mastered by TapewaveMastering

Berlin duo of gear enthusiasts Nachtzug returns to mindcolormusic for an expanded feature. This is a collection of new works and also selections from their pool of self releases.
As Initial Gain Norman and Stefan played live for several years and meet up at lease once a week to jam and maybe create new works.
The development of this took us almost 2 years as it was hard to make a selection from all these great trax.
And also the claim for the boys was to create something that is a good statement of work that has not lost the special tension situative for theyr sessions – i think they managed!
peace & thank you for the trust, mnvr / mindcolormusic

For the 4th emission in the Sonar Base Transmissions series, Deeptrax Records turns back to the 2005 release on the now defunct UK label SCSI AV. Like all older Sonar Base releases, the original vinyl issue of 'Transmissions From Beyond Hoag's Object' is highly sought after, with matching high prices for a decent copy. Next to that, the original version had a few flaws: the labels had been flipped, and the mastering wasn't up to the current standards. The tracklisting remained the same, only the sequence of the 6 tracks has slightly changed. Those familair with the other Sonar Base releases know what to expect: pitch-dark, well crafted electro from outer space, some with a hint of melancholy. Pressed at their own pressing plant Deepgrooves on an 180gr heavy weight pressing.

Black Zone Myth Chant acts as a dark interpreter for chemical elves in the steep sided, sunless
psychedelia of ‘Voyage Sacrifice’ for Félicia Atkinson & Bartolemé Sanson’s faultless Shelter Press,
under the slightly altered Black Zone Magick Chant alias.
Commendably, and temporarily sacrificing his consciousness for the good of your trip, on this
release Maxime Primault aka BZMC has realised some of the most phantasmagoric sounds in
his entire catalogue, which now stretches back over ten years and includes notable highlights
in his psych drone project as High Wolf, and pulsing rhythmic noise as Iibiis Rooge. It’s perhaps
testament to Shelter Press’ irrepressible vision that they have coaxed out this project’s most potent
and far-out work, bar none.
Gutting out his screwed hip hop and dancehall inspirations in three durational parts embracing
pitch black, miasmic abstraction, perceptions of time and rhythm become dissolved in the
process, aided by a severely down pitched vocal growl that absorbs the listener into its tantric
pacing on ‘Lightless Mountain’, holding the senses under as deathly bells peal for someone or
something, and scattered metronomes occasionally accentuate the temporal smudge, spilling over
into the seasick brownian slosh of ‘Incineration of Thoughts’.
But like the potential of any trip worth the effort, the darkness and the sublime become entwined
in the 22 minute counterbalance of ‘Where will we meet when our ashes are spread in the wind’,
which, thru its convincing, iridescent detail and lack of a ? in the track title, seems to describe
from the inside, rather than speculate, a divine space or spirited beyond as the result of lived
experience.

Rhythm Rollers is proud to present as a limited edition 12” Vinyl, Jamakabi's Killer Club track “Wickedest Ting”. The Instrumental which is produced by Chimpo is as HARD hitting as it gets and everything a grime track should be – sure to go down as a grime classic!!!
For the A side, two grime greats come together for a new underground anthem. Those who have followed grime from its inception will be familiar with the name Jamakabi, who is a former member of the legendary Roll Deep Crew. So, grime fans will be ecstatic to hear that he has teamed up with another respected grime figurehead D Double E. The two who both hail from East London, come together for new track Wickedest Ting.
With its menacing beat produced by Chimpo, Wickedest Ting will have you bopping your head. The chemistry between Jamakabi and D Double E is evident, and both of them gel together as they exchange witty bars.

On the flip side Jamakabi rolls in an all-star line up for the Remix
OG Rootz, Footsie, Big Narstie and Devilman

Say no more!

Part of The Optic Sevens Reissue Series
Limited to 500 copies on splatter vinyl Includes Poster & Postcard
Originally released on Factory Records in 1987 on a 4 track 12” EP entitled “Something That No One Else Could Bring” These 2 tracks make their first appearance as a 7” single

sssIn January 2016 arts and music organisation Santuri East Africa invited guest producer Jan Schulte to join the Nile Project gathering in Aswan, Egypt - an intensive two week musical experiment featuring musicians drawn from all around the Nile Basin that functioned as both a creative cauldron for cross-border collaboration, and a forum for artists and cultural activists to discuss the issues affecting the Nile river.

Wolf Mu¨ller aka Jan Schulte has been a resident of Dusseldorf's era-defining Salon des Amateurs for many years, releasing wildly inventive and dance music under various monikers - from his birth name to Wolf Mu¨ller, Bufiman and his Young Wolf collaboration with Young Marco. Schulte's feel for off kilter sounds and rhythms and a playful approach to the sometimes po-faced world of dance music have resulted in some incredibly well received releases (Instrumental Musik Von Der Mitte Der World and the compilation Tropical Drums of Deutschland being prime examples).

Santuri East Africa is an organisation set up to connect musicians and producers from around the globe, a process of co-collaboration that has led to some highly well received releases on Soundway (Msafiri Zawose) Sofrito (Auntie Flo's Soniferous Garden) and On the Corner (Makadem and Mugwisa).

Clocking in at a shade over 15 minutes, A-side 'Mabomba Dance' gradually layers Kasiva Mutua's needle-sharp percussion over a deep analogue bass pulse, building into a hypnotic dancefloor workout.

The B-side sees erstwhile Owiny Sigoma Band collaborator Rapasa Nyatrapasa showcase his Nyatiti harp before delving into an almost Afrobeat-esque slice of afro-minimalism. The EP rounds off with Adel Mekha's stellar vocals over traditional Nubian percussion.

Premo French trap producer and beat maker for Bad Gyal’s Spanish reggaeton hit ‘Fiebre’,
King Doudou answers his call up to the crack squad at Low Jack’s Les Disques De La
Bretagne in heavy style
Leading on from bullets by Low Jack, Clara!, Iueke and Rainforest Spiritual Enslavement,
Doudou’s double header finds him do gully drill with Baile Funk innovator MC Buseta and
yung gun Kaydy Cain on ‘Novinha’, alongside the darker dembow knuck of ‘Tremendo
Bumbum’, both replete with grade A instrumentals.
Over the past 10 years King Doudou has been a central node of globalised bass music in
France and Catalonia, delivering heat for everyone from Mad Decent and Mixpak to ZZK
and Sound Pellegrino. For Editions Gravats’ unruly sister label, LDDLB, Doudou bowls a
proper sidewinder with the whipsmart drill vamps and steel-fanged snares of ‘Novinha’
capped by the icy delivery of Kaydy Cain and MC Buseta’s mumbling inflection, while the
B-side’s ‘Tremendo Bumbum’ comes looser, wild-eyed with restless reggaeton torque
tempered by Buseta’s monotone, paso-doble chat.
A dead strong look for followers of new rhythms and voices from the Latinx dancehall -
especially Florentino, Clara! Low Jack, Riobamba.

"Dutch drum & bass artist Nymfo has firmly established himself as both a DJ and producer. Since 2007 he s found himself in the libraries of essential imprints such as Commercial Suicide (where he released his debut album Characters ), CIA Records, Spearhead, Metalheadz, Hospital Records, and Ram, stretching his energetic, brilliantly crafted music throughout a variety of sub genres. And since the beginning of his career, he s helped to expand the formidable reputation which Dispatch Recordings have built for themselves over the span of decades. Joining Dispatch for his next release, Nymfo offers up a variety of flavours through his forthcoming Pictures of Silence LP, adding another trophy to their cabinet of historical releases.

The Pictures of Silence LP spans a weighty number of tracks, with each demonstrating the echelons of engineering which Nymfo is capable of. Whilst never trying to fit a commercial paradigm and instead paying reverence to the roots of a genre which has become of dance music s biggest exports, Nymfo has yet again set the bar high across an entire album. From beginning to end, Pictures of Silence is a homage to what Nymfo s expert skillset is capable of.

The LP begins with its title-track and Pictures of Silence is a slamming roller, one punctuated through stabbing, metallic bass notes. Then you re introduced to Enforcer , dropping through with skittering samples and slamming kicks. Memory Lane nods to its namesake through scuttling breaks and Sense joins Nymfo for the sweeping sounds of Hopeless & Free . That Bongo Track focuses heavily on its drum work, Murphy s Law growls with its techy prowess and Arkaik comes in for the following collaboration alongside Nymfo - Curry . tzi the Iceman is next up with a crashing, lumbering rhythm then Jarhead offers its chaotic bassline. Finally, Cold Sweat is dropped with Fuji, against standalone Nymfo tracks Hide & Seek , with its deep underscores, and A.F.C with its juxtaposed harmonies. It s a titanic LP from Nymfo. One which identifies him both as an integral part of the Dispatch Recordings roster, as well as the wider drum & bass market. Dispatch Recordings, lead by Ant TC1, have fine-tuned their A&R, something they ve become notorious for.

Musique Exotique’s Ayden Vice teams up with Czech upcoming star Andreas Rund and The Egyptian Lover to create a hypnotic fusion where West meets East, meets Middle-East. The Egyptian Lover leverages this hypnosis and casts some of his own with his signature 808 sound and enchanting vocals, a serenade if you will, which is guaranteed to seduce the freakiest of listeners.

Dark Star Safari, a newly formed group featuring Samuel Rohrer, Jan Bang, Erik Honoré and Eivind Aarset, present its eponymous recording debut, an evocative song-driven album. These songs conjure shadows of memory, clouds of dreaming and silhouettes of foreboding through the album’s layered, many-textured fabrics and Jan Bang's silken delivery of Erik Honoré's acute lyrics. Dark Star Safari is the work of four kindred spirits, their open modus operandi, and a remarkably interconnected creative nerve system. Key to their collaboration is an organic freedom that enables the music “to fill itself in", to be self-actualizing via the musicians as medium. The music of the 10 songs resulted from a two-stage process: an initial phase of free flowing open improvi- sation, and a subsequent exploratory phase where hidden potenti- als were discovered and nurtured. The groundwork of the album’s music originates from a session initiated by Samuel Rohrer, who invited Jan Bang and Eivind Aarset to the renowned Candy Bomber studio in Berlin. The ses- sion was run under the imaginative craftsmanship of sound engi- neer Ingo Krauss, who worked in the famous Conny Plank stu- dio, and its recording and mixing employed sophisticated use of vintage analogue equipment alongside cutting edge digital pro- cesses. This meeting opened the door for something larger to emerge. The group did not settle for just the outcome of the initi- al open improvisation. They were driven to dig deeper, to atten- tively examine and manipulate the material, in order to discover what it had to offer. This caused a creational chain reaction, forcefully spreading across the group. During this second phase, Jan Bang, while meditating upon the possibilities and reach of the improvised material, felt a strong urge to give additional shape and colour to it by singing. Thus, he organically stepped into the role of vocalist, a role he had not pursued since the early days of his musical career. He sent the results to Erik Honoré, who immediately was inspired by its po- tential, quickly penning lyrics and providing the project with its name. Honoré composed two additional songs, Mordechai and Fault Line, and thus rounded the project out towards a fully reali- zed opus. The group continued this back and forth process, with Samuel Rohrer and Eivind Aarset bringing in fine-tuning and e nrichment to the song structures and textures.

Ludwig strikes back with his long-awaited follow-up release on his own Exo Recordings International. This release makes you feel like a champion free diver. Reflective, focused and totally at one with itself. Take a deep breath and JUMP!

De:tuned's 10th anniversary continues with this fourth EP of the series focusing on the heyday of drum & bass. The A-side offers "Sandstorm", a warm and emotive mid 90s composition by Blu Mar Ten. PFM returns to De:tuned with "Runaway", a most wanted and requested track that finally emerges from the archives. It was the first PFM track that was played out by LTJ Bukem back in 1993 and with its timeless rolling amens and washing synths it will still win over hearts today!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work for the 10 years series. This 12" is pressed on 180 grams vinyl and 1 track per side / 45rpm to guarantee a loud, deep and crisp sound. Stay tuned!

Past, present, future. For those who know.

No-nonsense, 12' releases. Cut loud for your pleasure.
DJ-focused, functional records made for having fun on the dance floor. Rooted in UK club culture and taking inspiration from techno, house, garage and breakbeat, every release will have at least one track that absolutely bangs.Human Resources christens this new series with two tracks of absolute heat.Lovingly delivered by the crew at YAM Records

Orbital London is born. A concept from the big smoke, providing a platform for the natural and raw talent of Jack Michael and associates. The 'Opposite Visions EP' consists of four UK influenced records, with a certain garage and breaks tip. The title track is somewhat sought after, after support from several heads in the London scene. A seductive vocal sample leading you to a bassline, asking to be played on a club system. Dogmatik boss Alex Arnout provides his take on 'Opposite Vision' with a dubbed side winding rhythm, full support from the experienced artist. Carrying on the heads down affair on the B side is 'Ghetto Trooper' and 'Kult'. Heavy sounds for the two steppers, laced with flickering rap style vocals. Will make you move.

Chen Yi aims for a collective approach of art. As an isolated group of humans/numbers operating directly from a secret place in Chelmsford (UK), they developped a personnal and “bizarre” utilisation of guitars, machines, voices, distortion, giving as result an unconventional regroupment of compositions amongst a lot of lost/unreleased recordings. This is likely what got John Peel interested which leads to an inexplicable CBS contract. More couldn’t be finalised, because CBS suddenly pulled out of the contract. “Due to their raw and alternative ’self-made’ musical approach, they’ve been compared to the likes of Throbbing Gristle, Borghesia & Severed Heads or more underground names as Het Zweet, Biting Tongues…

Reissue of this rave classic - Indians & Aliens and Great Spirit - 2 tracks packed with tribal rhythms, breaks and acid lines by West Coast pioneers DJ Trance & Darwin Chamber.
Straight from the DATS, remastered by Alden Tyrell and cut at The Exchange London, what else could you ask for 2 fire remixes by D. Tiffany & Roza Terenzi, you say

Basement Records is excited to announce this wicked EP from Roger Johnson which features a rolling DnB 2019 Remix of "In My Soul" plus the Original 93 Mix and another superb 2019 Remix from Chris Spillman.

In this record you can find cosmic electro with more experimental and melodic electronica. Intelligent electronic music in its purest form.

62ND CELL (reads sixty-second-cell) is the latest alias of UK producer Dave Campbell aka Hi-RYZE but also Ubik, Timenet, Kibu, Autonation and other sought after electronic classics from the early 1990s. Dave is enjoying a renaissance this year, releasing fresh outstanding electronic music with a new double 12” LP The Wood for the Trees on his own label YozMaz. Fusing classic techno programming with high-end production techniques, there’s a track to suit all dance floors and hi-fi home listening.

Calibre is a name known to all in Drum & Bass as one of the pinnacles of the genre. It’s impossible to venture into a club and not here one of his seminal tracks being played, and with this latest addition to his Innerground repertoire the good times are still coming.

Kicking things off with “Typical Things”, we go back in time to the iconic sounds of the Musique Concrete album. The track switched quickly after opening with a drizzle of cascading keys and minimal percussion before launching headfirst into a pulsating and invigorating basslines and breaks.

“Simple Sa” is more deliberate in its advances and spares no time in getting to the heart of the matter after some truly deft piano work and vocal sample layering. “Simple Sa” is almost tailor-made for a DJ Marky set as it ebbs and flows with an undeniable funk and deep vibe throughout.

Calibre’s attention to his craft is what makes him one of the most sought after producers on the planet, and “Typical Things / Simple Sa” is a testament to his enduring abilities. Smooth, sultry and truly of the highest Calibre.

A friend of mine got in touch about a year ago to let me know that he had stumbled across a treasure trove of ridiculously sick unreleased music from a guy who rented the studio next to his in Berlin. The guy in question happened to be Fred Quest and boy was he right about the tunes... Sometimes you know you have a killer EP on your hands within 10 seconds of listening to the tunes and this was certainly one of those times. I’ve been spanking these bad boys out in literally every single set since I’ve got my hands on them and they have never let me down. The production is insane and I think Nick Hoppner said it best after I sent them to him before his recent Asia tour.

“I Played two of the tracks every night on tour. I played on a few really bad systems, but his stuff sounded great anywhere.”

OK enough of my blather. Go and listen to the damn things yourself and decide if you like them, rather than trying to work it out from reading a bloody press release you weirdos.

All four tracks are produced and sculpted for the club. They want big sound systems and dark rooms.

Close your eyes, hold hands and experience transcendental space Qlight..

There will only be 500 copies, all hand numbered on beautiful yellow vinyl (sunglasses advised). This configuration of “Give Me The Sunshine” and “I’m Back For More” has not been on 12” since 1980. Nearly 40 years ago. Once these yellow pressings are gone, that’s it!

Listen! Lord Jabu synthesises 64-bit dream-ware with solid-state trap in his crystalline 3-track release, ‘Yagoda’. In ‘Folklore’, colourful cubist polygons dance beneath festival-drunk Hyrule twilight. ‘Threehead’ goes grim, watching purple-skinned ogres bang distorted djembes in the lost woods. ‘Yagoda’ burrows deep, plucking the melodic soul of an abandoned young hero with no way home. Electrifying the murky, the lost and the lonely, Lord Jabu’s debut on Albion Collective opens the dancefloor up to a full-scale adventure.

From Isla label head, NAP. EP of emotive electro, tinged with Spanish vocals, sedative pads and fried rhythms. Featuring ZDBT (1800 Haight St) on "Transhumano". Made in Vancouver BC, at Deep Blue studios, Winter 2018.

Two companion pieces make up the new Foom 12'. On the A-side, Ostgut Ton regular Tobias Freund artfully reframes PATRICK COWLEY & JORGE SOCARRAS' 'You Laugh At My Face.' It was produced by PATRICK COWLEY and recorded in his home studio in California in the late 1970s. On the B-side, elegantly balanced between euphoria and melancholia, HALF HAWAII (BRUNO PRONSATO & SAMMY DEE) share 'Watch The Flash' with us.

Norwegian producer Stian Gjevik returns with his third full length album as CN with The Derelict. The sequel to his 2011 concept album The Expedition Beyond (Wil-Ru Records), The Derelict unravels a new chapter in the story of a space traveller wandering the galaxy in his starship only to crash-land on a foreign planet and encounter new lifeforms. The shuffle of crisp airy high hats and punchy robotic rhythms lay down the framework for CN's signature cosmic sound. Beautiful hardware based electronic sounds paint a colorful soundscape with blissful arpeggios and soothing washed out synth pads over groovy moving bass-lines, creating lush atmospheric listen that is as chill as it is suitable for the dance foor. Ten new tracks of highly melodic motivating braindance music to get utterly lost in... This limited edition LP features cover art by Adam Burke and design by Eric Adrian Lee. Limited to 500 copies from WeMe and Wil-Ru Records.

Solid minimal grooves by Dieru, with a rework from Romanian talent Bucurie for the third release of the Amsterdam based label Depth Over Distance. 300 unique versions with a mix between colored, marbled and transparant wax.

Swiftly following on from the successmanship of Globex Corp Volumes 1-8, comes Globex Corp Volume 9. Featuring contributions from usual suspects Dwarde and Tim Reaper, ably assisted by regular collaborators Gand & Mr Sensi, this latest volume combines achy-breaky pelvis inducing floor fillers alongside groin-grabbingly deep jungle riddims.
Be a double-bacon geniusburger and grab one quick, else you may be labelled a jerkface, and with good cause.

Following a banner year for Pete Cunningham — best known as dextrous saxophonist Ishmael and leader of the namesake Ishmael Ensemble - 2019 now brings debut album 'A State of Flow.' This new long player builds on Cunningham's work as proud protector of Bristolian heritage, sketching loving sonic pictures of the South West in his Bristol-inspired 'Severn Songs' series, whilst also incubating local visual and musical talent, within the Ensemble.

'A State Of Flow' touches on various styles of jazz, stirring ambient invocations, club-ready percussive workouts, spiralling grooves & hazy psychedelic electronica. This would be a confusing melange, but for Cunningham's excursions as a genre-agnostic DJ - something evident in the real house shuffle of 'Lapwing' - which evokes walking into a smoky afterhours haunt and finding a session in full, forward motion or the organic garage beats of 'Full Circle' and classic trip hop style 'Waterfall' fuelled by Holysseus Fly's honey toned and evocative vocals.

This album, borne of strong vision and stronger hometown pride, embellishes Ishmael Ensemble as one of the UK's finest new groups. As shown across 'A State of Flow', the future of Bristol's musical legacy is in more than capable hands.

Previous press:

'The best musical homage to the Bristol channel since Portishead' Uncut

'Unfolds like a shimmering stone skipping across a lake. Gorgeous' XLR8R

'These guys get better with every release' Gilles Peterson, BBC6 Music

'Beautifully Cosmic' Nabihah Iqbal (Throwing Shade), BBC Asian Network

'Absolutely gorgeous' Tom Ravenscroft, BBC6 Music

'Beautiful music' Dan Snaith (Caribou)

Tollarp Transmissions is a deeply personal and moving album created by Johanna Knutsson. Closing herself off from the flutter of the outside world in her Berlin studio, Johanna has painted a series of melancholic yet warm pictures of her childhood for Kontra-Musik. Johanna grew up in the small hamlet of Tollarp in the south of Sweden, surrounded by fields, forests and silence - a priced commodity not to be found in Berlin. Each track is named after a physical memory of Tollarp, the intro Vramsn, for instance, is named after a stream close to Johanna's home and heart. Befittingly, the first timbres of Vramsn remind one of Tuba Mirum from Mozart's Requiem, solemnly played by an old ice cream truck. A sound every child in Sweden knows. Tollarp Transmissions is not a grand Requiem, however. It's a heartbreaking Reminiscence.

ORACULO RECORDS is proud to welcome the enfant terrible of Moscow dark techno scene OBER DADA and his partner in crime LERA FOER whom present themselves to the world with an outstanding EP full of dark energy to get in flames any dance floor. Electro and ebm fans will consider this one a truly holy grail. All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem at Prodam Berlin.

Ray Kandinski's debut for LPH, Multiverse Connection, presents itself as the soundtrack to an airborne chase scene in an imagined cyberpunk epic. Excited synth lines wiggle through dense fields of metallic drum sequences and showers of jagged, jutting robo effects. The A-side is a launch into outer space orbit, the B, a juiced-up zigzag across the stars in hyperdrive. Futuristic house built with angular electro components and scalpel-sharp acid.

What to say about THE PRESENT MOMENT? they are just one of the best synthwave bands of XXI century, and everyone knows that, maybe that's why some of their previous releases are being sold at obscene prices. After 5 years of painful silence, they are coming back with their 4th studio album, probably their most professional studio project to date, a very mature production where they play with their usual raw synthpop and ebm style but as well with more italo synthesque and even progressive rock ambiences. A truly masterpiece from any point of view. All tracks have been specially mastered for LONG CUT vinyl by Eric Van Wonterghem at Prodam Berlin.

Has there ever been a better time to fuck off to the stars? Is a prison breakout ‘escapism’? Crisis carve some wound-space to let the dreams back in. In nights we turn to fire, in flight we burst into stone, where are the exits in this theatre of the damned? Strict luggage allocations – guitar (D. Knight), saxophone (S. Thrower) – and all the electronics your thoughts can carry. Headspin echoes, round and around, tilt wind-sails at a dark horizon, cut a stutter through the distance barrier. In to be out through the structure of the eye, encrusted with rotor-slime, pushing on through border erosions as everything melts into smoke, burning objects may be closer than they appear. Nebulae dazzle the shadows, tunnel through memories and the pulp-mass of neurons, forwards heading backwards, end of tether snapped, slide into the earth like ancient worms and breathe.

UnicaZürn’s core instrumentation blends analogue synthesiser, mellotron and electric piano with electric guitar and saxophone. Knight is reknowned for his pioneering multi-textured fretwork with Danielle Dax and Shock-Headed Peters, and his ambient guitar settings for Lydia Lunch, while Thrower’s reed playing provided rage and melancholy in Coil and turns to electro-acoustic texture in Cyclobe.

Tribe is a record label created by like-minded artists from Barcelona, with a bold purpose of generating and sharing their idea of timeless electronic music. The debut EP Tribe01 comprises four different yet catchy and charismatic tunes that meet at the same point - the dance floor.

As you take off from the A side, you discover an audioreactive tune 'Inertia' - a creation of Baraso & Sonodab aka Barson. The track has a genuine ravy soul spiced with an acid touch and a memorable pad that will get stuck in your head.

As you continue exploring A side, you recognize the 1996 masterpiece 'Hamstrung' by Freddy Fresh aka Modulator, head of Analog Records USA. This exclusive re-edit made with Freddy's permission has a legendary groove of 90's and filtered hats that make a good party great.

Moving on to the B side, you meet a serious dance floor burner 'Chromatic Life' - a creation of Artes. The track is a travel towards the unknown depth of acid, house and techno sounds - a journey you want to make.

As you finish your sound voyage, you discover a phenomenal 'Gravitron' by a mastermind John Shima. The track breathes a melancholic tune, garnished with John's unique charisma: detroitish pads, acid elements, and a well-balanced groove that will hypnotize with its vibe.

ALEATORY CHAOS compilation has been one of the most succesful releases to date at Oráculo Records, both in sales and in pro press reviews. Now it's time to reveal a new chapter including dark synth and dark guitar / post - punk future hymns by newcomers such as Etalon & Snem K, Dissident and Pindrops or by already known projects as Synths Versus Me or The Present Moment. All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem at Prodam Berlin.

Made in England

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The now legendary turntablism festival 'National Phonographic' has been hosting some of the most prominent turntable wizards in between 2001-2005. The X-Ecutioners, Cutmaster Swift, Kid Koala, Grazzhoppa, the list goes on and on. Equally as legendary are the National Phonographic 'Turntablist Tackle' vinyl releases. They've been used during DJ battles and sampled by leading producers worldwide. Now, 16 years after the latest record, 'Tackle 3' will be released! Top notch producers Eni-Less, Mike Redman and DJ Optimus created an amazing tool for turntablists and producers alike. This volume, pressed on 7inch limited edition colored vinyl, contains exclusive sounds, phrases and beats. The record also includes a voucher with a unique download code. We're safe to say that 'Turntablist Tackle 3' is the best volume yet!

Casting the net ever wider, Kalahari Oyster Cult have drawn in new music and a new artist for their latest release. Flora FM, a.k.a. Community Corporation a.k.a. T. Hawkins, has graced imprints such as Argot and Vanity and now debuts with Chaos Light. Trying to define the style of this sound weaver is a near impossible task, the gamut of electronics has been plundered to create this unique EP. From the aquatic hypnotics of 'Hallucinogenic Worm' and the hyperactive energy of 'Chrome Glass', Flora FM borrows from acid house, rave anthems and techno with a magpie like curiosity as he melts textures and tones like a master. Broken beats and rich xylophonic melodies coalesce in the bubbling 'Storm Cleaned' before the warm bath that is the Chicago hued 'Insist on You.' Chaos Light keeps you guessing until the very end, the erratic and frenzied reductions of beat and bass combining to form 'Inc Stop.' A youngster with the ear and ability of a seasoned veteran.

LFT003 is an introduction to the music that Jordon Alexander (Mall Grab) and long-time friend, housemate and sometimes-DJ-partner Alysha Fleiter (Nite Fleit) have worked on over the past year together. The product of swapping stems on tour, trains and at home, the ‘Moogie’ EP combines two individual and two collaborative tracks for the third release on the Looking For Trouble label.

After destroying dance floors worldwide, Nite Fleit’s “Hot Bot” finally sees the light of day at A1. With EBM-leaning atmospheric percussion and a huge pulsating bassline, this is a proven peak time club weapon.

Mall Grab’s “Reconnaissance” (A2) is another club-geared stomper with a throbbing bassline and breakbeat homage that operates deep within old-skool rave territory. Having made its mark as an unidentified dub in all of MG’s sets over the past year, “Reconnaissance” is now ready to be unleashed!

B1, “Anatomy of the Senses”, the collaborative debut from Nite Fleit and Mall Grab, is a promising introduction to future products of this fusion. With NF’s signature evolving and pulsing basslines/synthesis, and MG’s distinct drum programming/synth licks, this trance-acid-tekno 4/4 stomper is an unapologetic body-shaker.

Closing off the record, “Moogie” (B2) is the second official melding of the minds of NF + MG, an electronica-leaning electro number that feels as at home in headphones as it does on a packed dance floor.

Our 8th VA compilation, spinning a web around fresh and old bloods alike.

A1 introduces Arp220, with the tripping Meur Maei. Disembodied vocals bouncing over acid drips, scorching.

A2 sees Obergman stop the clock with trademark tight productions on the tuff n sucking Chronostasis.
On the flip, the long-elusive collaboration between XY0815 and Int Main Rigid Body sees a proper release after an ultra limited run at last year’s Rye Wax’s Run Out.

The Jaffa Kid re-emerges after his Beauté Du Négatif EP with Intergalactic War Trials, weaving thick but never cloying synth work over a stepping wicked rhythm, making it all happen & dripping for the 'floor’.

Finally, newcomer Oskar Telemann sees off the EP with a crafty marriage of IDM and synthwave on Anruf Aus Dem Westen. Chilling.

5 cuts, 5 styles, everything you need to slick the floors with out of date smoke fluid.