Beats News

If you were to dash through cross-dimensional portals somewhere on the other end of the multiverse for a routine, there's good chances you'd be listening to Galaxy Lane's 'Voyager 1' full blast in your saucer. Next in line on Lone Romantic, the mysterious producer from outer-space lands a particularly delectable debut transmission fuelled on wilder-than-wild electro grooves, glitchy radio disruptions and boy, a healthy dose of laser-precise early rave breaks.

Interlarded with cryptic vox samples drowned in distortions and sonar echoes scanning an endless horizon of unknowns, 'Take Off' takes us for a zero-G drift across the greater void as an introduction. It's with the second track, 'Landed', that the engine eventually starts to bolt and race, drawing us into a planetary waltz of sorts, as Saturn rings go hula hoop and the moon's craters get irresistibly itchy. The spaceship's dropped anchor off a sun-deprived belt of mercury lakes, and hostile alien territories are ahead. No time for laser battles and other robot-assisted jousts, Galaxy Lane's here to wake up the uninitiated from their ignorant slumber and hand them the universal truth on a platter: old-school is the only school.

On 'Explore', the groove gets further epic as ominous sub-bass swashes, rattling drums, playful bleeps and FX-drenched synth bursts collide and melt dangerously. One to leave wisps of vapour in its wake, the track revs up and blazes its way across lysergic extra-terrestrial scapes - whilst bushes teem with a neon-coloured flora and translucent, multi-headed fauna. Back on board the shuttle, it's time to 'Return'. A further pared-down affair, the final cut draws back to a deeper, more anxiogenic kind of ambience, where a skittish and pacey drum programming interlaces with a heavy machinic hiss, busy pistons noises and raucous gargles to weave a singular home-coming finale. Look through the window and all you'll see is an ever-shrinking grain of sand in an off-the-scale planetary system. Dizzying.

"i Love Songs That Make You Feel Something Viscerally,' Says Johanna Samuels, The La-based Songwriter Who Releases Brand New Ep 'have A Good One' This Spring On Basin Rock, And It's A Sentiment That Echoes Right Through The Heart Of The Five Stirring Songs That Make Up Her New Work.  

Born In New York City And Named After Dylan's Vision Of Johanna, Samuels Subsequently Moved To La And Grew Up On The Classic Songwriters Of Yesteryear (young, Petty, Morrison) Before Finding Her Way To Elliott Smith And Jon Brion, Both Of Whom Had A Huge Impact On Her Writing. Samuels Then Spent The Best Part Of A Decade Honing Her Craft, Carefully Peeling Away The Layers Until She Found Herself Here, A Stark, Absorbing, And, Yes, Visceral New Collection That Is Her Strongest And Most Honest Work To-date.

Finding A Way To Balance Bright Pop Melodies With A Drifting Sense Of Melancholy That Can't Be Placed, Samuels Made The Most Of A Bad Year, Writing The Ep As A Reaction To Her Longterm Relationship Falling Apart. so Much Of The Record Is About Loss Of Love - Really The Loss Of Myself,' She Explains. i Really Lost A Grasp On Who I Was And It Truly Broke Me. Exploring The Idea Of Identity In Relationship Was Important To Me. The Songs Also Come Out Of Me Figuring Out How To Exist Within A New-found Strength Instead Of Grasping For Love Or The Idea Of It.'

More Than Just Skin-and-bone, The Songs Here Are Comprised Of Lap Steel, Clarinet, Juno Analog Synthesisers, And More, And This Rich Instrumentation Provides A Swaying And Elegant Back-drop Which Helps Bring Samuel's Stories Beautifully To Life. Recorded With Musical Partner, The Up And Coming Producer Sean O'brien (who Helped Engineer The National's Sleep Well Beast Lp) The New Ep Was Created In His Studio, Which Became Something Of A Haven For Samuels And The Work She Was Creating. As Such, The Five Songs On Have A Good One Are Full Of Emotional And Musical Depth, Each Moment Of Darkness Acutely Balanced By A Brightness That Lifts These Songs Out Of A Shadows And Into The Hearts And Minds Of The Listener.

These Two Elements Are The Ying-and-yang Of Samuels Work, And Nowhere Is This Better Epitomised Than On The Record's Opening Two Songs. Lead Track 'why Do I Go There' Is A Bold, Glowing Opener, The Playful Piano And Lush Instrumentation Belying The Sense Of Heartache In Samuels Beautifully Lilting Voice, Driving The Track Forwards As It Softly Buries Its Way Into Your Consciousness.   

Then Comes The Tender, Country-like Balladry Of 'rush Of Wheels', Written Quickly In The Dead Hours Of Night, It Presents A Poignant Quest For Answers, Aching Under The Weight Of Its Emotional Turmoil, Sad And Oh So Beautiful.

Accompanying 'rush Of Wheels' Is A Video That Samuel's Made With Best Friend (and Sundance Grand Jury Prizewinner) Anu Valia. Inspired By The Hour At Which The Song Was Written, The Stunning Film Was Shot With Just The Two Of Them, Alone On A Beach At Sunrise, Before The Rest Of The World Had Woken Up. A Stunning Counterpart To The Song Itself, The Film Is A Testament To Art And Music As A Shared Experience, To Friendship And Growth, To This Special New Chapter In The Life And Times Of Johanna Samuels.

Johanna Samuels Is Fourth Signing To Basin Rock, A Relatively New Label Based In The Lancashire / Yorkshire Border Town Of Todmorden) Who Has Released Albums By Julie Byrne, Nadia Reid And Jim Ghedi.

Lichtenberg: Name Of A District In East Berlin And Johannes Albert's Second Lp. Ambient Structures Over New Wave Rhythms Via Ebm To Current Rave Revivals Blend A Sense Of Multidisciplinary Art Into One Medium. After The Sublime And Welcoming Vibes Of "phony Emotions We Wander Into A Bit Of Indie Dance Room When Listening To The Meaty Bass Tones Of "hooligan . Renowned Photographer Gundula Schulze Eldowy (mostly Known For Her Work berlin On A Dog's Night ) Lends Her Voice To The Dark Mood Of "milieu Speaking About Life In The City In The 1980s. We Find A Rare Moment Of Happiness Dancing To wing House With A Positive Arp Baseline. Long Time Producer-pal Iron Curtis Comes Into The Mix Now For The Uptempo Acid Tune "built-in Acceptance . Bringing Back The Vast, Massive Drop In E-music, Sure To Be A Hit At Festivals This Summer. Carrying On With chestnut Poetry An Ode To 90s Rave With A Touch Of Ebm. Snare Rolls Included. "dong Xuan Feeds The Energy Of The Infamous Vietnamese Center Based In The Albums Namesake By Evoking A Shattered Vocal Sample Over Lofty Pads With An Engaging Acid Bassline, However Its Mostly A Follow-up To Johannes' 2016 Anthem "all Things Mind Altering . Rounding Up Things With The Majestic New Age Sound Of "cell . Another Collaboration This Time With Moritz Heppner, Aka "monosoul . The Producer Reveals His Darker Side On Lichtenberg And Slows Down. Ancient Drum Machines And Synthesizers However Play A Main Role. Throughout This Whole Journey Johannes Still Maintains His House Music Foundation And The Album Embodies Genre Fluid Styles That Depict The Motions Of The Area. Features Come Vast And Great: Gundula Schulze Eldowy, Iron Curtis & Moritz Heppner Add To The Fold With Their Musical Stylings.

Naeth makes his debut on new Irish label Move Slow Records following an EP release on Memphis label Future Everything in 2017. The Dublin-based producer wears his 90s and early 2000s influences on his sleeve and has delivered something truly special with this two-track house EP that journeys into breaks.
Produced in the middle of a rare Irish heatwave, the title track Poolhall Lovers brims with the optimism of school day summers, while the B-side It's My Job veers into the more sombre side of this promising young producer's talents.
The release is accompanied by artwork and a series of animations by Mason London (former Boiler Room art director).

AFAS Records follows up some head turning early EPs with another fantastic offering, this time in the form of the Treating Patient B EP by label founder Mike Chetcuti aka People Places & Things with Gabe Gurnsey on the remix.

Over the last 12 months, People Places & Things has released on the likes of the legendary R&S Records, as well as here on Art For Arts Sake (AFAS) with two releases that soundtracked the Adidas Spezial campaign

Here, two more terrific journeying tracks, inspired by a recent trip to LA get served up, to further cement his reputation.

PR at press radio & DJ will be handled by Justin at Dispersion.

Recent Arts is a duo conformed by visual artist Valentina Berthelon and musician Tobias Freund. Together they build live performances using video projections and experimental sound -charged with symbols, stories and poetry- thus generating sound environments that invite to enjoy the music while deeply connecting with our perceptions of the world and our sense of realities within it. Access audiovisual material at: recentarts Written and produced by Tobias Freund at Non Standard Studios, Berlin 2018 Vocals by Barbie Williams, Video by Valentina Berthelon

Ron Wells J-Tek EP for 2017. Four different tracks in Ron's trademark style. An essential for all Jungle Techno fans.

Australian producer Roza Terenzi is next on Dekmantel with a quasi-cosmic, tropospheric slab of deep rave. The blend of breakbeats, distorted rhythms, and quirky yet sublime analog melodies evoke the senses, making this an exciting label debut from one of the underground's rapidly rising stars.

'Let's Ride' kicks of with '3.I.Y.', a track that initially reverberates and tweaks, as if crashing in from outer space. 'Bricks' slows the tempo down, and adds larger degrees of space, with a 110bpm chilled out timbre, and a wispy-palette. 'Freak N Tweak' is another slice where the mood cuts gently between ambient bliss, and analogically synthesised, percussive electro - like a downtempo, cerebral take on classic electronica. The EP's closer 'Open Me' takes the music back to full rave-speed, with layers of classic-era breakbeats and vintage sounding keys, all manifesting itself in Terenzi's contemporary take on pulsing, esoteric dancefloor rhythms.

These 2 tracks are unreleased, produced in 92-93 Spencer found them on a DAT that he thought he had lost, in a metal box in his loft ... "I used to play it out on 10" dub-plate back in the day when I used to DJ at Sterns"

Remastered and recut by MUSIC PRESERVATION SOCIETY

Two proper Jungle Techno tracks from Stormski

Ambient/Traditional Flute Music from Japanese Shakuhachi Master Teruhisa Fukuda

The shakuhachi is an end-blown bamboo flute with one dorsal and four frontal holes and a bevelled notch as mouthpiece. There are two elements in the name of the instrument: shaku refers to an ancient measurement which is the equivalent of 30,3 cm; hachi means eight. Originally shakuhachi thus refers to a flute that measures 1,8 shaku, that is, 54,5 cm.

For this CD, 2LP Master Fukuda chose a series of seven pieces from a repertoire dating back to the seventeenth century. These were originally performed by monks belonging to the Fuke sect of zenBuddhism, who viewed their instrument as means for meditation. The seven pieces are destined to be played solo, in the spirit of zen.

Teruhisa Fukuda
Born in 1949, Teruhisa Fukuda is an eminent artist who has explored a vast range of musical techniques from, both, traditional and contemporary music.

An LP of tracks, taken from various cassette releases, by Belgian synthwave luminaries The Misz (Jan Van den Broeke and Dries Dekocker)! 600 copies on 180 grams vinyl.

The Misz formed in Gent in 1983 by Jan Van den Broeke and Dries Dekocker at a time when they had both just relocated from the country. They lived on the same street and collaborated freely with the limited equipment they had, which always centered around the Fostex 250 4-track tape recorder. They used an unknown monophonic synthesizer, casio synths, roland drum machines, hand drums and guitars through effects pedals, improvising with their voices and often and included friends for additional voices and sounds. They captured these sonic experiments and sometimes released them on cassette in editions of 100-200. They were also included on numerous cassette compilations throughout the 1980s on labels like Mad In Belgium, The Cassette Factory, 3RIO Tapes, Minimart production, Fraction Studio, Cauchy Productions, Home Product, R.R. products, ZNS Tapes, and Body Records. They described themselves as young, immature and bit strange yet totally bold and fearless. They sang about what surrounded them from world politics and environmental catastrophes to love and lust. The songs on The Lonely Crowd span from various cassette releases and have been remastered from their original reel to reel tapes.

TV Victor was one of the first artists of Tresor Records where he became legendary with several of his ambient and trance productions including Trance Garden 1-3 and Trancecology Chapter 1. In 1989, he launched his first solo project: Moondance - The Magic Sound of the Moon, where he lay foundations for later explorations with experimental sounds fused with pop elements and anticipated an ambient excursion to be had in the future.

In the following decades TV Victor created impressive solo works that traversed between ambient and trance, he collaborated with artists like Moritz v. Oswald, Max Loderbauer, Ari Benjamin Meyers, Paul Browse and Tobias Freud. Contrary to common mainstream tendencies he created a very unique interpretation of both genres. In recent years Victor has concentrated on creating experimental and abstract sonic spaces for escaping reality, spaces that live through the imagination of the listener. Each piece, a segment of a larger musical movement; stands alone to create new sonic continuums. Otherworldy music that is in its own sphere.

30 years after the release of Moondance and 50 years after the first landing, Lullabies For Insomniacs revisit TV Victor's musical roots with 'Back To The Moon'. The previously unreleased works were carefully selected from his vaults and restored by Berlin based engineer Brett Olke (B Ashra), the album offers a glimpse into the future by creating a soundtrack for mankind's settlement of beyond in a conceivable hereafter.

Assorted Music Collection 01 - streng limitierte Vinylbox


Assorted Music Records veröffentlicht zu Jahresbeginn 2019 die Assorted Music Collection 01. Nur 250 Exemplare der streng limitierten Premium- Edition werden käuflich erhältlich sein. Zusätzlich zu der 6 x 180 Gramm 12" Vinyl-Edition enthält jede Vinylbox zwei hochwertige Slipmats von unserem Partner Varyturn. Außerdem werden unter den Käufern exklusive Gutscheine für Technics- Generalüberholungen verlost. Genau das richtige Geschenk für alle Freunde elektronischer Musik und Liebhaber aufwendig gestalteter Vinyl-Boxen. Assorted Music Records bietet mit der Veröffentlichung die passende Antwort auf die stetig wachsende Nachfrage nach besonderen individuellen Sammler- & Dj- Vinyl- Editionen.

Auf der Compilation geben sich bekannte Größen wie z.B. Jonas Saalbach, Ramon Zenker & Harada sowie D-Chai und Max Cavalerra die Ehre. Als Highlight haben Hans-Solo und Bassface Sascha jeweils einen besonderen Track aus der Abteilung Drum & Bass beigesteuert. Die Remixe stammen unter anderem von Bodo Felusch, Pierre Deutschmann und Axel Bartsch und natürlich von Chris Maico Schmidt aka Cybordelics aka Mikerobenics - himself'. Künstler wie Barbaros, Heinrich & Heine und Peer Kusiv haben sich an den Reglern ebenfalls wie gewohnt ausgetobt und runden jeweils mit einem Remix den hohen musikalischen Anspruch der Vinylbox gekonnt ab.


Assorted Music Collection 01 - strictly limited vinyl box set


Assorted Music Records releasing the Assorted Music Collection 01, a high quality album by the beginning of 2019. Only 250 copies of the strictly limited premium edition will be available. In addition to the 6 x 180 Gram 12" vinyl edition, each box contains two high-quality slipmats from our partner varyturn and each buyer will also get an exclusive prize draw coupon for a Technics Turntable maintenance-voucher from varyturn. This really is the perfect gift for all fans of electronic music and lovers/collectors of elaborately crafted vinyl boxes. With its release, Assorted Music Records offers the ideal answer to the ever-growing demand for special individual collector ´s & DJ vinyl editions.

Well known artists such as Jonas Saalbach, Ramon Zenker & Harada and D-Chai and Max Cavalerra took part in the making of the compilation and as a highlight, Hans-Solo and Bassface Sascha each contributed a special track from the Drum & Bass section. The remixes are done by Bodo Felusch, Pierre Deutschmann and Axel Bartsch and of course Chris Maico Schmidt aka Cybordelics aka Mikerobenics "Himself". Artists such as Barbaros, Heinrich & Heine and Peer Kusiv have also put their talents into the mixer controls and round off the high musical standards of the vinyl box with a remix each.

American performance and improv artist Anna Homler is best known for her early work as 'Breadwoman,' originally released in the mid-80ties. Ever since, Homler has played a myriad of live gigs, released a steady stream of music—and was part of numerous collaborations. With Deliquium in C, Präsens Editionen now proudly presents four new tracks originating from Homler's collaborations, on which she sounds gentle and pervasive, maternal and childlike, enigmatic and familiar, playful and severe, squeaking and humming.
For Deliquium in C, Homler worked together with four extraordinary artists moving in the domain of electronic music in its broadest sense: Gang of Ducks' Alessio Capovilla, Mark Davies alias The Pylon King (who, together with Homler, forms the duo Voices of Kwahn), PAN-affiliate Steven Warwick aka Heatsick, and the late Steve Moshier, who produced the original Breadwoman tape. These collaborations emphasize once more just how versatile Homler is—as a singer and as a master of her toys.

For the label's second release, Amsterdam imprint yeyeh has brought together two musicians from vastly different backgrounds to celebrate the far-sighted musical potential of the Theremin on the 100-year anniversary of the instrument's invention.

'Waves' is the product of two weeks of studio collaborations between award-winning composer and Theremin soloist Carolina Eyck and Eversines, an electronic music producer who has previously released music on yeyeh's sister label ninih. It builds on Eyck's work composing for 'Theremin & Voice', with both artists playing a part in processing, modulating, layering and arranging vocal and Theremin sounds to create six breathtaking electronic compositions.

Varied in tone and execution, the album's six tracks are arguably closer to instrumental pop than academic electronic music. Some tracks bear comparison to the cyclical melodic movements associated with the greats of American minimalism, while others recall the alien, otherworldly futurism of the Radiophonic Workshop, classic ambient music and the sun-bright bliss of early '90s IDM. Yet despite these possible perceived parallels, 'Waves' sits on its own as a stunning work crafted from the simplest of musical elements.

'it's a phantasmagoric full EP album! A high-end bedroom studio offering, with tangled sounds and colours from the synthesized and digitized world.'
- Give It A Spin

'Evokes a super natural world of beauty and melancholy.'
- Odiotropik Discos

CATHEDRAL ECHO is Lefteris Tsourapis' personal neo-psych project from ATHENS, Greece. Lefteris started recording music at an early age, until ultimately releasing his music under the name CATHEDRAL ECHO in 2017, which culminated in the project's first performance "an evening of experimental sitar music" paying tribute to Spacemen 3 and La Monte Young.

For his third EP, The Fat Badgers' leader Leopard DaVinci comes back with one of his most personal and accomplished EPs. Between french-pop and electro-funk, "Vive le vent EP" is a 5-track UFO featuring for the first time french vocals over Leopard's groovy instrumentals.

One core dynamism within the field of music is the relationship between performer and spectator. The audience listen and watch the musicians enjoying themselves and through that they get an experience of joy. This requires a system of believing where organized sound can be recognized, and is therefore music as such. Upon listening to Orchestra of Constant Distress´ third album you might want to question this meaning of tonality. Through catatonic riffs and uncanny sounds we are as listeners left with a situation where we do not know how to distinguish bad and good, pleasure from displeasure. OoCD seems to be moving beyond their decent from such bands as Brainbombs, The Skull Defekts and Union Carbide Productions towards a tension of disbelief.

Beautiful and highly collectible item: 2xColored LP (Orange / Translucent) + Booklet + Gatefold. Both CDs and 2LP contains download code. Official licence with SNK.

The soundtrack for the sequel to SNK's classic fighting franchise, ART OF FIGHTING 2, is now available on vinyl! Featuring 34 breathtaking NEO GEO tracks across 2-LPs and CD, take the ART OF FIGHTING 2 soundtrack for a spin and relive the classic days of SNK music.

2x LP, Booklet, Double Gatefold. Official license with SEGA.

Contains 'CITY ESCAPE' Illustrations, 2 full color inner sleeves with exclusive outlined Sonic Character design, comprehensive Full-Color Booklet featuring: Liner Notes by John Linneman of Digital Foundry Reflective, Interview with head of Sonic Team Takashi Iizuka and Jun Senoue, Song Lyrics, Character Art, Bandcamp Download Code for digital tracks

Brave Wave is proud to announce that it is collaborating with SEGA to bring the legendary soundtracks for both SONIC ADVENTURE and SONIC ADVENTURE 2 to vinyl for the first time! Both albums will each contain two LP records and will feature a selection of the games' best tracks remastered especially for vinyl and handpicked by Sonic Adventure series Lead Composer and Sound Director Jun Senoue and the team.

Fellow Brightonian Friction gives the Fatboy Slim original a 2018 update with this powerful remix package.

Friction's 'One In The Jungle' mix pulls the best parts of the puzzle and rearranges them into a vibe soaked thumper, harking back to the wonder years of our scene. With a naughty low end and a chopped vocal, this is one's thundering out the undergrowth and into the light.

The second fully loaded refix dropkicks the original into the middle of the modern dancefloor. With Friction road testing this every weekend and Killer Hertz making some serious moves on Elevate Records, this is causing some Jumanji style damage to clubs and stereos worldwide

Club / DJ Support
Target to over 1000 key DJs and tastemakers on the Shogun Audio mailing list including but not limited to Andy C, Goldie, Calyx & Teebee, Friction, Alix Perez, SpectraSoul, Rockwell, Technimatic, Breakage, Danny Byrd, Roni Size, LTJ Bukem, Fabio & Grooverider, High Contrast, Lenzman, Camo & Krooked, Sub Focus, Zinc plus many others

For his Studio Barnhus debut, Laurence Guy connects the dots between the lo-fi ambient investigations of
his 2017 album Saw You For The First Time, the warm club sounds heard on All I See Is Her (last year's
standout 12'' for Tokyo's Mule Music), and the London-based dj/producer's long roots in deep drum'n'bass and
dubstep soil.
Those roots, always present as subtle rhythmical traces on Laurence Guy records, now appear more explicitly
than ever, boosting the typically graceful harmonies and sooty samples of Guy's music with a new, profound
energy. From the unswerving neo-jungle of Wildlife, through My Brain Is A Scrambled Egg with its dusty rave
euphorisms, onwards to the hypnotic guitar ballad It's Good To Try, this six-track EP is chock-full of the sort of
unrestrained musical enthusiasm that Studio Barnhus is always on the lookout for.
Making Music Is Bad For Your Self Esteem is at once Guy's most experimental and most personal record yet, an
essential addition to both artist's and label's catalogues.

Returning After A Long-lasting Hiatus Is No Mean Feat - How To Stay Relevant, To Plug The Gap And Come Back As Strong As Where Things Were Left Off. A Man Called Adam's Return However, Is As Emphatic As It Is Endearing. Sally Rodgers And Steve Jones Are Back With A Brand New Album Of Melodic, Emotional, Pop-not-pop Tracks, Bringing Fresh Layers Of Feeling, From Warmth And Passion, To Sentimentality And Sorrow.

Displaying A Wealth Of Knowledge Gained Through Two Lifetimes Spent Immersed In Music, Farmarama Showcases A Myriad Of Styles And Richness In Arrangements. Moving From Soulful Slow Jams To Lo-fi Disco, Balearic House To Dub, Post-rock Electronica And Art-house Ambience, There Are Glistening Horizons And Windswept Beaches Conjured Up At Every Turn.

Take To The Likes Of 'mountains & Waterfalls', 'farmarama' And 'michael' And Hear Dancefloor, Disco Tinges That Marry Live Percussion, Sultry Rhodes And Hearty Basslines, Oozing Emotion. But Venture Deeper To Uncover A Pensive, Yet Equally Expressive Side To The Record Through Tracks Like 'higher Powers' And 'top Of The Lake'. Take The Later As An Example, A Neo-classical Slice Of Magical Ambience, That Wouldn't Be Out Of Place Soundtracking Sweeping Views Of Shimmering Scenery. Or 'spots Of Time', Beginning As A Frenetic, Glitched Out Piece Of Electronica, Before Opening Into A Brooding Breakbeat Journey.

Full Of Vintage Warmth, Analogue Synths And Intricate Textures, Rodgers, Jones And New Collaborator, Paul Smith, Combine Experimental Touches With An Undeniable Catchiness, Balancing Electronic Elements, With Acoustic Sparkles. In Harmony With This, The Contemplative, Poetic Verses, That Considers Life As A Hi-definition, Westworld-like Simulation, A Farmarama, And Disco As A Way Of Being, Meld And Morph A Conceptual Narrative That Tugs On The Heartstrings Of Life.

Farmarama, Then, Isn't Your Archetypal Album. It's An Emotionally Charged, Intelligent And Enlightening Body Of Work That's Balearic To The Bone.

The first thing that strikes you when hearing 'Nosso' is its feeling of intimacy and warmth. The title, which means 'Ours' in Portuguese, is apt since he sees the record as the result of letting a wild variety of people into his world. João notes that 'I didn't know most of the collaborators before meeting up with them in a studio somewhere in the world, so most of these songs are coming from a very immediate and honest sense of collaboration where you spend an afternoon with someone learning about each other at the same time as you're making music. It's a shared experience, a moment where two or more people came up with ideas together, that they probably wouldn't have had if they were in their comfort zone.' These meetings were turned into songs at home in Lisbon once the main ideas were created collaboratively elsewhere. 'On this album, like in everything else I did so far, the focus on the instrumental side of things was experimenting with rhythmic patterns and genres from the Portuguese-speaking universe while applying them to songs created with other artists from completely different backgrounds and places.' There's something in this process that has left the album sounding super fresh as this is a sound without borders that pulls you in. It's music everyone can be a part of, where even the most rugged up-tempo cut sounds welcoming. It's an overwhelmingly positive and joyous experience to immerse yourself in 'Nosso.' It's no wonder that the central motif of the album artwork shows a less common view of Lisbon, one where instead of looking at the historic city centre we face the suburbs, where these musical and cultural experiments have been and still are occurring, undeniably shaping the musical and cultural landscape of Lisbon in the process. As much a soul record as it is a record infused with the beats of the Portuguese-speaking world, 'Nosso' is a reflection of Branko's ongoing musical explorations and his vision of Lisbon as a privileged cultural hub for the Portuguese-speaking world and beyond. Branko fuses local rhythms from kizomba to baile funk and afrohouse through European electronic genres with a clear accessible pop sensibility and the aim of creating a unified sound that puts all these individual musical expressions in perspective as part of a greater whole. For João, this is the logical next step in his musical evolution.

Brian Ellis returns with his most personal and well-rounded LP yet, 'Deep Clues', an 8-track project seamlessly encapsulating elements of funk, soul, adult-oriented rock (AOR), boogie, and electro. Following up his last full-length opus ('Mirror/Mirror'), 'Deep Clues' showcases Brian's studio and lyric songwriting prowess, using a variety of analog keyboards, drum machines, and guitars to create a singer/songwriter approach to modern funk and modern soul. Recorded and arranged to retain a live feel, each track takes you on a new journey through Brian's mind and experiences, creating very emotional and personal sentiments, and commentating on and commemorating modern life, love, and music.

'Deep Clues' starts the LP off with a vintage vibe, an introductory Rhodes-esque theme reminiscent of a bygone televised media era...before detouring right into the full-length track 'Bulletproof', a warm and hazy ode to being steadfast in love. 'Here I Am' truly takes on a library-prog-jazz-funk guise, dowsed in glowing synth layers and accompanied by Brian's shredding solo guitar work, and displaying unfettered and uncompromising wit within the lyrics. 'Brand New Love' is an arena rock-style ballad, featuring 'back to back' harmonic guitar leads and lyrics that personify the feelings that arise when entering a new love affair. 'My Favorite Song' is the lead single of the LP, an anthem for the fantasy California lifestyle of parties and free living, accompanied by your favorite tunes. Cruising along like it's title suggests, 'Night Drive' weaves together hypnotic guitar lines, while chugging through Ellis' manic worries and thoughts, attempting to get away from it all. 'Fantasy' is a powerful critique of modern culture and our ability to edit or shape our realities to suit whatever it is we already believe or want to believe. 'Never Had Nothin'' is a sparse and heavy drum machine and synth closer, a down and out anthem that beckons those end-of-the-night lighters to come out and light up the air, cherishing the past, present and future.

First non-D release on Von-D's own Dubs Galore imprint - He's inviting young gun Hebbe for a 2-tracker, bangers galore!

Over the course of his first two releases, Jeunesse 7 wants to tell the tale of the 6 Jeunesses that preceded him.

'Hobbies galore', an effort to describe the lives of Jeunesse 5 and 6, is the logical follow-up to Nividic. These lives happened to be longer than the previous ones; successes and failures led to fuller, richer and more exciting chapters. The two sides of the tape patiently narrate a journey through different landscapes and let you follow the two Jeunesses as they spend their days with various hobbies, from calmer, soothing ones to more active and exhausting ones.

The tracks are charmingly lo-fi and warm; the beats slow and crackly.

Keys are Benedikt Frey and Chris Cox, the front and rear covers of a lucid
narrative of an incomprehensible nature. Substance induced Hara-kiri, a human
consciousness leaving it's temporary and insignificant vessel, a motorcycle ride
through the sands of a desolate Martian desert or a twisted eternity dissolved
inside Pandora's Box. These are just a few of the scenes effortlessly evoked by
the epic yet somehow erotic omnibus of slow-motion electronica that is Voltage.
In a time dominated by robotic beat and melody, this 8 part expedition away from
the dancefloor may surprise, disorientate and hypnotise. Allow Keys to seal you
in their infinite vacuum of flirtatious melancholia.

* Second Album From La Stampa, The Six-piece Band From Berlin, Hamburg & Geneva.
* Includes A Bespoke, Full Colour, Fold-out Poster
* Artwork By The Acclaimed Artist, Shirana Shahbazi.
* Design By Manuel Krebs From Norm.
* Edition Of 500

Closely Working With Legendary Producer Tobias Levin From Hamburg, The Band Have Developed And Recorded The Ten Songs Over The Course Of Two Years. Picture Northern Creatures Sweating Out Their Melancholy In The Southern Sun. As The Wind Carries The Beats From The Beach Disco Across The Bay, Chopin, Vodka Shot In Hand, Imagines Writing Music Based On The Build Of Crystals. To The Side Of The Composer, The Rhythm Section Gets Restless. The Thrum Of Eastern European Electronics Pulsates In Their Brains. 'don't Work Yourselves To Death', One Of Them Shouts, 'it's Not Our Fate. Let's Go Dancing, Everything Must Change', Adds Another, And 'sun Screen's On The House!' This Is A Glimpse Of The World Bonjour

Lavascar is a sound and music project by creative instigator and provocateur Michèle Lamy, multi-disciplinary artist Nico Vascellari and Lamy's daughter, the artist Scarlett Rouge.

Following the release of their debut album A Dream Deferred in 2017 - which was inspired by Langston Hughes' poem Montage Of A Dream Deferred, the trio will release new album Garden Of Memory through The Vinyl Factory label.

Drawing on the work of Lebanese-American poet, journalist and artist Etel Adnan, Garden Of Memory explores the tension between the organic and industrial, layering both Rouge and Lamy's idiosyncratic delivery over Vascellari's ambient and EBM-influenced electronics. After Vascellari described the debut LP as 'an evocation of Michèle Lamy sitting in a cave, surrounded by wild beasts ready to devour her', Lamy says the new record has loftier concerns: 'So far it seems like we are more in the cosmos... We are coming out of the hole!' Lamy continues: 'I like poetry, I don't like when there is sentence that tells you everything, I like suggestion.' It was for this reason that Lamy was drawn to the 93-year-old Adnan - 'a woman explaining what's going on in life. We can say everything is political, this is especially important.' It's a sentiment that Scarlett Rouge echoes: 'She wrote political poetry, and she is a journalist, so that's why I think when Michèle discovered her there was an immediate sense that this is now what needs to be felt and said.'

This iconic vinyl EP from LCD Soundsystem has not been in print and for sale since 2012.

Originally released in 2007, the EP contains two non-LP tracks, including the 12 and a 1/2 minute slo-mo disco workout 'Freak Out / Starry Eyes' and the instrumental burner 'Hippie Priest Bum Out' (made popular on 'Fabriclive 36: Murphy and Mahoney').

There is also a devilishly acidic rework of 'North American Scum' by James Murphy himself.

Beautiful cover art design by Mike Vadino.

Despite sounding like an 80's cassette only wave outfit La Stèle des Pleurs is a contemporary band from the north parisian suburbs.

They're mostly inspired by the underground tape scene of this period and use a 100% analogue set from synth and drums machines to tape recorders according to their unkwnown masters.

The 7 tracks of this mini-LP are only instrumentals somewhere between the melancholia of Enno Velthuys and the heady sound of Stratis. Their music seems untouched by contemporary world and influences, recorded in order to compose their own enigmatic but familiar universe.

Gloomy landscapes and feelings may appear but surrounded by a glimpse of hope.

Limited to 300 copies.

'Två' is the latest album from Malmö-based artist Singular. Electronica with acoustic piano as a starting point, we find ourselves in a borderland of contrasts, acoustic &, electronic, simple &, complex, rhythm &, melody. The sound world has influences from both electronica, pop, jazz and art music. The goal is to achieve harmony between the shine and the sharp, the light and the heavy. Simple and effective melodies are placed in complex, often slightly skewed and chafing, sound environments. The end result is a singular vision in the form of an imaginative and multi-faceted sound experience.

In 1997 legendary producer Orlando Voorn delivered two tracks for the Get Lost and Past-Present+Future compilations, as well as the idea of a full length album for his Ultra moniker. This was completed in 1998 shortly before the initial shutdown of Multiplex. Some tracks were scattered onto other releases, but this Planet Ultra EP is compiled of five previously unreleased compositions from the Multiplex album of the same name, plus the Barwork track - finally on vinyl after more than twenty years.

DJing since at the age of 12, he won the Dutch DMC championships in '86. Going on to produce a multitude of club bangers since the early 90's. Spanning many genres, his short lived Ultra alias was reserved for a deep electro vibe.

On ice for two decade these classic electro tracks reference the early UK breakbeat of the 90's as well as the obvious sci-fi connection. To that effect we kick off with "Teflon" and "Plasma", followed by the funky "In The Galaxy" which adds a touch of Herbie Hancock. On the flip side "Ultra Light" evolves to an all-encompassing, atmospheric trip, before the deep "Barwork" and finally "Open".

A Detroit ghettotech style of dancing is called the jit, which relies heavily on fast footwork combinations, drops, spins and improvisations. It originated from 'the Jitterbug,' a stateside dance style from the 40's that became a worldwide sensation by way of US soldiers spreading it during WW2, quickly getting banned by authorities on account of being rude, vulgar and against the interests of the war effort. The movements are characterized by a highly energetic and ecstatic movements, and the frenetic mixing style reflects the highly improvisational nature of the dance, and the DJ's who spin ghettotech wildly blend together chicago juke and footwork, jungle, miami bass, electro, hard techno. This is the first in a series of Jit compilations transmitted from planet Detroit and beamed directly into the ghetto of your mind. Elevated Jit is dedicated to the jitters and and to the loving memory of Andre 'Erotek' Brown. Jit the Planet !

Look out for volume 2, coming soon.

Distributed by Rubadub
Mastered by Will Web and Brendan Zacharias
Pressed at Intakt! Berlin

The entire tape was made using a cursed Roland Sp404 sx, filled with broken beats, warped vocal samples and playful synths and glitches. The sounds range between meditative ambient, lo-fi beats to study to and jungle. The composition is relaxing and zen, but in the meantime will give you enough quirky details to hold on to.

The North Quarter kicks off 2019 with a comprehensive seven-tracker (four on vinyl) from the seriously talented Anile. Back after a short hiatus the underrated producer delivers Sheets Of Empty Canvas, a statement piece with no features. This is a welcomingly diverse project that effortlessly reaches both raw and emotional highs whilst concisely joining the dots in between.

We introduce Comfort Zone, a young producer from Montreal, who has been making music for around 7 years now. He is inspired by "music from late 90s/early 00s video game soundtracks and the occasional snippets of electronic music I heard as a kid". We find that statement very much reflected in this release, as he masters the challenge of blending mysterious samples and different styles to form harmonious compositions.
On one side of the 4-track EP we have 2 groovy House tracks, reminiscent of early 2000s House by the likes of Lance DeSardi, Ian Pooley and Atjazz, on the other side 2 classic Jungle tracks which uphold our tradition of releasing timeless music.

The meditative New Age album Sojourn reshaped including unearthed tracks from the archives produced in that time frame now for a long time overdue worldwide release ! Young, the percussionist and marimba player in the seminal New York art-wave group, recorded a series of cassette-only releases in the '80s after Liquid Liquid disbanded. A couple of these were picked up at the time for Korean release, which is where Daehan Electronics, a South Korea-based label dedicated to tracing the history of electronic music in the land of the morning calm, comes in. Sojourn was one of these albums, part of a biorithmically-aligned New Age serie, each one meant to be heard on specific days of the week. DE has worked with Young to restore and remaster the original masters for this new release, bringing out the full warmth of the analog synthesizers used to create it. It is the second in a series of collaborations with Young, which will delve deeply into both the scarce cassette issues and other, unreleased material newly discovered on tapes. Liner notes outline the history of the record and include Young's own pathway

Until now Tape only New Age Dance masterpiece Visions reshaped including unearthed tracks from the archives produced in that time frame now for a long time overdue Vinyl release ! Young, the percussionist and marimba player in the seminal New York art-wave group, recorded a series of cassette-only releases in the '80s after Liquid Liquid disbanded. A couple of these were picked up at the time for Korean release, which is where Daehan Electronics, a South Korea-based label dedicated to tracing the history of electronic music in the land of the morning calm, comes in. After the market fail of the biorithmically-aligned New Age serie planned by the label Visions could never see life on Vinyl and felt forgotten due to the limited tape run released at first. DE has worked with Young to restore and remaster the original masters for this new release, bringing out the full warmth of the analog synthesizers used to create it. It is the third in a series of collaborations with Young, which will delve deeply into both the scarce cassette issues and other, unreleased material newly discovered on tapes. Liner notes outline the history of the record and include Young's own pathway

Musique Pour La Danse is thrilled to present its latest "Collected" anthology, the label's most ambitious release since it released an extensive anthology of music produced by New Beat pioneer Ro Maron back in 2015. Side A is a reissue of the highly sought after Disdain EP from 1988 by White House White. Side B contains three previously unreleased tracks in a similar spirit to WHW's sound with a dark and sleazy atmosphere.

2 darkstep bangers coming from opposing directions. Jackson's Bloom is a black metal infused minimal monster.

Ether's 'Ghosst' floats spooky sound design over it's edgy edits and ghoulish grind.

A fresh balearic production born during summer 2018, while breathing our hometown's tropical breeze in Italy.

Very Limited Clear Vinyl Version

Having sold his instruments to fund a nomadic 1970s lifestyle, eccentric Irish experimentalist Michael O’Shea was forced to create his own handmade answer to the sitars and zelochords he’d become accustomed to playing on his travels around the globe.

Using an old door, 17 strings, chopsticks and combining them with phasers, echo units and amplification, the new device was to become his signature sound, mixing Irish folk influences with Asian and North African sounds in a mesmerising and soulful new way that brought him to the attention of the leading improvisers of his day - Alice Coltrane, Ravi Shankar, Don Cherry and more.

A logical follow up to AllChival’s recent reissue of Stano's debut LP, Michael O’Shea’s self titled LP was originally released on Wire's Dome Imprint in 1982.

The background to the album is as interesting and inspiring as the artist who created it - born in Northern Ireland but raised in the Republic, O’Shea was keen to travel and escape the troubles of his home.

Wandering throughout Europe and the Middle East, O’Shea found himself living and working as a relief aid in Bangladesh in the mid Seventies where he learned to play sitar while recovering from a bout of hepatitis. A later period spent busking in France accompanied on zelochord by Algerian musician Kris Hosylan Harp led to O’Shea’s idea of combining both instruments as a homebuilt instrument - Mo Chara Irish for "My Friend".

He later described the process on the back of the LP himself saying:

"Having sold my sitar in Germany and being desperate for money to travel to Turkey, I conceived of the idea of combining both sitar and zelochord. The first Mo Cara was born, taken from the middle of a door, which was rescued from a skip in Munchen"

A combination of dulcimer, zelochord and sitar, O Shea would play it with a pair of chopsticks, striking the strings softly using Irish folk rhythms mixed with the rich, nostalgic sounds of of the many Asian artists he’d encountered on his travels.

It was a pan cultural sound standing at an unusual crossroads of folk, traditional, rock, progressive, jazz, electronic and post-punk worlds without hesitation.

Perfecting the instrument on the streets, there were further spells spent busking in the underground stations and cafes of London's West End and Covent Garden during the heady days of the 1970s when they were full of eccentric street entertainers, jazz improvisers and musical pioneers.

His work with Rick Wakeman never saw the light of day but O’Shea’s contact with the world of post-punk London ensured his name would live on.

Introduced to Wire's Bruce Gilbert and Graham Lewis via cartoonist Tom Johnston, O’Shea eventually acquiesced to an open invite to record at their studio. Turning up unannounced in the summer of 1981 the LP was recorded in a day in the legendary Blackwing Studios and released on Dome the year after.

The first side features the fifteen minute masterpiece "No Journeys End" with the B side featuring more input from Wire in processing the Mo Chara sound.

Lewis himself said years later of the forgotten masterpiece: “I always said it was the best job we ever did.”

After an aborted LP with The The's Matt Johnson the following year, O’Shea quietly disappeared from the formal recording world and his brief but unique contribution to the music world came to a sad end in 1991 when O’Shea was struck by a post van and died a few days later in hospital in London.

This repress on All City’s AllChival imprint has been remastered and reissued with the approval of both Dome and his surviving siblings.

'Pavel Milyakov aka Buttechno is mostly known for his brilliant take on dance music, but we're also big fans of his avant-garde ambient material. This LP combines the amorphous electronic soundscapes of Artemiev with the strangeness of Chiastic-Slide Autechre and the beautiful expansiveness of Pete Kember's best work. It could be a spiked film noir soundtrack... and it's also great because it sounds like a late night walk around Moscow (at least to us).'

Gatefold sleeve by Will Bankhead.

Delsin's first reissue album of 2019 is the album 'Repeats', an important techno and IDM record from collaborative outfit Repeat, which originally landed on A13 in 1995. Nineties collective Repeat started out as Mark Broom, Andy Turner and Ed Handley, with Dave Hill joining in later on. Ed and Andy, of course, also recording as Plaid and also still members of Black Dog Productions, with whom they recorded albums closely before and after this one. The result is a hard to categorise album that breaks all the rules and draws on IDM, techno, ambient, house and electro to make for nine tracks of atmospheric analogue music that still sounds fresh and in a world of its own.

Roots In Heaven is a Berlin-based act that could very easily capitalize on his past accomplishments within the world of intrepid electronic music. As a label owner, resident DJ at cutting-edge clubs, and accomplished solo artist behind a number of conceptually unique full-length albums, the conceiver of this project won't likely need any introduction to the intrepid fans of electronic music. As an extension of this artist's already solid commitment to deep sound, Roots in Heaven represents a new voyage without the help of biographical cues to his listeners: hidden behind an evocative mesh mask lined with obsidian feathers, Roots in Heaven ignores the need to provide 'social proof' or self-justification. He communicates purely through the language of concentrated sensory impression, for which reason he has titled his debut, 'Petites Madeleines,' after one of the most memorable descriptive sequences in literary history (the famous meditation on the madeleine from Proust's À la recherche du temps perdu). As a prelude to the first full-length, Roots In Heaven has issued an untitled EP as a resounding 'shot across the bow'. However, this record is no half-conceived experiment to see what works and what doesn't, nor does it even feel like an 'EP' (in the traditional meaning of being a précis whose full report is available elsewhere). Attentive listening to its contents can cause a kind of time dilation, and a mysterious feeling of entering a world where familiar dualities (nature vs. technology, action vs. contemplation) are replaced by a feeling of total immanence. The A-side, 'Sang des Betes", accomplishes this with cascading, viscous layers of electronic tones that narrow and widen, rise and fall like the breath of some ancient entity. Periodically, bright flashes of tone arc across the horizon of the sound space, emphatically present but also elusive.

Amir Abbey aka Secret Pyramid has become one of the most relevant names of the contemporary ambient music. This artist, established in Vancouver, has found in the night solitude his natural place to compose his electronic poems.
Students Of Decay label reissued his first two masterpieces in vinyl, The Silent March and Movements Of Night, which where issued originally in casette. Now, Gailur Records has the honour of reissuing Distant Works I & II.
Distant Works I was recorded in the same sessions as The Silent March in 2011, and Distant Works II in 2016. This lapse of time between these works perfectly shows the musical evolution of Secret Pyramid. While in the first part we find two long tracks of ambient/drone full of warm landscapes, the second one shows a global concept closer to an album, with shorter pieces, more minimalistic and with more of an intimistic character.

Limited Edition Of 500 Copies On Black 2lp Vinyl. Comes In Gatefold Sleeve With A Funky Artwork By Boggie Cramb! Skipping Through Endlessly Boring 70s Flics From Eastern Germany And Digging In The Crates For 1€ Records Crammed With Scheisse Volksmusik Is Something Torky Does All The Time. Don`t Ask Yourself Why. Listen!

Line Explorations present its first release - a compilation consisting of six tracks by six national artists, producing under the names of T'iwu, HTL, PX, emme, AMSH and Mensaje Sanador, serving as a sampler for what's to come in the future on the label and the sounds the label will evoke such as techno, IDM, ambient, noise, drone and experimental vibrations from the further avant-garde,

The first track focuses on growing an organic and everyday sonic scape with the use of chords and melodies filled with light touch - reminiscent of clear skies and sunshine - which creates an ambient feel similar to that of daily vibrations of life as presented and explored by T'iwu.

HTL enhances the depth of the reflections of today's emotions one can feel by delving deeper into everyday surroundings and exploring the noise/drone side of the ambient musical styles by mixing melodic elements with the out of the ordinary effects which shock and ululate while shaping the musical texture into a darker and deeper atmosphere.

The following track, by PX, elevates the atmosphere into a more jovial soundscape full of '80's inspired electronica and sci-fi soundtracks. The beat rolls off and twists in a funky groove helping develop a danceable pace for the release.

On top of that, emme presents the fourth track - in the shape of techno meets breaks - where more classical elements of industrially influenced electronic music can be traced from yesteryears. The sounds engulf in warmly distorted melodic strings while flowing over and under the rhythmic structure.

In contrast, AMSH's ''Subway'' presents a downpour of heavy sounds, such as noise influenced synths and delayed infected percussion, along with field recording of trains help envision the movement of a manmade machine and its flow through the undergrounds of today's world.

The final piece, of the label's initial release, comes in the shape of a Mensaje Sanador or healing message. The track takes on the elements of the three titles that have preceded it and explores further the dynamics between current and classical sounds of the electronic dance music genres by delving deeper into sound synthesis, melodies and rhythm as to help one submerge further into exploring such sounds, their history and the future to come.

"Made of Industrial tones and decadent rhythm this MIND CLEAR 011 produced by Anthem is pushing at his most extreme layers future dub / trap and black metal, with an hypnotic modular synthesis for the wildest waves in our ears."

'Jacking industrial knees-up meets formal idiosyncrasy in this banging collaboration between Deapmash and Aquarian, with massive kicks, quaking breakbeats and soaring atmospherics.'

- Coming off Transmission, Death in Vegas's critically acclaimed 6th album which saw the band collaborating with Sasha Grey, are three unique remixes by Silent Servant and Rudolf Klorzeiger.

- Silent Servant delivers two stunning mixes of You Disco I Freak. In his first remix he elevates the discordant melody in You Disco I Freak and adds a sense of menace with a new sequence, taking the track in a more sinister direction. With his second version, he takes the heat up a notch with a brutal workout synonymous with his signature abrasive sound.

- Dopplereffekt, Drexciya, Arpanet, Der Zyklus, Japanese Telecom, Heinrich Mueller, Rudolf Klorzeiger: Death in Vegas are huge fans of Gerald Donald in all his forms. He choose to 'reproduce' Metal Box, keeping certain elements of the original field recordings, the sounds of the Steel Factory opposite Drone's studio, the incessant drones from the planes landing at City Airport and the dial tones of the studio's VHF radio and layered over these with his own sonic tapestry.

Beautifully Eerie 12-string Guitar, Synth And Autotune Studies Played With A Rare, Tempered Intensity And Grace. It's A Highly Unusual Disruption Of Classic Takoma/fingerstyle With Electronic Drone And Found Sounds, At Different Points Reminding Us Of Everything From Hope Sandoval To Late Period Talk Talk, Jim O'rourke, Tashi Wada Group And Of Course John Fahey, While Ultimately Sounding Like None Of Them.

With An Uncanny, Even Unsettling Ability To Hold Her Listener's Ear-gaze, Julia's Follow-up To 2017's 'dawning On' Finds The Berlin-based Aussie Continue To Recontextualise Her Instrument With Elegant Precision To Yield A Sublime Tension Between Her Heavy-lidded Vocals And Iridescent Strings.

In Julia's Remarkable 14 Minute Opener 'of Neither', Strings Fluidly Cascade From Her Fingertips Into An Amniotic Soundsphere Of Field Recordings And Gently Fleeting Synth Figures. When Combined With The Deep Dreaming Texture Of Her Autotuned Vocals And Wind-blown Harmonica, The Effect Recalls A Sort Of Midnight Tuareg Blues Half-remembered From A Fevered Sleep. It's Deeply Beautiful Stuff, Periodically Fading Into And Out Of The Light, Only To Return With More Intense Inflection And Density, Yet Ever More Spaced Out, Leading To The Internal Pocket Of 'lament' And Its Achingly Coaxed Secrets.

With Recipients Suitably Defocussed And In Pliable State, Julia Takes The Whole Other Side To Play On That Line Between Organic And Processed Material, Slipping From Noirish, Filmic Intrigue Into The Middle Distance Where Her Rustic Coruscations Twirl In A Set Dance With Their Spectral Reflections, Rendering A Shimmering, Introspective And Highly Individual Solo Dialogue.

Chemistry between individuals is an amorphous and elusive notion. It is usually seen as something that occurs between two people who are sharing a physical space, with access to each other's body language and energy. However, modern technology has provided many other opportunities for chemistry to blossom and be explored and this record is just one example of that: Vent is proud to present Kina, a double LP of musical collaborations between MAYa and Tolga Baklacioglu.

Tolga Baklacioglu is an associate professor in aeronautical engineering. He is also a musician. For several years, he has been steadily building a body of work that explores the outer boundaries where techno and abstract textures merge and blur. In 2014, Tolga created a label, VENT, as a platform for his explorations and those of likeminded travelers within this sonic realm.

MAYa Hardinge works in film. She is also a musician. She has collaborated with numerous artists. Beginning in 2008, She released 4 EPs under her solo guise MAYa. Considering her background in film, it comes as no surprise that her work has a strong visual element. Pre- dating Beyonce´'s Lemonade by many years, her last two EPs were visual albums made in

collaboration with various directors.

It makes total sense that MAYa and Tolga should have made an album together. Their interests and backgrounds overlap and diverge meaningfully in a way that has all the hallmarks of good musical chemistry. There is however one unusual element to their collaboration: they have never met. Tolga lives in Eskisehir (Turkey) and MAYa lives in New York City.



Always on the look out for inspiration and new collaborators, Tolga stumbled across MAYa's videos online. What he saw and heard inspired him to reach out and contact her. After some correspondence they decided to experiment with the prospect of making music together. Perhaps deprived of the traditional notions of chemistry defined by proximity, they found inspiration across time and space in the name of exploration and discovery. Tolga began by sending MAYa files of beats and ambiance. Upon finding the ones that spoke to her, MAYa went to work disassembling, adding, subtracting and rearranging. MAYa's work would then go back to Tolga, a world away, for further input and then back again. In this way each track was painstakingly constructed and a true chemistry was born. One built on sensitivity, support and honest artistic communication. In a word: LISTENING.

The songs cover a broad spectrum of topics, from the deeply personal feelings and experiences, to world events, and the fundamental aspects of life and death. Kina is a document of two artists from different backgrounds and their shared visions of the interplay

between one's private microcosm and the global macrocosm of our time; a testament to the fact that, for all its vastness and diversity, this world offers inspiration and potential collaboration around every corner. The music contained within has traveled around the world many times before reaching your ears. As MAYa and Tolga have done before, it is now your turn to LISTEN.

In this compelling debut release, NETSH takes the listener on a one-way trip to his world with his own unique take on acid, braindance, electro, jungle and even a dash of hardcore. Frenzied breakbeats, thick and melodic 303 sequences, ass-shaking drum programming along with deep and lush pads are the constant on this record, coherent and diverse a the same time, which tells a lot about the young producer's musical maturity.

Indigenous Electronic is proud to present for its third release: 'THIXOTROPY EP', produced and recorded by 'Quan'.

Starting out from more of a conventional musical platform; Quan in recent years turned his attention to live performance, and by 2018 had already played two Boiler Rooms in his native Vietnam. In addition to recording and performing live, Quan has begun a parallel journey in building his own eurorack modules some of which were used on this debut vinyl release of his. The EP which flies in the face of traditional loop structured song formats, present the hard to find confluence of musicality with technical knowledge.

With early support from XDB, and produced and recorded entirely out the box this is one not to be missed.

Ronnie McNeir has been associated with Expansion for over 30 years through his own Setting Sun label. Now on 7' for the first time in the UK Expansion bring something special for Record Store Day, 500 hand numbered copies of the 1981 Detroit soul single 'My Baby'. An original copy will set you back £100 and these limited edition RSD pressings will become sought after too. 'Hold On' comes from the 1989 Expansion album 'Life & Love', and is released for the first time here on 7' single. Ronnie currently tours as a member of The Four Tops and is back to perform a rare solo concert in June 2019 as part of this year's Blackpool International Soul Festival.

Experimental A/v Duo. It's Live-sets Are Pure Dark Distorsion And Deconstruction Sound.

Avant-garde, Non-art, Chaos And Tension Are The Main References Of This Project. Broken Rhythms, Sharp Sounds, Dissonances Make Up The Main Musical Spectrum Of This Band.

Influenced By Electro And Industrial Music, Inspired By Artists Such As Ultradyne, Hijokaidan, Merzbow, Drexciya, Consumer Electronics, Throbbing Gristle, Dopplereffekt Or Esplendor Geometrico. They Just Realised Their First Ep Called Math.random() In Rator Mute Label.

The Vibrators were one of the original UK first-wave punk-rock groups, playing legendary shows at London's Roxy Club, and the late great BBC DJ John Peel was an early fan, recordings sessions with the group for his radio show as early as 1976. Their 1977 debut album Pure Mania is an all-time punk rock classic and one of the most immediately catchy and tough releases of its era. Featuring two great tracks off this album, the classic 1977 single "Baby Baby" b/w "Into The Future..." is reissued here on a limited edition picture disc this April.

Cheesy re-works from happy and lucky, williams influenced!
10" green transparent vinyl!

t's been a year since the last album of the French duo Zombie Zombie « Livity » came out on their historic label Versatile Records, since they explored other territories by producing two movie soundtracks : one for « Loubia Hamra » by Narimane Mari and « Irreprochable » by Sébastien Marnier as well as the music of a contemporary circus show « Slow Futur » by Martin Palisse and Elsa Guérin.

It was during their last tour that they composed and produced the new soundtrack for Sébastien Marnier's new feature film « L'heure de la Sortie ».

This is a second collaboration between the group and this director. This electronica soundtrack will delight Zombie Zombie fans with his oppressive yet surrealistic atmosphere, and without revealing so much the shadow of Patti Smith is not far this time and will surprise more than one.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

Celer is the alias of Will Long, an american musician settled in Tokyo. Under this pseudonym he has released lots of albums for over 10 years, mostly self-edited or published by his own Two Arcons label, being one of the most prolific musicians of the ambient/drone scene. Fan of the analogic sound, his music levitates between overlaped melancholic layers of delays, tapes, reverbs,... creating a sonic monotony in constant movement.

Shima was created along with Jima (I, Absentee. 2015), but it wasn't recorded until 2016. Like most of his work, the album comes from an emotion that repeats itself infinitely until it takes our conscience to an hypnotic state of mind. The different layers of filtered sound mix out and evolve inwardly, like the experiences of our existence, contributing to amazing landscapes where we can lose ourselves completely.

Gifted Culture reveals the last EP of the trilogy featuring three improvised jam sessions of the collective. This time the ghetto beat maker Christopher Rau joins the crew in Berlin Mitte. Christopher, Autre and Two Thou start diving into slow, detached dreamy atmospheres eventually exploding into frenetic floor killer breaks. The music recorded in the session represent the perpetual dialog between the artists, resulting in an eclectic and variegate piece of music.

'Wino go full Zeppelin! Inspired by a recent trip to New Orleans and the deep South, Davy & Co. wrangle sliding basses and pumping organs into 20 minute rock n' roll-on odyssey. Chugging locomotives fall into an infinite groove on the A side, while the B takes the underneath perspecitve- rattling out subdued sub bass frequencies. Full sleeve artwork by (the legend) The Germ . Mastered by the Bastard."

SOUND ENTITY RECORDS PRESENTS A REMASTERED, DJ FRIENDLY, LIMITED EDITION 4 DISC ALBUM, THAT DEFINES THE SOUND OF JUNGLE TECHNO AND ILLUSTRATES ITS TRANSFORMATION INTO INTELLIGENT DRUM & BASS. ORIGINALLY INTENDED FOR RELEASE IN 1995 BUT ONLY 30 TEST PRESSINGS WERE MADE. THIS ALBUM INCLUDES MANY UNRELEASED TRACKS SHOWCASING THIS EXPERIMENTAL JOURNEY IN OVER TWO HOURS OF MUSIC.

Das technisch versierte Naturtalent Leafcutter John (Planet Mu, Staubgold)präsentiert sich mit seinem siebten Album auf Border Community in Höchstform. "Yes! Come Parade With Us" ist ein kleines, perfektes, freudiges, utopisches Folk-Electronica-Kunstwerk, erstellt aus mehrschichtigen, gefühlvoll-modularen Synths, gelegentlichen Drum-Features (von Tom Skinner/Hello Skinny und Sebastian Rochford/Polar Bear) und Field Recordings, aufgenommen im Sommer 2017 auf einem 60-Meilen-Spaziergang entlang der Norfolk-Küste. Limitierte Formate.

Japanese Jazz/breakbeat, Folkloric Mega-rarity As Hallowed The Likes Of Dj Shadow, Cut Chemist, Egon And Co. Uniquely Combines Traditional Japanese Instrumentation With Western Jazz Influences.
Minoru Muraoka Plays 'shakuhachi' - A Traditional Bamboo Japanese Flute - Joined By His Band Members Accompanying Him On The 'koto' (strings) And 'tsutsumi' (drum) Amongst Others, To Create Their 'shakuhachi Jazz' Sound.
Includes Cover Versions (take Five!) Of Very Well-known Jazz & Pop Classics, Coupled With Two Original Songs.

Keysound Recordings are excited to present three very unique cuts from Scratcha DVA x Gage: 'FLYTNURSE,' 'PIFFD' and 'FLYTNURSE (DARQMIX)'. Dark, euphoric, weighty, and somewhat restless, they defy obvious categorisation. Gage has made himself a formidable reputation by releasing some of the most forward-thinking darker dance music in the last three years, predominantly on the ever-quality Crazy Legs imprint. 'Telo' was a standout dancefloor moment, equal parts impactful and experimental, quickly followed up by the "Mercury EP," "2017 STAY PARO" and his banger-collab with Kevin Jz Prodigy, "Bad Bitch." Scratcha DVA first appeared on Keysound 66 releases ago with the explosive dread grime anthem 'Bullet A'Go Fly' featuring Badness, Riko, Flowdan and Killa P. But in truth he has a lengthy production back catalogue both before and after that 12', with albums on Hyperdub, his new 'Interludes' project and a track on the recent landmark Kode9 & Burial Fabriclive 100 CD.

SDH (Semiotics Department of Heteronyms) is the new project of two key figures of the synth-wave/industrial scene of Barcelona. Andrea P. Latorre and Sergi Algiz, founders of the Cønjuntø Vacíø label and also in the post-punk band Wind Atlas, unveil a new act more oriented towards pop music. SDH is change, alteration, distortion, metamorphosis. Their synth-pop songs, sprinkled with EBM and techno, are mysterious, obtuse and suggestive. The project seems to revolve around the idea of fiction. What is the language of feigned personalities What is fiction An individual is one and another, is liquid. It is physical. Incarnating someone is doing it in a corporeal way: making it flesh. Conceive: everything is real: reality does not exist. How is a fiction embodied They have already supported artists such as Marie Davidson and Merchandise and performed at the Swedish festival Kalabalik På Tyrolen, one of the reference festivals of the darkwave scene.

In 1986 iconic group The Future Sound of London released the UK Top 40 chart album 'Dead Cities', from which came a track 'Yage'. Such has been the interest in this masterpiece of electronica over the years that the guys have been back into the studio to revisit it.

Here, on this limited edition, individually numbered LP press exclusively for 2019's Record Store Day comes the results. 'Yage 2019' takes the core of the original and rebuilds it. All together there are eleven tracks reconstructions and interpretations, woven together (as FSOL do) into a 42 minute dreamscape journey across the 2 sides of vinyl. Only 1000 copies of this release will be pressed on vinyl.

As a visual artist and ambient composer, Tor Lundvall's work often recontextualizes the familiarity of everyday life through abstraction and space. Starting with the snapshot of a moment, Lundvall extracts its underlying complexity of the seemingly mundane and gives sleeping suggestion a presence and purpose. Mainly working sans vocals, Lundvall returned to voice exploration for 2018's A Dark Place, a somber, dark synth album that merged his mastery of textural ambience with traditional pop structures.

Rescued from old DAT tapes A Strangeness In Motion: Early Pop Recordings 1989-1999 are some of Lundvall's earliest completed synth pop works which have remained unreleased until now.

Though Lundvall's work throughout the collection has the recognizable ambient bones and sensibilities he has refined throughout his career, many of the tracks call back to the synth-driven pop of Orchestral Manoeuvres In The Dark, The Human League and New Order, with the common thread being the sparse density and mood created by reservation and the lonely impulse to twist convention, not to rip it up and repurpose it. Rather than 10 disparate ideas, Lundvall's curation of A Strangeness In Motion: Early Pop Recordings 1989-1999 feels like excerpts from a broader work, allowing the listener to fill in the holes and ladder up to his larger themes and concepts, perhaps coloring his prior works in new hues and tones.

'For years I dismissed these songs as naive and youthful relics, but I've grown much fonder of them in recent years along with the memories they evoke,' he says of the decade spanning collection of tracks, many of which were sketched out in his duo with Drew Sullivan, After The Outing. 'Original One', 'Procession Day', 'The Clearing', and 'The Melting Hour' are present here as solo reworkings, originally culled from his sessions with Sullivan. The remaining songs were ideas originally considered for Passing Through Alone (1997) and its proposed follow up, provisionally and playfully titled Femalamania.

'The title was summing up my girl problems at the time and also a silly word spin on Robyn Hitchcock's Fegmania!' he says. 'Sadly, the project was abandoned—a rare decision for me and perhaps the only time I've scrapped an album entirely.'

As a visual artist and ambient composer, Tor Lundvall's work often recontextualizes the familiarity of everyday life through abstraction and space. Starting with the snapshot of a moment, Lundvall extracts its underlying complexity of the seemingly mundane and gives sleeping suggestion a presence and purpose. Mainly working sans vocals, Lundvall returned to voice exploration for 2018's A Dark Place, a somber, dark synth album that merged his mastery of textural ambience with traditional pop structures.

Rescued from old DAT tapes A Strangeness In Motion: Early Pop Recordings 1989-1999 are some of Lundvall's earliest completed synth pop works which have remained unreleased until now.

Though Lundvall's work throughout the collection has the recognizable ambient bones and sensibilities he has refined throughout his career, many of the tracks call back to the synth-driven pop of Orchestral Manoeuvres In The Dark, The Human League and New Order, with the common thread being the sparse density and mood created by reservation and the lonely impulse to twist convention, not to rip it up and repurpose it. Rather than 10 disparate ideas, Lundvall's curation of A Strangeness In Motion: Early Pop Recordings 1989-1999 feels like excerpts from a broader work, allowing the listener to fill in the holes and ladder up to his larger themes and concepts, perhaps coloring his prior works in new hues and tones.

'For years I dismissed these songs as naive and youthful relics, but I've grown much fonder of them in recent years along with the memories they evoke,' he says of the decade spanning collection of tracks, many of which were sketched out in his duo with Drew Sullivan, After The Outing. 'Original One', 'Procession Day', 'The Clearing', and 'The Melting Hour' are present here as solo reworkings, originally culled from his sessions with Sullivan. The remaining songs were ideas originally considered for Passing Through Alone (1997) and its proposed follow up, provisionally and playfully titled Femalamania.

'The title was summing up my girl problems at the time and also a silly word spin on Robyn Hitchcock's Fegmania!' he says. 'Sadly, the project was abandoned—a rare decision for me and perhaps the only time I've scrapped an album entirely.'

Devendra Banhart presents a very unique & precious compilation featuring his best friends never heard before demos. Among them some of the yesterday and today's most talented musicians and singers of the folk-pop-experimental scene. This handprinted album comes randomly in six different colored cardboard featuring one of six Devendra's drawing. Check!

God Of Discogs EP

Corey Fuller Is One Half Of The Duo Illuha On 12k And Break Is His Frst Solo Recording For 12k. A Crashing Wave, The Breaking Dawn, An Impact, The Crushing Of Emotional Spirit... The Breaking Of A Storm. These Are All Relevant Ideas Behind His Choice Of A Title For This Highly Emotional Abum. Fuller Has Addressed The Universality Of Human Struggle Without Going Into Specifcs Of His Own Personal Waves. The Ideas That We As Humans All Share Many Of The Same Diffculties Is Both A Launching Point And A Message He Wishes To Share With Break — The Catharsis.
While Illuha's Music Is Known For Its Attention To Small Sounds And Light Textures, Break, While Equally As Fragile, Sees Fuller Working With Much Heavier Elements. Still Highly Melodic, The Work Pulls And Churns Between Harmony And Tension, Weight And Air, The Crash Of A Wave, The Pull Of The Undertoe. The Album Is Focused Intensely On Melody And Harmony, Progressions More Carefully Composed Than The Serendipitous Found Sound Of His Work With Illuha.
The Piano Is Often At The Center Of These Songs, An Instrument (his Own) That Has Become Much An Extension Of His Own Body. His Own Voice Plays An Important Role As Well, Sometimes Lyrically Ethereal And Sometimes Just A Breath Signifying The Ever-fragile Thread Of Life. Beautifully Recorded
In His Tokyo Studio, The Sounds Are Captured With All Of Their Inherent Physical Faws. As Fuller Himself States About The Piano Being recorded In A Way That You Can Hear The Bones, Like An Open Ribcage, Moving Contorting...' Everything On Break Is There For A Reason, Not Just The Sound And Soul Of The Piano But The Electronic Elements As Well, Rattling Bass Tones And Dramatic, Emotional Waves Of Synthesizer Rising And Dissolving.
If A Single Word Can Be Used To Describe Break It Is Physical. From The Instruments And Techniques Used To Produce The Album To The Concepts Of Vulnerability Of The Human Body. Break Is An Emotional Riptide Where Violence And Rest Struggle To Be The Last Voice.


i) Adrift
ii) Asunder
iii) Aground

Keepsakes, Charlton and Myler join 138 in 'CVLT' as the third installment to their TXTRL imprint. Aukland based producer Keepsakes opens up the record with 'Bricks of Joy' a soothing yet crunchy tune with an undisputed bounce while Dutch producer Charlton heads into quick hypnosis with 'Reggie Smoker' - On the B side Irish mad man Myler delivers a relentless jungle belter 'Opulence' 138 closes the record with 'I just called to c if u care'

Loure supplies a deep & classy EP full of jazz influenced instrumentation. With beats ranging from warm house through to smooth breakbeat.

For its fifth release Planet Euphorique puts forward Australian-born, London-based Nite Fleit's latest release, Overcast. Her second record, Overcast is a teeth-baring soundscape guided by commanding, rhythmic spells. The record's acidic slaps and punishing bass lines are uncompromising, recalling her darkly transcendental DJ sets. Overcast's masterful doom is punctuated with enigmatic sparks throughout-the light beckoning listeners into the darkness and onto the dance floor.

Both Stephen Vitiello and Taylor Deupree are seasoned collaborators. Each new collaboration is a new context, a new conversation and a unique opportunity to learn. Vitiello has worked with musicians such as Scanner, Steve Roden, Ryuichi Sakamoto and Machinefabriek. As an artist often
represented in galleries and large scale sound installations he has also had the frequent opportunity to work with visual artists from the likes of Tony Oursler to Julie Mehretu and Joan Jonas. Deupree has a long history of collaboration including early works with Christopher Willits and Richard Chartier as well as Marcus Fischer, Ryuichi Sakamoto, and Bon Iver's S. Carey. Fridman Variations is Vitiello and Deupree's third release
together and continues their tradition of exploring their unique form of experimental improvisation.
Stemming from a live performance at NYC's Fridman Gallery, Fridman Variations was co-produced by the gallery and will remain as part of the gallery's publications. Fridman Gallery is a visual exhibition space that also boasts a unique dedication to experimental music through their annual New Ear Festival, at which Vitiello and Deupree performed and recorded the main piece for this album.
Side A of Fridman Variations is the live recording, edited for vinyl while side B contains two pieces made with some of the same source material as the live performance and intended to be related, but entirely new, works. Guitar, modular synthesizer and a small tape synthesizer are at the heart of these songs. The improved layers draw on buried melodies and hint of feld recordings and found textures. Not overly melodic, not
overly noisy, Vitiello and Deupree like to fnd the edge between the pretty and the obscure, often suggesting more than laying their intentions bare. This type of sound is one that the duo often explores as an opportunity for Deupree to adventure beyond his melodic comfort zone and for Vitiello to work and experiment with new instruments and how they interact with his signature guitar.
One of the biggest inspirations to the artists for this work was the hushed and dreamy state of the audience during the performance. The late-night ambience added to the immersive quality of the surround speakers and helped to channel creativity and a sense of sharing
Both artists feel that recording live performances is an opportunity to capture a unique moment that simply won't happen again. Despite a performance's faws or imperfections the energy and interaction is a special moment in time for the performers and audience. The opportunity to not only document it for the listeners who were present but also to be able to share the moment with those who weren't there is a positive one.
To further be able to expand on the ideas in the controlled studio environment serves to enrich the experience and further the communication.

A haunting collection of experimental music by the celebrated electronic artist and sound designer, 'Refraction' continues Caminiti's exploratory path of deconstructed electronic sounds and structures as showcased on his last album (2017's 'Toxic City'), presenting four new pieces created on a Make Noise modular synthesizer with an emphasis on tranquil atmospheres and dub-influenced production.

This Make Noise Records release was Mastered by Rafael Anton Irisarri at Black Knoll Studios.

Pressed to 12" Clear (140gm) vinyl and inserted into a black inner dust sleeve
and Matte Jacket featuring artwork by Sean Curtis Patrick.

This release is pressed in an edition of 500.

'Best electronic live set i've seen in two years!' CHRIS CUSACK (BOOKER, BLOC GLASGOW)

Fresh and heady slice of cerebral techno and out-there electro flavours.

EXTERIOR is the artist moniker of Edinburgh producer Doug MacDonald. Exterior represents his transition to electronic music and an embrace of the dancefloor. Doug played hardcore and noise-rock for a long time before eventually abandoning collaboration, nostalgia and formulaic rebellion in favour of synthesis. What he gained on the way was an understanding of the power of live drumming and years of finely honed performance-skills, something of an aberration in dance music.

Exterior thus represents a convergence of disparate personal and musical pleasures. Accordingly Exterior draws on rhythmic mavericks as divergent as Fugazi//Battles//Swans as well as DJ Spoko//Clark//Hieroglyphic Being. In addition, there is a deep undercurrent of melody and texture, drawing on the likes of Burial//Miles Davis//Bjork. Eschewing the modern home computer in favour of an exclusively hardware based approach, Exterior espouses a physical relationship to what is at heart an abstract practice, composing electronic dance music.

Perhaps it's unsurprising, then, that one of the things which really sets Exterior apart is his intoxicating live show. He gets the crowd going every single time he performs, so infectious is his energy, as he throws shapes and struts his stuff behind the gear, clearly 100% in the moment and his element.

His debut EP 'Public Transport' was released on London/Barcelona-based Land Recordings earlier in 2018. Having made his international headlining debut in Berlin in September, more continental sorties are currently being arranged (see below).

This record represents a significant move forward in sophistication and club-readiness.

On remix duties, anonymous analogue techno lover DALI returns on the back of four slices of extended club gear released via two Hobbes Music 12"s (2017-18), boasting colour-themed, screen-printed sleeves and an uber-simple design for that evergreen minimal aesthetic with a hint of mystique. These gained excited support/plays from the likes of Ben UFO, Nina Kraviz, Daniel Avery, DJ Deep, Laurent Garnier, Avalon Emerson, Twitch, XDB, Bill Brewster, Bawrut, Tom Findlay (Groove Armada) and many more... Clocking in (again) at just over 9 minutes, her 'Collapsing Star' remix is another marathon-length effort and does exactly what it says on the tin. Setting the beats to classic electro, everything's pushed hard until it all seems ready to fall rapidly apart (and it very nearly does), before dissolving in a fiery sizzle: a more visceral, dance floor accompaniment to Exterior's heady affair.