Beats News

Let's go back to the beginning of 2018 when three dubstep enthusiasts from the States started their collective alias Ternion Sound. It was a no-brainer for record label DUPLOC to immediately sign the trio for their fist ever official EP, considering the label is always up for supporting and giving opportunities to new talent. Driven by their genuine passion for the genre, Ternion Sound quickly followed up DUPLOC021 with other iconic releases on a few of the leading dubstep imprints which are Chestplate and Artikal Music UK. Fast forward to January 2019, they return to DUPLOC to release four of their hottest dubstep cuts.

Salvation is a moving soundscape from 4 beautiful lads, it's like The Sound Of Music for badasses. The flip side is the result of Cookie Monster visiting your studio to un-square it, de-nerdify it and steer it away from the 'Amazing Snare Demon and his Mixdown Massive'

Shouts to all who've been affected and upset by the passing of our good friend, Duncan Busto aka Spirit. Lets keep his name alive by playing his outstanding catalogue forever.

Q Project, Spinback, Digital & Spirit.... Amassing nearly 100 years of combined experience in the DNB scene, the four of them have done almost everything there is to do. Between them you can tick off virtually every major label from past to present - Metalheadz, Shogun Audio, Hospital, Exit, Dispatch, V Recordings, Renegade Hardware, Timeless, Reinforced, as well as their own imprints CIA, Phantom Audio, Function and Inneractive with a huge catalogue that spans dance floor anthems and underground classics alike.

ELSEWHERE CDXLIV is the third in soFa's carefully compiled series and the second release on the promising Brussels based Crevette Records. An exciting double LP containing 8 tracks which take the listener to a versatile journey from digital reggae over tropical balearic vibes to boogie and wave. Music which moves between styles, cultures and timezones, this time with a warmer overall flavor. A mind bending trip where 80's drum patterns bring you to exotic tribal workouts and where silky smooth synth lines lead to funky bass grooves. A spaced out affair for lovers of slow grooving music from elsewhere.

Ace ambidextrous addendum to Brandon Knocke's latest limited vinyl offering, Midnight Companion crossfades a dreamer's delight pirate mix of unreleased originals, flowing through glow-fi house, balcony bump, decadent noir, and assorted velvet rope rhythms. Both sides slip and slide with signature Body San swing, out late with nothing to lose, skipping steps up to the roof, a 36-minute 360 skyline of magic hour motion and distant city lights. Bring yourself, bring a friend.

For over twenty years, Mkl Anderson has curated a vast archive of recorded material for his cinematic ritual ambient industrial project, Drekka. He works with memory not only as a subject but also as a healing process, continually delving into this personal world of sound; examining, revisiting, and repurposing recordings in an attempt to recall a past which sings from the darkness surrounding the tenuous provinces of memory and dreams - the real ghosts of time and sound.

"No Tracks in the Snow" is a collection of tracks from the early days of Drekka's history; the third offering for Dais Records and an appendix between the second and third parts of the 'Tarwestraat' trilogy of LPs for the label.

Recorded between 1996 and 2002, the album showcases Drekka's early exploratory development across a variety of styles. And yet it is also Drekka in the present moment; culled, curated, and assembled with care. Not unlike Borges' "A Personal Anthology" - or indeed any of Drekka's own recent work - this recording can be understood as a cohesive narrative more than as a simple compilation.

As Drekka moved from its Bristol UK influenced space folk beginnings, backwards towards Anderson's earlier UK industrial tape culture foundation, his predilection for reworking pieces over time was emerging; recontextualizing narratives to bring out new truths from one's own history. This process would become a cornerstone of Anderson's work for the decades to follow.

The album begins with 'Strika' (1998), originally recorded for the lovesliescrushing side project, Vir (a "secret audio army" in which individual performers were not even aware of who the other participants were). The track features one of Anderson's earliest collaborations with Mark Trecka (of Pillars And Tongues / Dark Dark Dark), who would go on to be one of his longest standing co-conspirators.

"Christmas 1973 or 1974" (1999) is a lament for a childhood which is almost entirely forgotten and a yearning for some tangible, physical proof that this childhood existed at all. The accompanying video for the track utilizes actual home movie footage of Anderson as a very young boy, fulfilling this longing and adding heart rending weight to the song and its lyrics.

"We Who Are Not Lonely" (2000) has become one of the most beloved works in Anderson's early canon. A gauzy musing on the catharsis of upheaval, the piece was written and recorded initially in the months leading up to Anderson's relocation from Chicago to Bloomington, Indiana. It is a brooding work which shows Anderson at his most self-possessed as a songwriter and is a confluence of the earliest playing-and-singing take on Drekka and the cinematic world building soundscapes to come.

The album closes with 'Tracking shot (wide)' (2000), a brief stream-of-consciousness sound piece dedicated to Andrei Tarkovsky. The track most certainly points in the direction that Drekka would explore extensively over the two decades; the direction which has led Anderson to where he is now firmly positioned.

"No Tracks in the Snow" is an exploration of the threads of continuity which bind the various modes of Anderson's oeuvre. As he nears completion of the third album in his trilogy of LPs for Dais Records, "No Tracks in the Snow" is an introspective pause and a celebration of a life spent listening to the world around us and its sleeping potential.

Seven Dials Records enlist the expertise of Hugo alongside Fiona McMartin on vocals for their fourth release - the heavyweight UKG tinged, 'Cold Fingertips'.

There's a dark UKG flavour to the 'Vocal' mix, reminiscent of the transition from UKG into early dubstep yet softened with those silky tones. Layers of sub bass and wonky synth lines intertwine, with the skippy, 2-step rhythm providing the perfect basis for Fiona's alluring voice. Label boss Seb Zito takes it more US in style, switching to a 4x4 swung beat, chopping the vocals into a mesmerising melodic element, and adding a host of spin back samples for full garage enlightenment.

Take to the flip for a dubbed-out version of the original, allowing those killer sub synths to come to the fore whilst echoing out the vocal refrains. Closing out the EP the 'Ethereal' mix ventures deep into the realms of dubstep with monstrous undertones, glitching stutters and celestial pulsations, ready-made to cause damage in the dance.

Emotional exploration through sound can become so indulgent that it overshadows the journey. JH1.FS3 eschews mining the human condition as mediation, opting for nuanced analysis rather than vanity. Using the seeds of improvisation as their root construct, the duo work without code, vocabulary or genre. Instead, they systematically work as individuals in tandem, using disparate and varied sounds and sources to create gauzy collages of ideas, sound and visceral sense reaction.

Comprised of Frederikke Hoffmeier (Puce Mary) and Jesse Sanes (Hoax, Liebestod), JH1.FS3 delineates a more subtle 'cinema of the ear', and acold approach to reflecting on experience without leveraging tropes or familiarity.

'We try to reconcile these emotionally massive things in a way that is sincere and measured, but without being sappily diaristic or confessional,' they explain. 'A cinematic quality develops really quickly and our attempts to traffic in generalizations, unbiased observers of 'relationships' gets turned on its head. We find these sets of unique errors that feel more like Super-8 (film) home footage.

'This transference allows cracks and fissured to be filled in new ways, where error is championed—highlighted as intention rather than happenstance. Throughout Trials and Tribulations, their debut LP for Dais records, the reconnection of idea and experience conducted with surgical diligence becomes a mode to deconstruct familiarity through shade and accident.

With each exposition on Trials and Tribulations, the duo ornately exploresthe relationship between space and time by reconfiguring the tendrils and fissures that bind them. Percussive oscillations, descant vocals, and deconstructed patterns create fields that vibrate, plunge, and drone. Sequentially, each track contributes a lucid vignette to the larger account, engaging the listener to query where, when, and how they're being driven. The contrast of the lead single 'Aleppo In Headlines,' with its thrusting syncopation to the cautious beauty of 'At the Bottom of the Night' compounds and depth and disquisition of the duo's process.

Emotional exploration through sound can become so indulgent that it overshadows the journey. JH1.FS3 eschews mining the human condition as mediation, opting for nuanced analysis rather than vanity. Using the seeds of improvisation as their root construct, the duo work without code, vocabulary or genre. Instead, they systematically work as individuals in tandem, using disparate and varied sounds and sources to create gauzy collages of ideas, sound and visceral sense reaction.

Comprised of Frederikke Hoffmeier (Puce Mary) and Jesse Sanes (Hoax, Liebestod), JH1.FS3 delineates a more subtle 'cinema of the ear', and acold approach to reflecting on experience without leveraging tropes or familiarity.

'We try to reconcile these emotionally massive things in a way that is sincere and measured, but without being sappily diaristic or confessional,' they explain. 'A cinematic quality develops really quickly and our attempts to traffic in generalizations, unbiased observers of 'relationships' gets turned on its head. We find these sets of unique errors that feel more like Super-8 (film) home footage.

'This transference allows cracks and fissured to be filled in new ways, where error is championed—highlighted as intention rather than happenstance. Throughout Trials and Tribulations, their debut LP for Dais records, the reconnection of idea and experience conducted with surgical diligence becomes a mode to deconstruct familiarity through shade and accident.

With each exposition on Trials and Tribulations, the duo ornately exploresthe relationship between space and time by reconfiguring the tendrils and fissures that bind them. Percussive oscillations, descant vocals, and deconstructed patterns create fields that vibrate, plunge, and drone. Sequentially, each track contributes a lucid vignette to the larger account, engaging the listener to query where, when, and how they're being driven. The contrast of the lead single 'Aleppo In Headlines,' with its thrusting syncopation to the cautious beauty of 'At the Bottom of the Night' compounds and depth and disquisition of the duo's process.

Second Editions presents "In The Forest" by Karl Fousek.

Serving as a score for David Hartt's film of the same name about the Habitat Puerto Rico project by Moshe Safdie, In The Forest finds Fousek at his most focussed and controlled. These five pieces/chapters move with precision and intent. With subtlety and curiosity. Shrouded in ambiguity. And while Fousek works much more restrained here than on previous releases, by paying attention to every detail, he creates an intruiging work of sonic storytelling.

With "Being Water" Lali Puna refine their distinctive take on pop and electronics, pushing the boundaries towards classical songwriting. The four songs - equally affecting and catchy as self-reflected and aloof - are complemented by the airy tripiness of a remix by Dave DK (Kompakt, Pampa Records).

Although singer Valerie Trebeljahr wrote "Being Water" mostly by herself, being backed by bandmates Christian Heiß and Christoph Brandner, she rejects the idea of authorship: "Nothing comes out of myself. I'm a sampler: I write music because I listen to music. And I write lyrics because I read". Accordingly, topics and references of "Being Water" vary quite widely: "Who's That Genius" pays tribute to Virginia Woolf and Madonna - and questions why the term 'genius' is still connoted primarily with maleness. The title track refers to the famous Bruce Lee quote "Be formless, shapeless, like water" - but here it is turned upside down: It was Hito Steyerl's video work "Liquidity Inc." that got Valerie's attention, re-reading the quote as a neoliberal paradigm. In contrast, a title like "For Only Love" might sound a little naive as Valerie claims - but: "It surely won't be hate that will save us all". The lyrics were written after watching Obaidah Zytoons and Andreas Dalsgaards documentary "The War Show".

"Diversity is queen" - this goes for the music as well. While the dreamy pop of "Who's That Genius" or the catchy guitar loops of "Being Water" are in the same vein of Lali Puna's earlier albums, the free-floating piano chords and tricky rhythm patterns of "Beatx" in some ways mark new territory as Valerie explains: "I am very proud of this song because it is so fiddly. I thought that was something reserved for men".

Album Of Otherworldly Global-dance Anthems (on Soul Clap's Self Titled Imprint) And Have Been Touring Their Live Show At Venues Around The Us. Matson's Roots, While Nestled In Worldly Live Sounds, Also Firmly Grip Deeper Dance Music Styles, Though They Manage To Still Pack A Refreshingly Eclectic Energy.

His Debut Ep 'short Trips' For Brooklyn's Bastard Jazz Connects The Dots Between His Time Moving Bodies In The Club As A Dj, As Well As In His Group As A Guitarist And Producer, Though This Record Is Better Suited For A Woozy Club Floor. "roma Norte" Kicks Off The Wax With Its Soulful Cocktail Of Latin-house Styles And Hypnotic Basslines That Would Elevate The Opening Hours Of Any Club Night. Deep House Legend And Freerange Records Boss Jimpster Provides An Ethereal, Creative Remix That Delves Into Afro-house Territory. "3am To Sete" Is A Warm And Bubbly Deep House Tune That Sounds Like Something You Might Hear Late-night In A South London Nightclub—it's All Warm Bass Vibrations And Subtle Synth Explorations. Matson's Seasoned Instrumental Skills Shine On "126," Another Breezy Synth Jam With Just Enough Punch To Make You Move, Eyes Closed, Of Course. 'short Trips' Sounds Like The Work Of Someone Not Interested In Where One Scene Ends And The Other Begins, But Instead, Where They Connect.

Soundings, his debut studio album for Touch (he previously released the live album 'Floodlines' in 2016 and re-issued 'Below Sea Level' in 2017), finds Simon Scott, the composer and sound ecologist, using field recordings from various cities around the globe; modular synthesizer treatments; live strings and laptop electronics to create an album of transition and shifting time zones. The recordings were edited and composed in hotels rooms across the world as Scott was constantly on tour as the drummer for Slowdive, who successfully reformed in 2014.

Hodos, the album opener, begins with 85 mph Storm Barney recordings, ending with the fading sounds of bellbirds and cicadas recorded in Brisbane 2018. 'I took a home recording I made of Storm Barney in Cambridge, listening to it on repeat when I was flying from continent to continent. I wanted this to be the starting point of the process of musically documenting how much travelling I was doing'. This album was created from the US to Asia, South America to Europe and the Arctic Circle back to the UK via California. 'Working in hotel rooms and on flights, listening to and editing the recordings I'd made from all of these distant cities formed the basis of the album. It's the soundtrack to four years of my life in flux with constant change, jet lag, excitement and the seeming perpetual motion of travelling'.

This album contains seven compositions, created by the Opening Performance Orchestra, Blixa Bargeld, Luciano Chessa and Fred Möpert. All the pieces relate to the theme of Futurism and employ intonarumori, instruments invented and used more than a century ago by the Italian Futurists in their noise compositions.

"In antiquity, life was nothing but silence." "Today noise reigns supreme over human sensibility."

The Art of Noises, pertained to the entire 20th century. Published in 1913, in response to Francesco Balilla Pratella's Manifesto of Futurist Musicians, Russolo's text encompassed the fundamental ideas for the new music of the modern age. Radical ideas required original compositional approaches, as well as new types of instruments - hence the Futurists opted for the intonarumori. The two quotations prompted us to give thought to creating compositions in which we would return to the early 20th century, when noises as means of musical expression emerged for the very first time. The typical instruments used by our ensemble, the Opening Performance Orchestra, are laptops, by means of which we conceive our fraction music, which can be briefly characterised by the slogan no melody no rhythm no harmony. Constructing three intonarumori, writing our own pieces for these instruments and performing works by other contemporary composers - Blixa Bargeld, Luciano Chessa and Fred Möpert, represented for us getting into close contact with the beginnings of the musical avant-garde, as well as returning to the historical roots of the music that had served as the basis of noise in art.

Obscure Kraut record inspired by the black forest, cold lakes and the south-west wind. Recorded in two days in the countryside of Valley by Daniel Meuzard aka Feater and Franco Spenzini.
Downsized production for maximum spiritual release.

* Shogun Audio are proud to present Volume 1 in our new 'Shuriken Series' . This new vinyl only range will pull together stand out tracks previously unavailable on wax onto highly collectable limited edition 4 track EP's each with it's own bespoke 'Shuriken' design and colour all on heavyweight 180g plates.

* Volume 1 features the 4 killer tunes below and will be pressed on rare 'Imperial Jade' coloured vinyl. Don't miss your chance to assemble a set of weapons any warrior would be proud of, this is the only place you will be able to get these on vinyl and the Shuriken series is strictly limited numbers, when they are gone they are gone......

Basic Rhythm arrives on Arcola following two killer albums for Type and one as East Man for Planet Mu. Up top, 'Dough Boy' rolls a tough LFO heavy dance floor number that is sure to mash heads up everywhere it is deployed, while the anthemic 'Can't You See' shifts between early AI synths and an ambient dancehall vibe that while it has its roots in early 90's jungle and hardcore, has its sight fixed firmly on the future."

Made in the Designers Republic. 12" EP house in full print outer sleeve with clear foil detailing and custom die-cut holes plus custom print inner sleeve.
Mastered and cut by Beau at Ten Eight Seven.
Limited to 500 units worldwide

BurningTapes brings forth from the lake an eerie score of heavy filtering analogue synths and guitar manipulations in the score to the haunting and demonic 2019 film Black Lake by K/XI. Dripping in glassy cold reverb and abrasive Moog. Prepare for an uneasy listen.

Born Marian Himburg, Causa has been on the rise for several years now, with a tight and impressive discography on labels including Crucial Recordings, Infernal Sounds, and J:Kenzo's Artikal Music UK. Known for carefully focused cuts that marry dub sensibilities with dubstep weight, his debut for ZamZam is exactly what you'd hope: heavy 140 wares for deep dances.

'Space Dub' is an orbiting station of decaying delays and insistent bleeps that resolve into an absolutely massive riddim that causes pure murderation on the floor. Machine sounds and lasers spar over dread, lurching bass, while thick snares cut through the reverb haze to reveal the cold, starry cosmos beyond.
'Concrete Dub' works with a similarly industrial sound palette in the service of a minimalist, skanking steppers that drives hard into the heart of sound system. Disembodied voices, growling-deep horn stabs, a single piercing flute note, and a myriad of other sonic signifiers emerge and retreat, as if being pulled under by the unrelenting force of the primordial sub & kick attack. You've been warned!

Dutch duo interbellum steps up with a remarkable improvised organic electro-acoustic ambient works. One of the best Vrystaete to date.

On the next record from Main Drain Studios, Chicago artist K-rAd brings two high-tempo cuts loaded with their distinct blend of bright, nimble production.

The A-side, "174_B7B5" is a total D&B tear-out. Thundering subs carry along waves of arpeggiated synths, while whimsical samples cut the tension of the winding breakbeat flurries.
On the flip side, horns fade in and out of "154_Materials Stardust Memories ", conjuring visions of a metropolis at dusk, with jazzy interludes telling tales while lean, skittering drums & warped bass lines pepper the road along the way.

3x12"

Very LIMITED album discs available now:

This is the first album Oscar Mulero has released under his own name, after two acclaimed LPs under the moniker Trolley Route. Well known for his skills as a hard-edged, raw and floor-orientated techno dj, his productions go far beyond, digging deep into the intricate landscape of intelligent techno, floating moods, reminiscent atmospheres, harmony and detail.

Grey Fades To Green is the affirmation of his maturity as a producer, using both hardware and software in the pursuit of a highly coherent and diverse album.

The concept is split into two parts: The Grey and The Green, each one with its own character. The first part is rougher and meant for the dance floor, although pays full attention to detail and complexity. The second part is quieter, has a slower pace and is best enjoyed at home.

In The Green Oscar goes deep into the intellectual side of techno music and is heavily influenced by the post rave sound emerging from the UK in the nineties: Aphex Twin, Gescom, B12, Plaid, Autechre.. but with a contemporary approach.

This part of the album brings you melodies, harmonies, endless atmospheres, and hours of studio work. Each sound has been carefully constructed, nothing is left to chance: Every stereo panning, every change to the synth's parameters has been meticulously designed for your listening pleasure; just what you want when you listen to techno on headphones. Futuristic music made with the utmost care.

'Last Regrets' shows how melancholic harmonies can be a perfect match for abstract beats and a dub-step reminiscence. A fine piece of sci-fi techno.

'Grey Fades To Green' makes a clean break by offering us an industrial drum'n' bass piece with a techno approach that mutates as the minutes tick by. A dub-step melodic track. Futuristic breakbeat for the decades to come.

The final track of The Green, 'Silent Air', picks up the homage to the intelligent techno sound of the beginning and returns to random grooves, crunchy samples, impossible hi-hats and massive synthesizer and step sequencer routines. A perfect ending to this sound journey from the heart of the dance floor to the core of your mind.

A mature work that confirms Oscar Mulero as one of the most qualified studio animals on the techno landscape.

Hollow Earth is the new album from Pye Corner Audio aka Martin Jenkins, his third for Ghost Box. It's conceived as a sequel to 2016's Stasis. Where Stasis played with notions of outward cosmic exploration and the idea of suspended animation and sleep, Hollow Earth takes subterranean exploration and submerged psychologies as its theme.

It draws on Berlin school synth improvisations, New Age reveries and the ghosts of 90s house euphoria to summon up images of vast, awe inspiring spaces and claustrophobic chambers. It sustains an atmosphere of wonder and adventure throughout, and like its companion piece, Stasis, it works equally as a soundtrack to physical as well as mental exploration.

Pye Corner Audio specialise in majestic, cinematic electronica that evokes sci-fi soundtracks, dystopian futures and the sound of haunted dance floors. The discography to date includes eight full length albums and many more singles and EPs across several labels. There are also remixes for John Foxx, Mogwai, Mark Lanegan, Stealing Sheep, Knightstown, Not Waving and most recently Dolphin Midwives.

Pye Corner's Martin Jenkins (aka The Head Technician) is a veteran live performer, and has played shows and festivals all over Europe, Canada and the USA. Most notably he has supported Mogwai on several tour dates, played the Mutek festival in Montreal, the Mugako Festival in Spain and Barcelona's Primavera Club.

Pye Corner Audio pieces appear in the soundtrack to Adam Curtis's 2016 film HyperNormalisation and the 2018 Shudder TV series, Deadwax. More TV soundtrack appearances are due to appear in 2019.

2018 Vinyl Remaster. Von Jan Jelinek kompilierte Werkschau der legendären musizierenden Pharmazeutin.
Die Geschichte der Entdeckung dieser Aufnahmen klingt abenteuerlich. Es soll Ursula Bogners Sohn
Sebastian gewesen sein, der auf einem Flug seinem Sitznachbarn, dem Elektronikmusiker Jan Jelinek, vom
ungewöhnlichen Hobby seiner Mutter berichtete. Ursula Bogner, 1946 in Dortmund geboren, dann in Berlin
als Pharmazeutin bei einem großen Pharmaunternehmen beschäftigt, hatte ein Faible für elektronische Musik
und die Musique concrète. Ab Ende der 60er-Jahre nahm sie eigene Stücke auf, die sie jedoch nie
veröffentlichte. Bogner war stark von den pseudowissenschaftlichen Energietheorien Wilhelm Reichs
("Orgon") beeinflusst und bastelte sich einen eigenen Orgon-Akkumulator. 1994 verstarb Ursula Bogner.
2008 veröffentlichte Jan Jelinek unter dem Titel "Recordings 1969-1988" eine erste Werkschau Bogners, die
jetzt als remasterte Vinyl Version wieder veröffentlicht wird.

Second release from Twin Womb after last year's incredible "Aeons Revolve" 12". 21 tracks, hand-numbered (very) limited edition cassette. Comes with sticker.

The third release for Planet Euphorique comes from none other than D. Tiffany herself, delivering four tracks of delicate yet driving, emotional anthems for prime-time dance floor bliss. 'Feel U' shows spacial finesse and rhythmic maturity, rumbling robotic basslines elevate the undeniable euphoria supplied by glowing pads and fleeting vocal earworms. Whilst the EP is diverse in mood and colour, that undeniable D. Tiff steeze is laced through from start to finish, resulting in a crucial record suitable for the club, after party or the next morning.

After a flury of Wilson Limited Releases, Wilson Records Honcho, Fabio Monesi storms back on his beloved project with 'Say Wot!' EP! While the latest releases have been inspired by the infectious ferocity of earlier Chicago house records, 'Say Wot!' splits off in another direction entirely. Working in elements of the classic sounds that msde the french-house anthems dominate the air waves for so long, its shaping up to be a real head-spinner in the club. 'Asap900', the B-side of the record, brings us back to the golden era of the wareshouse-raves. A straight up, no holds barred kick drum-driven rythm-machine.
Mastered at Reel Mastering, London

Another side of Pom Pom.

Teresa Winter's LP debut Untitled Death is a hallucinogenic wormhole of sensuously ambiguous pop and electronic experiments primed for the after-after party and altered states of reception.
Realised thru a mesh of strategies from live, lo-fi tape recordings of synths, samplers and vocals to nascent experiments with algorithmic software, Untitled Death is both a divine revelation of new aspects to Teresa's sound and an expansion of The Death of Rave's as-yet-unidentified aesthetic.
Teresa's zoomed photos of magic mushrooms spattered in popping fluorescent oils which adorn the cover of Untitled Death hint at a more personalised insight and psychoactivity, a proper, lush trippiness. Just like the putative psilocybic experience, Untitled Death naturally comes on in waves of synaesthically-heightened sensuality, from strangely libidinous stirrings to utter, eat-your-heart-out euphoria with a spectrum of hard-to-explain and unexpected sensations between.
We can hardly recall a more seductive album opener than Oh, which blossoms from plaintive drum machine and chiming pads to a half- or mis-heard beckon I really like it / when you let yourself go / I really want you inside me / I want to make you my own', before curdling into bittersweet partials and deliquescent hooks as earworming as anything from AFX's SAW 85-92 classic.
It's devastating in its simplicity and almost blush-worthy in effect, and is soon enough lopped curtly into the soundtrack-like enchantment of Untitled Death, which could almost be a cue from some '60 Polish or Czech art-house film, serving to neatly set up the prickling, windswept scene of romantic introspection and dereliction in Pain Of Outside - perhaps Teresa's most accomplished and affective pop turn to date, think Grouper awkwardly blissing out at 9am in the corner of a successful sesh/campsite/free party.
From that perfectly damaged side closer, the B-side opens to a different sort of spine-freezing beauty and sense of abandonment with plangent, dissonant harmonics describing rugged Yorkshire wolds and coast as much as a radiant lightshow on the back of flickering eyelids.

The latest episode on Piezo's no nonsense, hand stamped and heart warmed Ansia label has arrived! ANSIA003 is the follow up to his early 2018 'Parrots EP' and for this release the Milanese producer has enlisted 3 other disparate yet like minded artists to let loose on this monster 4 tracker. StabUdown Productions (James Donadio aka Prostitutes) kicks it off with the opener 'FyeRRR!' A deadly burst of blown out ragga replete with an arsenal of kicks and vocal cut up shrapnel. Next up label head Piezo drops 'OiOiOi', a masterwork of electro gated basslines, jungle breaks and absurd delay feedbacks. A perfect continuation of the surrealistic/abstract path started by tunes like 'All My Money' on 'Parrots EP'. Fresh off his Lobster Theremin's album, Kreggo/G-23 (Super Rhythm Trax, Secret Rave, Art-Aud) delivers 'Ligeti': a flat out mover with it's skittering percussion and deep haunted stabs hovering around the supernatural subs. It all finishes up with Bristol's Facta, whose releases on Idle Hands, Livity Sound and his own excellent Wisdom Teeth really needs little introduction. 'Not Now' is an elastic, low gravity heavy hitter that snakes through bass bins and before you know it, you're completely wrapped.

Born in 1974, Aymeric de Tapol is a composer living in Brussels. He writes scores for contemporary dance projects, cinema, radio, and aims to tell stories through his audio creations and recordings. His music has been played on The Word Radio, Radio Panik, and NTS in shows including The Hot Selection, featured first on 26 July 2015. Songs played include 'La ronde des beaux yeux', 'J'ai dansé avec elle' and 'Les attractions'. He is a prolific producer of audio across styles and mediums.

The double 7-inch, BOMBINA, is Aymeric de Tapol's third release for Ångstrom Records. Each track evokes a different compositional mood, although the entire release can nicely fit into the traditions of drone & continuous music.

BENJAMIN FINGER, JAMES PLOTKIN and MIA ZABELKA craft a mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory.

"Pleasure-Voltage" was born in the mind (and studio) of BENJAMIN FINGER - a composer, electronic music producer, DJ, photographer and film-maker based in Oslo / Norway who in recent years has become quite a prolific artist, expanding his stylistic palette from piano miniatures and off-kilter pop experiments to lysergic, dream-like sound collages spiced with gentle warmth and sublime melody. These ingredients are also characteristic on this latest work where FINGER set the musical frame before passing it on to his inspired collaborators: MIA ZABELKA who for decades now has been involved in countless projects, be it as musician (violin / electronics), curator or founder of the international sound art centre klang.haus and who has worked with a.o. JOHN ZORN, FRED FRITH, ELECTRIC INDIGO, ROBIN RIMBAUD (SCANNER), DÄLEK or PHIL MINTON. And last but not least there's JAMES PLOTKIN who entered the scene with his first band OLD LADY DRIVERS (or OLD) on EARACHE in 1987 and later was a member of KHANATE (with a.o. STEPHEN O'MALLEY) while also exploring the areas of dark ambient and electronics by working with or remixing SCORN / MICK HARRIS, K.K: NULL and many more.

On "Pleasure-Voltage" which had its live-premiere at the REWIRE festival 2018, the trio craftsa mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory somewhere between ambient / drone / psychedelia.

Duckett returns to Wisdom Teeth with another otherworldly four-tracker of melodic, trippin' house-n-techno. While recent outings on Berceuse Heroique and Solar Phenomena have showcased the more abstract edges of his sound, Corde Raide Vers Nulle Part comprises a collection of the Welsh producer's most melodious work to date. Throughout, the tracks are driven by snaking FM basslines, shimmering video game synths and tonal drums, creating a record that will appeal equally to fans of golden era Night Slugs, bleeping minimal techno, and the compositional electronica of labels like RVNG International and Latency.

Critical Music reaches its 100th release in its 15th year, celebrating with the landmark album Fifteen Years Of Underground Sonics. Spanning the broad spectrum of drum & bass that the Critical sound represents, the exceptional 15 album is as bold as it is beautiful and looks to serve the test of time in the D&B history books.

--
Over the past 15 years the label I started as a hobby, as a way to involve myself in drum and bass, has taken over my life. I m so lucky to have worked with such incredible artists, have them realise their creativity, and travelled all over the world spreading the sound I love.

I deliberated for a long time over what type of record we should put together to celebrate reaching both our 15th birthday and 100th release. I like to think of us as a label that looks forward, that focuses on what the future holds and on how to make statements without sacrificing our core ideals, to release exciting music centred around the 170bpm tempo. So with this in mind I wanted the LP to be about where the label is now and where it s going, a snapshot of the music that represents the Critical sound by core label acts and some choice friends.

This album is an insight into Critical Music in 2017 and a thank you to all who have been involved in any way over the past 15 years.

--
Kasra Critical

Critical Music reaches its 100th release in its 15th year, celebrating with the landmark album Fifteen Years Of Underground Sonics. Spanning the broad spectrum of drum & bass that the Critical sound represents, the exceptional 15 album is as bold as it is beautiful and looks to serve the test of time in the D&B history books.

--
Over the past 15 years the label I started as a hobby, as a way to involve myself in drum and bass, has taken over my life. I m so lucky to have worked with such incredible artists, have them realise their creativity, and travelled all over the world spreading the sound I love.

I deliberated for a long time over what type of record we should put together to celebrate reaching both our 15th birthday and 100th release. I like to think of us as a label that looks forward, that focuses on what the future holds and on how to make statements without sacrificing our core ideals, to release exciting music centred around the 170bpm tempo. So with this in mind I wanted the LP to be about where the label is now and where it s going, a snapshot of the music that represents the Critical sound by core label acts and some choice friends.

This album is an insight into Critical Music in 2017 and a thank you to all who have been involved in any way over the past 15 years.

--
Kasra Critical

Critical Music reaches its 100th release in its 15th year, celebrating with the landmark album Fifteen Years Of Underground Sonics. Spanning the broad spectrum of drum & bass that the Critical sound represents, the exceptional 15 album is as bold as it is beautiful and looks to serve the test of time in the D&B history books.

--
Over the past 15 years the label I started as a hobby, as a way to involve myself in drum and bass, has taken over my life. I m so lucky to have worked with such incredible artists, have them realise their creativity, and travelled all over the world spreading the sound I love.

I deliberated for a long time over what type of record we should put together to celebrate reaching both our 15th birthday and 100th release. I like to think of us as a label that looks forward, that focuses on what the future holds and on how to make statements without sacrificing our core ideals, to release exciting music centred around the 170bpm tempo. So with this in mind I wanted the LP to be about where the label is now and where it s going, a snapshot of the music that represents the Critical sound by core label acts and some choice friends.

This album is an insight into Critical Music in 2017 and a thank you to all who have been involved in any way over the past 15 years.

--
Kasra Critical

Kicking off 2019 for Idle Hands comes a release from K-LONE, boss of the Wisdom Teeth label alongside Facta.

Two tracks in a classic IH style. Dub and Garage influences to the fore, broken House vibes.

Khalab's 'Album of The Year' has been re-worked!

Ahead of a full remix LP (Summer 2019) On the Corner have opened the vault on 2019 hitters.
This 12' scorches the terrain built by 'Black Noise 2084'.
Hieroglyphic Being dominates the dancefloor with his 10 min sweater.
Afrikan Sciences launch off from Khalab's afrocentric soundscapes into a futuristic cosmos.
Blood, Wine or Honey strip it back, break it down and leave bassments trembling with the
weighty jungle blows.

After a stellar year for Khalab and On the Corner these three remixes bring knock-out blows
for 2019 dancefloors.

Hieroglyphic Being's 10 min sledgehammer shakes the floor as the mythical producer runs a
profound groove with three 808s pummelling the spine of Khalab's track.

On the B side, Afrikan Sciences uses the Afrocentric theme of the original to strip it back and
propel it into the cosmos.

Khalab's 'Black Noise 2084' has already racked up 'Album of the Year' status and we're giving
you a first glimpse of this earth scorching, dance destroyer that will prepare an onslaught for
2019.

'Although discrete, the career of saxophonist Philippe Maté includes nonetheless several indispensable albums: be it with the Acting Trio, Jean Guérin (Tacet) or Jef Gilson (Workshop), his collaborations in a big band or quartet with Lawrence "Butch" Morris, his presence in the Saxophone Quartetand also on the brilliant L'Enfant assassin des mouches by Jean-Claude Vannier.

As for the man in the background, Daniel Vallancien, a sound engineer rarely featuring on the sleeves, the collection Actuel on the BYG label owes much to him (he is at the controls behind Anthony Braxton, Don Cherry, Sonny Sharrock or Steve Lacy), the same goes for Saravah for who he notably recorded Areski,Brigitte Fontaine, Maurice Lemaître or the Cohelmec Ensemble: not bad for starters! What is more, Daniel Vallancien is one of a prestigious group of French recording engineers with open ears and often themselves musicians, even if only occasionally for some, including Bruno Menny, Daniel Deshays or Jean-Marc Foussat, who have all recorded remarkable albums as leaders. Behind this collaboration was the idea of creating music which was free, direct and spontaneous, while having also a minimum of advance planning. Music, according to the brief liner notes, desires to "remove itself from long and patient laboratory experiments ". So there can be found here none of the sophisticated tools associated with electroacoustic research, but mainly a recording mixer console, which, in the hands of Daniel Vallancien acts directly on the original instrumental sound in real time, modifying and multiplying it while respecting the natural flow.

Be it Paul Méfano, Betsy Jolas, Gérard Grisey or Jacques Lejeune, many contemporary composers working in France have, at one time or another, included the saxophone in their work. Michel Redolfi, for example, with the GRIM and then the CIRM , experimented with saxophonist André Jaume on a convincing recording (Hardscore). Nothing, however, can compare to the singularity of the dialogue between Philippe Maté and Daniel Vallancien, which they themselves describe as being "serious, sarcastic or humorous", with, here and there, "disturbing sounds". Words, however, even those used by the protagonists themselves, are insufficient to describe such a sonic object, difficult to identify and, it has to be said, extraordinary.'

3 Rough and ready discotheque weapons, thought to be long lost, but now back on the streets for your DJ bag. Super limited vinyl only pressing. Early support from: Ben UFO, Midland, Gilb'R, DJ Nature, The Maghreban, Joe, Erol Alkan & more.

From a discarded CDR, rediscovered in a dark corner in a sun kissed flea market in Versailles we bring you some rare and unheard personal edits from the archives of the city's Pierre Yves Marie. A name not familiar to many, Pierre was a locally known DJ and switched-on music lover whose interests in Disco, Italo, HI-NRG and early house sounds led him to visit the USA - particularly the midwest - numerous times throughout the late 80's and early 90's. It was here, inspired by the DJ's he heard firsthand in Chicago, Detroit and other places he visited that he became inspired to create his own versions and mixes of tracks to play at his small Disco parties at the city's "Les Caves Du Roi", an intimate club space that allowed Pierre to create his own atmosphere where he attracted a hedonistic, stylish and very mixed crowd to hear him play. These edits were rediscovered a few years back, languishing in a shoebox at said flea-market, dumped after Pierre's struggles with the 'party life' in the late 1990's and he was eventually tracked down via some solid detective work and local knowledge. He has, after much discussion, very kindly allowed a limited amount of these unique DJ tools to be pressed onto wax. Being a keen follower of technology, he had originally transferred his reels and tape edits onto CDR's in the early 1990's, which lends a lo-fi and raw vibe to these edits. We feel this surely adds charm and beauty to these roughly hewn personal mixes and we are lucky to be able to share in this small piece of history.

Introducing T-Flex London based artist and visual designer. Discovered when Datassette dropped one of his WIPs at the null+void Recordings launch party, there was an instant hook on his playful and intelligent sound. We're super honoured to be able to give his productions their first official home and cut to vinyl.

It's a bold and exciting debut - showing of a flair for pairing deep sub-bass with quirky off kilter rhythms and grooves. This from someone who's embedded himself in London's musical world - avidly following what's going on and interpreting it with a fresh new take.

Artwork by T-Flex. Mastered and cut by Keith Tenniswood at Curve Pusher.

'Transcendence' serves to illuminate a burning playing field of ideas. Converging acoustic and high register digital manipulation, poetry and transformative soundscapes to form a haunting veil over a dynamic sphere of sound and words. Opening track 'Petrol' an intense poem that lists twenty-seven violent attacks in and around London, "twenty-seven survives but now feels out of place with the seismic shift - originally featured on 'Euthanasia Party / Twenty Seven'.'Jhonn' a homage to the great Jhonn Balance from Coil slowly rises from feedback with weightless melodies. 'War Text' automatic percussion turns to delirium over organs & soft-spoken lyrics "Lots of things trembling, the vase on the counter, the fake flowers".'Deity' delicate hymns transform into mechanical turmoil. 'Durchreise' static showers veil techno intervals through a cold soundscape. 'New World' Ascending arps & guitar riffs meshed with delicate choirs. Closing the LP is 'Gar' a synthetic organism that blurs the lines of A.I.

Critical Music reaches its 100th release in its 15th year, celebrating with the landmark album Fifteen Years Of Underground Sonics. Spanning the broad spectrum of drum & bass that the Critical sound represents, the exceptional 15 album is as bold as it is beautiful and looks to serve the test of time in the D&B history books.

--
Over the past 15 years the label I started as a hobby, as a way to involve myself in drum and bass, has taken over my life. I m so lucky to have worked with such incredible artists, have them realise their creativity, and travelled all over the world spreading the sound I love.

I deliberated for a long time over what type of record we should put together to celebrate reaching both our 15th birthday and 100th release. I like to think of us as a label that looks forward, that focuses on what the future holds and on how to make statements without sacrificing our core ideals, to release exciting music centred around the 170bpm tempo. So with this in mind I wanted the LP to be about where the label is now and where it s going, a snapshot of the music that represents the Critical sound by core label acts and some choice friends.

This album is an insight into Critical Music in 2017 and a thank you to all who have been involved in any way over the past 15 years.

--
Kasra Critical

Pure Dub ´n Deepness!

Ay, caramba! Tropical dandy Rick Shiver's hot-yet-cool solo debut. The A-side has a sweet cha-cha de amor, take the chill of your chili and blush several shades of picante. The B-side adds some mariachi vibes for a 'stripped to the bone' dub. Blame it on the chili. Spicy!

Techno Thriller joins the Unknown Precept fam with a brand new mini-album. The first following the release of their eponymous full-length album a couple of months ago. Based in Brussels, although now relocating themselves in Marseille, France, the four-handed formation has steadily been crafting cybernated Gothic music over the past years. Recorded a few months back while drawing its inspiration from dark dungeons and occult folklore, not without evocative titles, Enfant de Sodome feels as muscular and thrilling as their live performances usually imply. Compelling murky synthpunk and industrial machinery colliding in fervor and howls. Free falling tumultuous bass lines lacerated by ominous muffled groans. Bone-bending primitive techno music catapulted over the walls in the most urgent fashion. At the end, it very much feels like trying to dance on some sort of cryptic electronic body music in a heavy chain-mail.

One of the first techno-pop songs made in USSR. Written and produced in his Kiev home studio in 1985 by Ukrainian composer Vadim Lashuk. Source audio from master tapes discovered in the attic were kindly provided for this release by the author's family. Limited to 300 copies vinyl edition.

Critical Music reaches its 100th release in its 15th year, celebrating with the landmark album Fifteen Years Of Underground Sonics. Spanning the broad spectrum of drum & bass that the Critical sound represents, the exceptional 15 album is as bold as it is beautiful and looks to serve the test of time in the D&B history books.

--
Over the past 15 years the label I started as a hobby, as a way to involve myself in drum and bass, has taken over my life. I m so lucky to have worked with such incredible artists, have them realise their creativity, and travelled all over the world spreading the sound I love.

I deliberated for a long time over what type of record we should put together to celebrate reaching both our 15th birthday and 100th release. I like to think of us as a label that looks forward, that focuses on what the future holds and on how to make statements without sacrificing our core ideals, to release exciting music centred around the 170bpm tempo. So with this in mind I wanted the LP to be about where the label is now and where it s going, a snapshot of the music that represents the Critical sound by core label acts and some choice friends.

This album is an insight into Critical Music in 2017 and a thank you to all who have been involved in any way over the past 15 years.

--
Kasra Critical

Mantra Music' is the sister label of 'Deeper Vibrations', a Youtube channel devoted to promoting the deeper sounds of dubstep. Following the success of this promotional platform, the decision was made to start a new label which focused on contemporary bass music with a classical twist. So far, their debut offering has been supported by Sub.fm DJ's BunZer0 and Syte, and Author's DJ Ruckspin, who are all well known for pushing forward thinking bass music within the underground scene.Guy Chambers, aka Quantum Soul, has caused quite a stir over the past few years with his unique take on the dubstep sound. His ability to combine emotive musicality with powerful sound system presence has seen him release on many highly regarded labels including Innamind Records, Tribe 12, Mindstep Music, Tuba NYC, NoMad and the inimitable Ranking Records - to name but a few. His signature deep, rolling percussive style and heavy sub bass have been quaking dance floors since 2007, but it's his huge reworking of 'Strong Root' by UK group Lamb in 2013, that earned him the admiration of both soulful bass music listeners, and dance floor skankers alike. Since then his music has received support from the Rinse dons DJ Youngsta, J:Kenzo and Vivek as well as international support from the likes of Joe Nice, True Nature and Shiba.Katya Gabeli is a classically trained violinist, singer, producer and DJ from the Netherlands, with a keen interest in combining her musical passions wherever possible. Performing both live violin performances during DJ sets and conducting studio work with artists such as BunZer0 and Congi, has seen her work released on dubstep labels Mindstep Music and Chord Marauders, as well as leaving her mark on the tech house scene with labels Acker Records, Doppelgaenger, Budenzauber and Tretmuehle.'Emergence' comes from both Quantum Soul & Katya Gabeli, with the idea of fusing classic western music with a contemporary approach. The track was created through a lengthy exchange of ideas and the finished article is spine-tinglingly sublime. Opening up with a sparse violin solo, the track builds tension from the outset towards a chorus of strings; time is marked by thunderous percussion hits offering a suggestion of what lies ahead. The serene strings and rolling bass are the main focal points, beautifully enveloping the complex percussion and complimented by soft vocal atmospherics, which hold the listener in suspense and anticipation throughout. The breakdown is expertly engineered so as to seemingly evaporate into nothing, allowing the next round of tension/release to begin again with further compositional details continuing until the end. 'Emergence' is a totally immersive experience on headphones and demands full attention through a sound system; it is unlike any strictly 'classical' or 'dubstep' music you have ever heard before, being a perfect synergy of both art forms.'Nemawashi' is a solo effort from Quantum Soul, with the intention of bringing the percussive drama from classical music to the sound system. Opening up with a rhythmic intro built around low-end percussion and a dubwise hi-hat, the pace quickens as a steady marching kick reinforces the serious intent of the groove. The sounds of traditional Japanese instruments hang around the booming percussion giving a subtle air of mystery before the track erupts into an onslaught of brutal rhythm and bass. The half-time rhythmic skank, skilful blending of booming percussion and sub bass, combined with recurring Japanese motifs draped in echo and reverb all coalesce to ensure the energy of this track marches on powerfully without getting repetitive. 'Nemawashi' is the heavy weight, powerful Yang to the beautifully delicate Yin of 'Emergence' making for a balanced EP, which is an absolute must for any dubstep or bass music 'head', whether the intention is to play it out, or listen on headphones.

Les Disques du Crepuscule presents Signals Into Space, a brand new studio album by acclaimed electronic duo Ultramarine. SIS is their seventh album, having debuted on Crepuscule back in 1990.
The new long player was conceived by Ian Cooper and Paul Hammond over a three year period and features four songs co-written with North American musician Anna Domino, a firm favourite of the group since her leftfield pop releases on Crepuscule and Factory in the 1980s. 'For this project we wanted to do something more ambitious and perhaps more accessible than our last album in 2013,' explains Paul. 'We were keen to start collaborating with other musicians again, as well as develop our method of performance-based writing and recording, which is partly improvised.'
 Signals Into Space also features contributions from saxophonist Iain Ballamy (ECM, Food, Loose Tubes) and percussionist & vibraphone player Ric Elsworth. It was recorded and mixed in London with Andy Ramsay (Stereolab) and mastered by Noel Summerville.
 'To some extent Signals Into Space is an escapist record,' reveals Ian. 'Our rehearsal space is a small windowless room on an industrial estate in Essex. Possibly as a result we ended up with a collection of visually suggestive tracks, conjuring mental images of cities, deserts and tropical islands, which gradually came into focus as Anna's lyrical ideas developed. So while the music might have been conceived in a closed space it's imbued with a positive spirit - looking outwards, seeking contact.'
 Cover art by Studio Heretic. Available on CD, digital and vinyl LP (vinyl format includes a free digital copy on MP3).

welcome to the sounds of 'day by day', a wex sub label. four tracks mixing electro, techno, trance, house and ambient. adam pits, lisene, anderson and nella are responsible for the sounds. this will be a limited pressing to celebrate the first release, so be sure to secure your copy!

LP 1 ist das Debütalbum von AIRCHINA, dem jüngstes Projekt von Nikolai Szymanski - Komponist, Sänger, Elektroniker und Umschlagkünstler von Stabil Elite aus Düsseldorf. Pluckernd analoge Rhythmik, subtraktive Synthese und Softwaresynths. Melodien schichten sich licht in asiatisch anmutendem Gewand. Aber nicht so einfach: ein fremder Blick. Eine Idee von Japan. 1983, 84, 85. Getrennt durch Raum und Zeit. Von hier aus gesehen, Düsseldorf. Signale, wie sie Pyrolator empfing, Tokyo, wie es Hosono Haruomi und Ryuichi Sakamoto beschrieben. Ambient-instrumentale Eleganz, Kammerstücke, Miniaturen, Popschönheit - wer Namen braucht: The Orb, Ultramarine oder auch Oneohtrix Point Never im Sinne.

LP 1 is the debut album of AIRCHINA, the latest project by Nikolai Szymanski - composer, singer, electronic musician and cover designer of german neo-kraut band Stabil Elite from Dusseldorf. Plucking analog rhythms, subtractive synthesis and software synths. Melodies layer light in asian-sounding scapes. But not so easy: A strange view. An idea of Japan. 1983, 84, 85. Separated by space and time. Seen from here, Dusseldorf. Signals as Pyrolator received them, Tokyo, as described by Hosono Haruomi and Ryuichi Sakamoto. Ambient-instrumental elegance, chamber pieces, miniatures, pop beauty - who needs names: The Orb, Ultramarine or Oneohtrix Point Never.

Following the 'Screaming Ghosts' collection highlighting the music of C Cat Trance, Emotional Rescue and Malka Tuti return with the first of two EPs where the band's music is given over to a selection of artists, friends and collaborators for reinterpretation, re-editing, replaying and remixing to provide a modern outlook on the bands mixture of East meets West musicology.
Very much the vision of Malka Tuti and close to their ground-breaking releases of the last two years, the genius is out of the bottle with a who's who representing both labels. First, Autarkic go supergroup in enlisting Tel Aviv's White Screen for a cover of Screaming (To Be With You). Totally replayed, this is the perfect opening, with wide-screen production, updated arrangement and decimal delivering vocals setting the standard.
Following comes an effusive, simple and on-point remix of Dalbouka by the inspiring ledge that is JD Twitch. Platitudes aside - enough has been said by others - but the fact Twitch is as enthusiastic and driven as ever is testament enough. The simplicity and genius of his rework, where 909 is added alongside fx to speaker shaking effect, shows that less can be much more.
In Sneaker (DJ) we have a name moving steadily from the (cult) periphery to become one to consistently check and respect. Following EPs for Rat Life and Bahnsteig 23, the singularity of his reversion is audacious and entrancing. Brevity, purity and ultimately intensity of percussion, horns, bell and guitar. Enter.
To end volume 1 comes Die Orangen. Kris Baha and Dreems' bromance of Aussie label (red) heads, united in post-industrial explorations. With a deep, expansive album incoming on Malka Tuti, their brooding, rattling, ghostly mix is one for late night thinkers, that steps up to encapsulate an EP that successfully marries old and new, bringing C Cat Trance's music present.

The soundtrack to Doki Doki Literature Club transforms and morphs as much as the game itself. The music is so directly evocative of an entire genre - the Japanese Dating Simulation - with its resoundingly quirky and upbeat tone, while also veering into territory that is almost impossible to encapsulate. In moments, those pastel notes of sunshine and cuteness turn into somber, emotional and deeply-wrought darkness/weirdness/something else. Therein lies the secret to this album's success - it is a brilliant exercise in the complete surrender of your soul. Very few soundtracks achieve such a feat, whereas Doki Doki does it with surprising and striking success.

Picking up exactly where Disaster left off, Evryman For Himself features a full band and larger arrangements. Includes contributions from David Coulter (Damon Albarn, The Pogues), Fred Lonberg-Holm, Jason Toth (The Handsome Family) and the horns of Ralph Carney (Tom Waits, B52s). Second entry in the "Disaster Trilogy".

His work has inspired a diverse cast of collaborators that lie inside and outside his realm of alternative Americana, such as Jarvis Cocker, Thor Harris (Swans, Freakwater), and The Handsome Family with recent performances that include the likes of Rufus Wainwright, Andrew Bird, and Swans.

Four fresh remixes of DJ Jedi tracks by artists from the Kniteforce Records roster. Pressed on clear/blue streaked vinyl.

Sample Delivery Comes Along With It's 6th Release For Dj Suzmo's First Press. Easy Placed Samples And Loops, Breaks And Synth Breaking Tunes Inside. Run That Shit In Clubs Worldwide... Peace

Experimental lute player Jozef Van Wissem and acclaimed film director and musician Jim Jarmusch have a working relationship that dates back to 2006, when they ran into each other on the street in New York City and quickly struck up a friendship. Van Wissem contributed to the soundtrack for Jarmusch's 2013 movie Only Lovers Left Alive, and the two have collaborated on three previous studio albums — Apokatastasis, Concerning the Entrance Into Eternity, and The Mystery of Heaven. An Attempt to Draw Aside the Veil is their second release as a duo for Sacred Bones Records, following The Mystery of Heaven, and its narrative picks up where that album left off.

Like The Mystery of Heaven, An Attempt to Draw Aside the Veil delves into the theology of William Blake and Emanuel Swedenborg, this time also exploring the work of Russian occultist and philosopher Helena Blavatsky. The album is mostly instrumental, so the dialogue between the esoteric thinkers who inspired it and Van Wissem and Jarmusch is expressed primarily in the song titles — fittingly arcane phrases like 'Concerning the White Horse,' 'The Two Paths,' 'When the Sun Rises Do You Not See A Round Disc of Fire.'

Experimental lute player Jozef Van Wissem and acclaimed film director and musician Jim Jarmusch have a working relationship that dates back to 2006, when they ran into each other on the street in New York City and quickly struck up a friendship. Van Wissem contributed to the soundtrack for Jarmusch's 2013 movie Only Lovers Left Alive, and the two have collaborated on three previous studio albums — Apokatastasis, Concerning the Entrance Into Eternity, and The Mystery of Heaven. An Attempt to Draw Aside the Veil is their second release as a duo for Sacred Bones Records, following The Mystery of Heaven, and its narrative picks up where that album left off.

Like The Mystery of Heaven, An Attempt to Draw Aside the Veil delves into the theology of William Blake and Emanuel Swedenborg, this time also exploring the work of Russian occultist and philosopher Helena Blavatsky. The album is mostly instrumental, so the dialogue between the esoteric thinkers who inspired it and Van Wissem and Jarmusch is expressed primarily in the song titles — fittingly arcane phrases like 'Concerning the White Horse,' 'The Two Paths,' 'When the Sun Rises Do You Not See A Round Disc of Fire.'

As Metronomy work on their forthcoming sixth album, they take a moment to reflect on the 10th anniversary of their breakthrough album 'Nights Out'. Metronomy's Joseph Mount has delved into the archives for 'Nights Out: 10th Anniversary Edition' which will be released on February 8th on Because Music.

It features the original critically acclaimed album alongside a second LP which expands upon Mount's vision with a set of unreleased demos, rarities and b-sides - many of which make their first appearance on vinyl. Two of the highlights come with alternative versions which have become staples of the Metronomy live set: a bedtime dub version of 'Holiday' which takes it into a darker, glitchier direction, and a French-language version of 'Heartbreaker'.

Mount's Francophile leanings are also explored in Breakbot's remix of 'A Thing For Me', which contrasts French touch vibes with Mount's distinctly English-accented vocals. Previously issued on an exclusive Rough Trade bonus disc, 'Over' is an instrumental of cinematic scale, while the disc closes with four previously unreleased demos including the leftfield minimalism of 'Das Booty'.

Although Metronomy's 2006's debut album 'Pip Paine (Pay The £5000 You Owe)' was discovered by those in the know, it was 'Nights Out' that captured the imagination of a much wider audience. Mount achieved the seemingly impossible: he highlighted both the joyous atmosphere of a big night out and a taste of the resultant comedown in a set that playfully veered towards being a concept album.

About Nights Out Joseph Mount says: 'Oscar reminded me the other day how I said to him on completing Radio Ladio 'I think I've just written my first number 1'. I hadn't. We also reminisced about the day we borrowed the Honda Insight for the album artwork: I found the owner on an enthusiast chat room, we gave his daughter two Kate Nash tickets and a meet and greet with Kate in exchange for a few shots with the vehicle... simpler times. Shout out to Myspace.'

Metronomy's most recent album 'Summer 08' was released in 2016 to widespread critical acclaim. DIY described it as a 'pure-pop odyssey' and NME concluded, 'Mount has done it again. He could write music about the impact of Brexit on the UK's trade with China and make it sound amazing. He's that good.'

Metronomy bring 2018 to a close when they play Edinburgh's Hogmanay Street Party on December 31st. The 65,000 capacity show is headlined by Franz Ferdinand and completed by Free Love.

Promising/Youngster is the moniker for the Spanish artist Diego Cadierno. This new project arises from the need of rolling out his creations away from (but not far of) the dancefloor. Crunchy bases, fat basses, dreamy pads and analog and digital instrumentation join to form a landscape that could be named as a cross among IDM, Downtempo, Ambient and Shoegaze. The sound of Begin Again surrounds you in a distant world, it moves you to a place outside our planet Earth and touches you so deeply that you can almost feel the sound as tangible moment. This album contains a getaway of emotions, leaving IDM, melodic breaks, ambient sounds and shoegazers guitars as remote inspirations, perhaps as possible starting points. Julien Mier continues with the game of connections between the albums of the label by adding his particular and delicate sound with his remix. For this fourth reference, we have the Reykjavik606 duo and the producer Ylia as guest artists who enrich the sound of the album with their contributions. — 'Sin Hilo' means No Thread. We define our music as electronic music of untouchable rhythm and touching filament. Sin Hilo Records is our way of claiming music without ties, based on vocation, affection and the need for returning to craft work. We care about artists and we work based on mutual trust and unconditional respect.

French label is back with some fresh house, breakbeat, italo, electro and acid stuff. As always, perfect for club use!

Dispondant's Acid Jazz EP is a near-future paranoia soundtrack that could as well be the ending credits of the next Black Mirror season. Each episode has its minimal and focussed intent from captivating synth pads and flashlight 160 bpm beats to signalling 303 lines and anodyne chords. Yet it is the sum of its parts that made the Londoner's debut release on Defrostatica Records not just a fit but a label blueprint of modern footwork inspired electronic music.

"Couple killers in here" - Om Unit
"Serious!!" - Rohan G, DJ Mag Spain
"Super interesting music - will play on my radio show" - Laurent Garnier
"Will support club and radio" - Ray Keith
"Death, Acid Jazz, Jazz Solo, Sanctum. What a tunes! Wow. Perfect." - Lixx, Signaii FM
"Feeling this EP... Dance floor,radio, head nodders and smokers. This is perfect for a session at Soundpieces :)" - Spikey Tee
"Great as usual!! Big up Defrostatica!!" - JCC, drum and bass promoter South China
"Wow - one of the strongest releases yet! Great mix of clubby and 'listen at home' type bits. Going straight into my radio show this Weds" - Gary Brown, Footwork Manchester
"Jazzy minimal footwork! I quite liked the Acid Jazz, Jazz Solo & Sanctum. Mellow sounds for the chillout lovers." - Aki Otto, Sciencehki
"Lovely ep - will definitely play ACID JAZZ and SANCTUM" - Soulsurfer, Bassdrive
"Nice one! Strong support to Sanctum, thanks for sharing" - Thomas, Pulse FM
"Pushes boundaries of bass and dnb. Nice one!" - Bill DeBlase, Fresh Baked Goods on DNBRadio
"Really good ep with plenty of variation" - New Forms
"Accciidddd great ep!" - Felix HP Ritch, Vandal Records
"So original" - DJ Effect, Tech Collective
"Excellent release completely different to anything out there at the minute" - Mark, RTE Spectrum

Pulsating Drum & Bass creations full of swirling atmospherics, paranoid sample mangling, and melancholy pads aptly describes the material showed in Driftsystem's debut EP.
Inspired by worldwide 170bpm experimentation, droning ambience, and techno hypnosis. Driftsystem is the distillation of nearly 20 years in the music matrix as a dj, promoter, and producer of underground sonics.

The second part of the 'In Another Land' trilogy can be considered as the indispensable conceptual antipode to Part I. It's everything that Part I is not and vice versa. It's sculptural and it's not pursuing the idea of development, but it's neither static nor repetitive: The mostly short pieces, consisting of heavily treated snippets of recorded (electro-) acoustic instruments are circling around themselves, always aiming to show their core idea to the listener. The thing is the thing is the thing is the thing... just the perspective is changing.

Zeitkratzer member Reinhold Friedl revisits the piano guts some years after his much album Inside Piano (2011). While Friedl's first solo album defined the practice of playing on the strings of a grand piano," Music For Piano, ... Spring/Flower/Cracker/Stream" mixes piano with concrete and quasi-electroacoustic, freely moving from moving from plain motifs to walls of noise. A truly beautiful and ear-pleasing record that unashamedly shows the composer's and performer's love for the piano.

Reinhold Friedl studied the piano with Renate Werner and Paul Schwarz in Stuttgart, Alexander von Schlippenbach and Alan Marks in Berlin, composition with Mario Bertoncini (nuova consonanza) and Witold Szalonek. He has collaborated with musicians like Phill Niblock, Elliott Sharp, Alvin Lucier, Keiji Haino, Lou Reed, Carsten Nicolai, Laurie Anderson and has released more than hundred CDs.

All tracks composed and performed by Reinhold Friedl Recorded at the School of Music of the Aristotle University of Thessaloniki on the 11 and 12 March 2017 by Yannis Paxevanis Mixed by Yiannis paxevanis and Reinhold Friedl at Subway Studio Mastered by Nikos Lavdas at Kiwi, Athens Cover photo by Reinhold Friedl

Masters for this Danny Styles Dark Jungle classic were long lost. This edition is carefully restored from Mint Vinyl, Professionally Remastered and Recut as a 4 track EP with the addition of a Nicky Allen Remix of Dark Secrets.

Roy Garrett Born Roy Sambar In Colonia, New Jersey Arrived In New York City Hungry To Explore The Sex And Porn Scenes He'd Seen Advertised In The Village Voice's Classified Section. He Danced In Times Square Theaters The Gaiety, Ramrod, And Big Top Before Moving Into Adult Film. From 1979 Through 1983 Garret Starred In Ten Films, Five Of Them For Joe Gage, Including His Lead Role In 'heatstroke'. Throughout This Period Of Self-discovery, He Wrote The Suite Of Poems That Became 'hot Rod To Hell'. In 1982 He Recorded 48 Of The Poems With Haunting, Atmospheric Score By Man Parrish, Who Also Did Several Soundtracks For Gage. The Project Was Produced For The Stage And For Cassette By Manhattan Illustrator Robert W. Richards. Richards Calls 'hot Rod', 'a Searing Voyage Through The Labyrinths Of Modern Male Sexuality; It's Geography Ranging From Porn Theaters To Back Room Bars To The Intimacy Of Shared Beds. Only A Man Born At Exactly The Moment In Gay History That Garrett Was Could Have Lived Through And Conceived This Work.' Roy Garrett Tells His Stories Of Sex, Violence, Truth, And Illusion, A Visceral And Personal A Record As Any Of That Moment In Gay History Pre-aids. Joe Gage, Describes 'hot Rod' As, '...sweet Danger. This Is A Perceptive Look At The Underside Of Love. It Is Funny, Scary, Surprisingly Moving And Best Of All, Extremely Acute In Observing The Specifics Of The Human Condition.' All Poems Have Been Carefully Remastered For Vinyl By George Horn At Fantasy Studios In Berkeley. The Records Come Housed In A Jacket Designed By Gwenael Rattke And Includes An 44-page Full Color Magazine With All 48 'hot Rod' Poems Plus 44 Previously Unpublished Poems From Garrett's Archive. All Proceeds From 'hot Rod' Will Be Donated To Housing Works, A New York City Based Non-profit Fighting The Twin Crises Of Aids And Homelessness.

In 2007 Smith & Mudd's first album - Blue River - came out as a CD release. It's now been fully remastered by Simon Francis and will be released on a hand numbered limited edition gatefold LP.

"Blue River is a spine-tingling and evocative mixture of the organic and the electronic, the past and the future. It's an album you will want to hear again and again and as you listen more you will begin to notice the subtlety of the production, the clarity of the guitars, the warmth of the bass guitars, even the vivid colours the music paints in your mind while you listen. Blue River is a beautiful collaboration between Paul 'Mudd' Murphy and Ben Smith and features some incredible guitar work from Bob Klose, a founding member of Pink Floyd"

DIGGING IN THE BOXES IN DJ SPATTS LOFT WE FOUND NUMEROUS DAT TAPES IN GOOD CONDITION, SOME CONTAINED TRACKS FROM THE MIND BOMBING ALBUM. WE THOUGHT THEY WERE LOST SO IT WAS A NO BRAINER TO REMASTER THEM AND MAKE SOME OF THEM AVAILABLE ON VINYL.

Remastered and recut by MUSIC PRESERVATION SOCIETY

After a chance find of a DAT tape containing the vocal session for the classic 'Hardcore You Know The Score' by The Hypnotist, this EP was specially commissioned.
Remixes are provided by DISINTEGRATOR, New York City based DJ/Producers Oliver Chesler and John Selway) and INNERCORE (Matt Teksteppa Wilkins).
The Digital release in 2019 will have more mixes but we decided to keep this EP as Hardcore and true to the spirit of Rising High Records back catalogue of the early 90's as possible
Also included is the classic Original Mix.
QUOTE: Caspar Pound 'The More Nose Bleed The Better'

Remastered and recut by MUSIC PRESERVATION SOCIETY

First time LP reissue on 180gr vinyl from this amazing Belgian compilation still oscillating 40 years later into the pop waves. This edition contains two new postcards as an insert, including liner notes by Michel Moers and the original lyrics of 'Aman' and drawing by Ariel Kalma.

Strut Present An Exclusive New Compilation Curated By Optimo's Jd Twitch, 'kreaturen Der Nacht', Bringing Together Classics, Rarities And Oddities From Germany's Original Post-punk And Diy Scene. 1979 To 1984 Was An Era Of Particular Artistic Upheaval In Germany As Strong Subculture Scenes Formed In Many German Cities. Emphasis Was Placed On Expression Rather Than Technical Perfection, Artistic Impact Rather Than Skill. Diy Self-organisation Prevailed With The Establishment Of Small Record Labels And Independently Produced Records And Cassettes. Bands Experimented Across Genres And Consciously Abandoned The English-speaking Mainstream With German Band Names And Lyrics. 'although We Had A Small Underground
Scene, It Was Very Vibrant,' Explains Gudrun Gut Of Malaria! 'bands Like Die Haut, My Frst Band Mania D., Malaria!... We Organised Gigs Ourselves Or Friends Would Open A Gallery And
Have Bands Playing. We Hung Around Together In A Handful Of Clubs Like Risiko Or Dschungel And Went To Gigs At So36. West Germany Had Other Regional Scenes Too: Düsseldorf And
Köln Around Der Plan And The Ata Tak Label And There Was The Hamburg Side With Abwärts. Germany Didn't Have A Real Music Industry Like The Us Or England Back Then.'
This New Collection Is A Personal Selection From Jd Twitch, Built Over Years Of Playing The Tracks In Club Sets. 'it Is Not Designed To Tell A Defnitive Story Of What Was Going On In
Germany In This Era,' He Explains. 'rather, It Is Simply An Arbitrary Collection Of Records I Adore From A Specifc Era With A Specifc Attitude That Hopefully Together Sum Up Some
Of The Musical Undercurrents In Germany At That Time.'
The Package Features A Host Of Rare And Unseen Photos From The Period Along With Extensive Interviews With Artists Including Beate Bartel (mania D.), Christoph Dreher (die Haut),
Michael Hirsch (p1/e) And Thomas Voburka (weltklang). All Tracks Are Remastered By The Carvery With Artwork By Optimo's In-house Design Man Andrew Beltran.

Rekordfahrt Negativ - Folge 2 is a compilation of minimal wave and 80ies synth tracks compiled by FKK Schallplatten Förderung Kosmischer Kunst

RAMP is proud to welcome Visionist through it's esteemed halls.
*Appearing on the scene in 2011, new school Grime producer Visionist's dark, stripped down, emotive sound has won fans from Oneman, Benji B, Kode 9 and Pearson Sound to fellow RAMP artist Zomby. Visionist arrives on RAMP with "M" & " Secrets".

Little Beat Different deliver another album-length release, this time, it's a young hardworking Italian Davide, found in the deepest abysses of Soundcloud, providing tracks that are beyond conventional forms of house music and techno, ranging somewhere between ancient ritual rhythms and early morning afterparty club beats. As a bonus, Aussie newcomer (or is he) Hence Therefore, who with every single one of his releases shapes up his unique sound, comes up with his trippy take on UK bass with his remix of Waiting Grounds.

On Epitaph things are different - Jay's voice croons crystalline over goth futurism for the first time on record (if you haven't heard of Ku....) - he sings one of the oldest Greek songs ever written and has spent the last year doing impromptu vocal covers of Tricky tracks in Cambridge pubs. And did you notice the tracks don't have dub in the title any more

This the first proper propersolo LP from Jay Glass Dubs - a widescreen vision of 4AD nightmares, ballads for River Styx crossings and echoes that never end. It's This Mortal Coil if they knew about dungeon synth and Metalheadz and still thought dub techno was boring as fuck.

Epitaph follows his 2LP retrospective of 'the tape years' 'Dubs', on Not Waving's Ecstatic Recordings; and his 12" mini-LP with Leslie Winer on Bokeh early in 2018. It's his 5th and no way final release for Bokeh (do you remember BKV 002 the slowest dancehall mixtape ever made) Realised with help of Greek vocalist and performing artist Yorgia Karidi and a special saxophone guest spot from Ben Vince (Curl, Where To Now, Hessle Audio). Bokeh graphic visionary Patrick Savile's sensually airbrushed and peeled lemon closes this funeral casket of all the things you thought you knew about Jay Glass Dubs.

Myriam Bleau is a composer, digital artist and performer based in Montreal. She creates audiovisual systems that go beyond the screen, such as sound installations and performance-specific musical interfaces. Her hybrid electronic practice explores music performance as a codified cultural manifestation and recontextualizes pop culture elements and music history tropes. For 'Lumens & Profits' Myriam has exported this ethos towards pure sound design, deconstructing a palette of familiar musical forms into 8 pieces of wandering, weightless movements; where Vocal samples and percussive rushes launch themselves from empty space, repeatedly shattering any vibe you were about to ease yourself into. Rhythms scatter, violently collapse, and pick themselves up again grinning with hands aloft, sprinting towards the light.

This is the sound of an artist who clearly has a deep interest in modern tropes of UK bass music and contempory electronic composition, but due to Myriam's historical grounding as a tactile, experimental audio visual artist these genres become uniquely filtered through a performative, Musique Concrete focused lens. In this sense the pieces end up as somewhat hybrids, absorbing Myriam's rich performance based musical history and sweeping into the mix the outer corners of avant garde 80's sampler experiments, Hip-Hop Turntablism, and classical elements. With 'Lumens & Profits' Myriam has managed to create something which sounds distinctly fresh in approach, whilst managing to playfully & respectfully nod towards a tidal wave of cultural movements.

'Lumens & Profits' is heavily influenced by Myriam's own 'Musical Spinning Top' A/V performance 'Soft Revolvers' (viewing a section of the spellbinding performance does the piece far greater justice than I could ever try to clumsily put into words). Whilst inspiration was gleamed from the performance Myriam is keen to separate the two projects, explaining - 'While composing these pieces, I was very occupied by the idea of modulated speed or tempo that came from my spinning top performance. Seeing instruments on different tempos that fluctuate rather than run on different strict patterns. I tried to imagine freely moving instrumental lines that only momentarily align, rather than a grid or tempo that would control all the elements. A lot of the pieces rely on algorithmic arpeggiation (custom max patches), as a way to create processes that control the speed and timbral width of sounds dynamically.'

Fans of Lee Gamble, Tomoko Sauvage, Mark Fell, RKSS, Holly Herndon, Christian Marclay take note here, dive in and get lost.

Finally the vinly edition of this great album originally released in 2013. Limited Edition honey yellow clear vinyl.

For this long-player, Mac has harked back to the good ol' days of analog, employing numerous vintage instruments to create a wholly electronic yet warm, soulful sound.

Marc's Detroit techno influences are ever present on this release, with more than a hint of that unmistakable 4Hero vibe. That said, there is something that makes 'The Third Adam' undefinable - is it house, is it hip-hop, is it beats, funk or electro Who knows - but that's what makes it so remarkable - it's in a genre all its own. There are few artists out there that can draw heart-warming soul from cold, dusty electronics like Marc Mac can.

Stop Look Listen

Following his 2017 solo debut EP, "Resisting in the Darkness", Tyler Dancer takes a step toward the light in his second outing for DBA, "62 Miles High".

Written in Hasselt, Belgium, "62 Miles High" finds the Shake-collaborator drawing upon his Detroit and Midwest influences to reveal another page from his sonic journey.

The record you are holding in your hands is a previously unheard masterpiece of Israeli multimedia artist Ami Shavit. As a professor of both philosophy and art and established kinetic artist in the 1970s Shavit was fascinated with new and interactive technologies. While mostly focusing on visual art and mixed-media installations, a trip to New York in 1972 introduced him to synthesizers and triggered his curiosity to do some explorations into the world of music or "sound" as he preferred to call it.

Ami's research was focused on the concept of meditative music that would help people to relax and create a cosy mood associated to the alpha brain waves and biofeedback. Before starting his artistic career, like all Israeli citizens, he had to serve in the army to his personal regret. Shavit had an operational position, which meant a high probability to get involved in a so called 'hot situation'. When in 1973 the Yom Kippur war broke out, Ami was enlisted again and got the unfortunate opportunity to encounter, in Hanoch Levin's words 'the dead'. Being an operation officer he was in charge of evacuating Israeli wounded officers from battlefields to hospitals. Some 6000 injured men passed through us during that war, he recalled one year later in a newspaper interview.

'I witnessed some sights that I can hardly forget. On the one hand I felt that as an artist I had to express the war events, on the other hand I felt that this is an almost impossible mission. Only Goya and Picasso, in his Guernica, addressed this topic successfully.'

Yom Kippur is the final and seminal of Shavit's sound experiments ever recorded and now finally available to the world. We believe that this is an extraordinary strong piece in which the hectic moods and terrific experiences of war are deeply transmitted to the listener. May all soldiers, who are often forced to go through traumatic experiences beyond their own will, find ways to artistically digest and process the unwanted memories.

Ami Shavit was born in 1934 in Tel Aviv-Jaffa. Known as visual artist, his work involves in creating virtual environments with optic and kinetic art, including structures worked by electricity, moving tubular configurations illuminated by colored lights. He published In Alpha Mood in 1977 on Amis records, his own record company, at 500 copies, republished by Finders Keepers Records in 2015 and Neural Oscillations And Alpha Rhythms in 2018. Yom Kippur is his ultime recordings.

Supercharger head honcho Black Orchid goes in for some seriously deep and authentic sounding
breakbeat driven D&B under his Ark X moniker. X2LV is basically the perfect representation of the
vibe Diamond Life was set up for in the first place: lush pads, solid beats and a slightly euphoric yet
melancholic feel throughout.

On the flip Myor Massiv and Diamond Life stalwart FFF drops one of his prettiest cuts to date.
Know How showcases the breakcore legend's ability to keep things sparse and beautiful, a slow
burner of epic proportions.

Hailing from Suuns, Canadian Ben Shemie offers up his first solo work, A Skeleton. An experimental pop album of cold synthetic sounds with touches of psychedelia.

Based on his live, itinerant experiments, the whole album was recorded in a single take with no overdub. Shemie has left traces of the atmosphere of each recording space, adding an element of chaos and unpredictability alongside his masterful/dexterous manipulation of the equipment.

The voices and instruments sound as if they were drawn from a not-too-distant future in which artificial intelligence has taken over human life and mutated into an artist. The album recounts the random wanderings and metaphysical rêveries of a skeleton - the fantasy muse of the machine, devoid of sex or race, a neutral entity.

The refined, minimal sonic narration is executed with astonishing precision and sensitivity. With A Skeleton, Shemie has definitely painted us a refreshing avant-garde picture.

Lisbon-based DJ and producer, Enchufada label head, Red Bull Music Academy alumnus and Buraka Som Sistema co-founder Branko is ready to embark on a whole new adventure. The renowned multifaceted artist went on a sonic journey around the world to connect with some of the most exciting music scenes out there, meeting and collaborating with a new generation of artists to create his debut solo album 'Atlas'. After giving listeners a first taste of his exciting new work with singles Eventually (feat. Alex Rita & Bison) and Let Me Go (feat. Nonku Phiri & Mr. Carmack), the globetrotting producer now invites you to listen to solo debut album 'Atlas' in full. 'Atlas' sees Branko becoming part of an international network of artists and shaping a solid body of work that feels his own, while at the same time being truly communal and global. This can be clearly felt both in the impressive number of artists who lined up to participate - over 20 collaborators across 5 different cities - and the hybrid nature of the music, which in true Global Club Music style connects distinct geographies and musical genres to create something new for the world's dancefloors. Afro-house, zouk bass, gqom or baile funk are treated as pieces of a larger puzzle, put together to create a new tropical-flavored musical picture for the digital age. After hours of work in Red Bull Studios in Amsterdam, Cape Town, New York, São Paulo and Lisbon - documented in the 'Atlas Unfolded' webisode series - recording vocals, laying down beats and tweaking samples, 'Atlas' comes to life and the final list of collaborators is as long as it is culturally rich. From Mr. Carmack to Okmalumkoolkat, Mr. MFN eXquire, DJ Sliink, The Ruffest, Princess Nokia and Lewis CanCut - to name only a few - 'Atlas' is a veritable 'who's who' of the Global Club Music scene, all handpicked by Branko to help him bring his colorful artistic vision to life.

The Sickness continues

Introducing the 3rd Myor sublabel, Faces Of Bass is all about the 4x4 hardcore styles. Knock Out has a rather rushy feel to it: the combination of high pitched, repetitive key riffs, acid bleeps and layered breakbeats, supported by 4x4 kickdrums and enough low end to rattle your trunk carries the tune deep into heyday UK Rave territory. The Dutchman's gabber roots are slightly more evident on My Bizz, which features a harder, more distorted bassdrum, relentless Juno synth retriggering, rap slapper vocals and ruffneck Amen patterns, making for a hardcore jam that wouldn't have sounded out of place at a 1995 edition of Thunderdome.

S/Sided 10"

Originally released on cassette in the summer of 2016 on the Geographic North label, In Summer marks a turn for Jefre Cantu-Ledesma. Here we see him fully embrace the past, equipped with LinnDrum, chorus drenched guitar and rhythmic bass lines. At moments, In Summer feels like lost demos of Durutti Column jamming with The Cocteau Twins. But not to worry, Jefre still delivers doses of what we know him for - interspersed field recordings, tape manipulations, and free modular experiments to keep us on our toes.

Kevin Lozano from Pitchfork described In Summer as 'some of the most emotionally evocative noise music of the year" and we couldn't agree more. This marks the first LP release for In Summer, as well as the first LP for Psychic Troubles Tapes with a limited run of 500 and full color sleeves donning the photography of Jonathan Sielaff

Michigan artist John Beltran's 13th studio album and 3rd on Delsin is his most complete and personal work yet. Written largely on modular synthesizers for the first time, it melts 90s intelligent techno with post rock and ambient with leftfield downtempo. The seventeen tracks draw on his expert knack for sound design; for melody and atmosphere and make for yet another hugely absorbing affair.

Icons Karen O and Danger Mouse unveil their debut recording as a duo, 'Lux Prima,' today—listen here. The song, out today on BMG, is the first to be released from a forthcoming joint album.

'Lux Prima is the first song we wrote for the record,' says O. 'After making music for the past twenty years and embarking on making this record with Danger Mouse I knew a couple things: one was that the spirit of collaboration between us was going to be a pure one, and two was that the more I live the less is clear to me. When you create from a blurry place you can go places further than you've ever been. I think we both were excited to go far out.'

Limited edition 12" featuring 2 extended Harlem River Dub remixes by Aaron Coyes / Peaking Lights with art by Robbie Simon. Digital includes an extended version of the original track. Edition of 1,000 on black vinyl.

'I wanted to do something to honor the title track off of my debut album, Harlem River, turning five years old this year. Its been very good to me over the past half decade as well as a staple in my live show. I've asked Aaron Coyes from Peaking Lights to breath some new life into it and give it a remix and I'm very happy with the results. This December I will be performing an hour long version of the song featuring many special guests. I wrote the song to be about new explorations, and it continues to give me—year after year—just that.' - Kevin Morby