Beats News

New VA EP on our Invisible imprint. Early support from the likes of Alix Perez, Rockwell, Spor, Moody Good, Ed Rush, Phace and many others.

Gost Zvuk marks tenth release with a new full-length by Vtgnike, arguably the most influential producer on the Russian electronic scene who is also partly responsible for shaping the label's aesthetics and sonic identity.

During the years of his practice Vtgnike meticulously sculpting a sound unique to himself finding a gap yet unexplored - somewhere between current hardcore continuum trends and the sounds of classic IDM era. But despite falling somewhere on the UK music territories, 'Collection' creates a space of its own - the one inspired by the al the splendors and miseries of Post-Sovietness one cannot get rid of.

Yoofee's versatile sound features razor sharp percussions, rumbling subbass and a ton of organic grooves. It's hard to narrow it down to one specific genre, which is one of the reasons i love his music so much. On top of the three original productions the 'Visualize EP' also features a remix by Itoa who went for a slow burning building repetitive approach which takes 'Clart' into a whole new direction.

Leifur James will release his debut album in October through Late Night Tales' artist label Night Time Stories.
A Louder Silence is the London-based producer and multi-instrumentalist's first proper release; his two earlier singles feature on the record, after gaining support from Gilles Peterson's Worldwide FM with a live airing and interview in 2017, plus continued backing from XLR8R, Stamp the Wax, and BBC Radio 6 Music DJ's.
The album is both spacious and thought-provoking, energetic yet restrained, brimming with nuanced electronic instrumentals, dubby synths, and jazz breaks — creating an array of rich textures, complemented occasionally by James' own soulful vocals.
While James' early unreleased work was singularly electronic, A Louder Silence focuses on analog synths and warm acoustic instruments, all played by his own hand. It's the product of a two-year spell in James' home studio, with additional live drums recorded with Jim Macrae at London's Old Paradise Audio.
James' rich musical influences are laced through the release. Encouraged by his mother, a classically trained pianist, he learned to play the cello and developed adeep understanding of rhythm and melody that informs his approach to writing electronic music. James playsthe piano he grew up listening to in 'Mumma Don't Tell' and samples an indefinable percussive element to drive forward 'Suns Of Gold.' 'Night and Day' sees cello plucks and long melodic strokes interlink with a grooving synth line. He also field records the atmospheric Moroccan sea in 'Red Sea.' Inspiration stems from the experimentation of modern day electronic producers, fused with the Jazz, Classical, Blues, and Soul music that soundtracked his youth.
Central to the album is the idea of space. James recalls the early advice of his uncle, a jazz guitarist, who features on 'Uncle Blue': 'I remember him saying to me: "What goes in comes out' James says. 'Every detail should be a worthy detail; sometimes nothing is better than something.' Moments of blissful, structured intensity are juxtaposed with stillness and near silence — dark and light; loud and quiet. This also forms the foundation for the album title: A Louder Silence reflects the dichotomy of finding pockets of stillness in a noisy world.
The result is 10 distinct tracks delivered as one coherent and well-structured long-player debut, set for release on LP, CD, and digital, on 5th October 2018.
Live dates follow a debut live show earlier this year at the Jazz Café with Yazz Ahmed, including an album launch at London's Ghost Notes in October.

Low Jack & Equiknoxx join Dominick Fernow's Rainforest Spiritual Enslavement on a new double vinyl expansion of 'Red Ants Genesis'.Recorded in winter 2017, 'Red Ants Genesis' finds the Hospital Productions boss discovering strength in collaboration following the triumph of his 'Ambient Black Magic' classic, which was conjured with the crucial assistance of Juan Mendez a.k.a. Silent Servant. Here, he works with Phillippe Hallais aka Low Jack and of Editions Gravats, who also tags in his pals Gavsborg and Time Cow from Jamaican digidub futurists Equiknoxx for a killer new version of the title track.
On the tape's original four tracks, Low Jack transmogrifies Fernow's high volume microphone recordings of synthetic field ecologies with masterful sleight of hand in-the-edit, resulting in a
hyperreal detachment and realignment of spatial proprioceptions executed with exquisite textural tactility. It's far more oblique and desiccated than the relatively lush 'Ambient Black Magic' outing,
rendering the stark durational immersion of their 30 minute 'Red Ants (Mics)' split over the first disc, while Low Jack's percussive edits really come into play on the utterly gutted 'Shields Ferns /
Brown Pine Magic' and the slow, febrile push of 'Papua Land (Live Edit).
No doubt one of the biggest attractions here is the curveball of an Equiknoxx remix of 'Red Ants Genesis'. Surely one of the first meetings of Jamaican dancehall and dark ambient in existence,
it's a spellbinding piece of dub physics that demonstrates the endless, mutable imagination of Gavsborg and Time Cow in haunting and deeply mystic effect.Unmissable.

After An Essential Hiatus, 12 Inches Deep Returns With A Brand New Project. Introducing Hot Dime Recordings, House And Garage Based On A Different Set Of Metrics, Uk Garage. The Brainchild Of 12id Label Founder, Urbanite, And None Other Than Uk Garage Legend, Karl "tuff Enuff" Brown, Of Tuff Jam Fame, Hot Dime Recordings Launches An All New, Us Based - Uk Garage Platform, With 2tuf4u Vol. 1, A Massive Compilation Hand Selected From Karl's Prolific Vault Of Works And Collaborations. Turn To The A Side For A Joint Effort Between Karl Brown, And Fellow Ledge, Jeremy Sylvester, As "tuff Asylum," With An Original, And Individual "hot" Mixes. Flip To The Opposite Side For Another Pair Of Special "hot" Mixes, This Time Of The Anthill Mob's "when I Think Of You," Followed By A Swinging "donk" Mix From The Unmistakable, Dem2, To Round Out The Volume. One Not To Be Missed.

It's done. The final, last and endmost volume of remixes for Tuff City Kids' (aka Philipp Lauer and Gerd Janson) unique debut album Adoldesscent are here. Featuring KiNK, Prins Thomas, Sascha Funke, Shan, Justin Strauss's Whatever/Whatever project and Brussels' bohemian Mugwump, TCK originals are treated with acid, balearic rhythms, lean Berlin grooves, New York City dubs, UK breaks and Belgian new beats. There is something for every taste and one for each situation. The vinyl edition carries KiNK, Prins Thomas, Sascha Funke and the previously unreleased proto-rave rocket Icebot. For the rest, hit the download button, please. That's all folks.

"Where Were We" is the fourth solo release by Anthone for The Weevil Neighbourhood featuring three excursions somewhere in between abstract breaks and wonky techno.

Black vinyl in brown discobag. Center label design by Anthone. Mastering and Cut by LXC.

Russian drum & bass producer Black Barrel is one of the most sought after producers to come through the ranks in recent months. After his discovery by Ant TC1, a tastemaker who's founded the careers of many similarly talented artists, he was brought into the fold of Dispatch Recordings and has since dropped a plethora of heavy-hitting releases which have solidified his place within the genre. With support from many of the underground scene's pivotal heads, including Break, Radio 1's Rene LaVice and DLR, his widening back catalogue is finding itself within major clubs globally.

Following on from his 'Ghostdive' and 'Labyrinth' EPs on Dispatch Recordings, he returns with his debut 'Last Frontier' LP. The versatility and featuring artists given a platform throughout show Black Barrel's progression; the atmospherics and rolling breaks of 'Blue Sky' are your first introduction and it's a weighty one. Amongst the colossal fourteen track package, the vocal intricacies of Steo on 'Coincidence', alongside the LP's title-track 'Last Frontier' continue the high-reaching standards. 'Fallen', 'Moving Shadows' and 'Chosen One' with Arkaik follow in quick succession, whilst the clinking percussion of 'Sonar' featuring HLZ and the old-school reminisces of 'We're Falling' remain just as heavy hitting. Then Thematic jumps onboard alongside Black Barrel for 'Submarine' and long-time collaborator Nami joins the list of guests on 'Hydrophiinae'. 'Inside You' and 'I See the Light' are the final standalone tracks from Black Barrel; but Rizzle and Dissident prolong the assault with Black Barrel on slick cuts 'Undercurrent' and 'Flat Ocean'. For an artist whose output is difficult to match, not just in quality but also through the sheer volume of what is released, it's easy to imagine just how adept Black Barrel is amongst his studio tech.

Now being signed exclusively to Dispatch Recordings, Black Barrel is looking to capitalise on his ongoing success. For such a new artist, 'Last Frontier' is an outstanding feat, proving just how competitive the world of contemporary drum & bass is proving to be in 2018.

We are proud to welcome yet another talented producer in the family. Blue Hill steps up for MS044 with a heavyweight, dread 4-track EP.

'GOTH-TRAD formed new unit 'EARTAKER' with Diesuck(vocal) and Masayuki Imanishi(noise) in 2017. Their doomful & dissonant sound with Diesuck's low scream feels like music that can be heard from the gap between end of the world and the new world. It is hard to categorise to any genre. This is the unit's first LP.'

Michele Mercure often dreams of music, and in her waking life, reclaims fragments of these fleeting, floating melodies in her compositions and sound art. Beside Herself, an anthology of Mercure's self-produced and distributed cassettes released between 1983 and 1990, collects these dreamlike passages and lo-fi nocturnes, preserving the qualities of discovery and intimacy surrounding their genesis.

Mercure's sound is a porous electronic art that overlaps ambient, abstract, and industrial sensibilities - its spaciousness reveals an artist attuned cinematically rather than for radio play or public performance. She approached the latter theatrically, and rarely, disdaining most live shows as too serious, and bringing her music to bare on her audiences in playful, immersive contexts. On recordings, Mercure's night lit synth music evokes non-confined environments, at once expressionistic and minimal and always aware of its surroundings.

Mercure was a busy collaborator during the years surveyed by Beside Herself, making music for theater, performance, film, and TV animation, yet it was through her self-released cassettes that she established her music among like-minded artists abroad. Circulated through tape-trading networks assisted by insightful reviews in Eurock, a seminal music magazine covering progressive rock and electronic music scenes, these album-length releases included Rogue and Mint (1983), A Cast of Shadows (1984), Dreams Without Dreamers (1985), and Dreamplay (1990). Though unvarnished in fidelity (and now scarcely seen), these tapes showcased Mercure's transportive aptitude within and beyond the limited sound recording medium.

Flagrantly disregarding tempo restrictions Overlook effortlessly traverses from beat free passage into cyberpunk tinged Techno fare. The 'Public Image EP' directs his already affirmed palette of sound in an archetypal dystopian framework. Just when you think there is little more that can be said in praise of Overlook's work, he reinvigorates perception with a fresh take on his own aesthetic. A modern master at work.

*Continuing to hone his unqiue production talents, our resident wonderkid SATL is back in full force. His latest EP, Integral 048 comprises five fresh cuts that showcase his evergrowing, vast and intricate production talents. Featuring two independent collaborations with New Zealand's finest vocal talents, Lips and Tali, this package of supermusic has all the vibes covered, from soulful anthems to futuristic flavours of breakbeat heaven with plenty of deep rumbling bass in between!

Make sure you reserve your limited vinyl copy now to avoid disappointment!

Sunun has a luring command of dials and limbs and drum skins that's as grounded as it's mystical - these machines have ghosts in them. BetweenOoid's modulated insect noises and crushed cymbals there are stories of when & why things were recorded that adds an aching humanity to the 5 machine dub pulses on her first official release. People who've seen her live have witnessed Sunun's forest of wires and microphones and harps all feeding her 20 channel desk. She dubs it old-world style, but the results are always forward - making a 22nd century chorus from thousands of years of human feedback. The Sunun ecosystem is perfectly synthesised in Max Kelan's unsettling VHS body-shot for 'Dark Just', filmed on location in Western Super Mare (mostly Pier 2).

Exhibiting an almost timeless quality, the latest EP from UVB-76 Music is a four track, various artists endeavour into the most solid of fundamentals. A four-man hit squad of label newcomers assembles in the form of Entire, Nekyia, Forest Drive West and DB1. Going against the grain of contemporary production fad, each track is a reduction to core sonic ideals. Unapologetically raw and refined in a directly contradictory manner.

Founded in 2014, Amnesia Scanner's approach is informed by a unique perspective on technology and the way it mediates contemporary experience. System vulnerabilities,
information overload and sensory excess inform their work, which has found a home in both clubs and galleries.
Building on their mixtape 'AS Live' Amnesia Scanner's critically acclaimed audio play 'Angels Rig Hook' (2015) laced a potpourri of dancefloor tactics with a machinic narrator.
Their dual EPs for Young Turks, 'AS' and 'AS Truth' (2016), distilled this immersive environment into an abrasive collection of cryptorave tools. The most striking detail of 'Another Life' is Amnesia Scanner's use of both human and inhuman voices.
The latter is provided by the latest addition to the production unit, a disembodied voice called Oracle, which represents the sentience that has emerged from Amnesia Scanner.
Oracle's vocal performance ranges from exuberant mania to anxious dread and beyond. Coupled with the pop song structures that Amnesia Scanner employs for the first time, the avant-EDM productions of 'Another Life' evocatively explore a schizophrenic present marked by narratives of a slow apocalypse or salvation via technology.
Indeed, the lullaby of 'AS Another Life' swings between trill hope and casual threat, lending a precarious gait to the song's staggering rhythm. The album's first single, 'AS Chaos', is its most powerfully direct track, with Pan Daijing's English and Mandarin vocals taking over for Oracle. At its peak intensity,

Japanese experimental duo group A formed in 2012, comprising Tommi Tokyo (synthesizers, drum machines and vocals) and Sayaka Botanic (violin, sampler and cassette tapes). Their early shows came as a shock to most spectators, non-stop waves of avant-garde noise, poetry, and performance art, such as semi-nude live painting. They have self-produced/released 3 albums and a remix single by Tom Furse from The Horrors - their third album was later released on Mecanica Records) - and an EP last year on Mannequin. They played their first full European tour including TodaysArt, Soy Festival and RIAM in the autumn of 2015. Since early 2016, the duo has been based in Berlin where they are further developing their musical and visual materials. They have performed at the CTM Festival, Krake Festival as well as many other European Festivals such as OFF Festival, Donaufestival, Roskilde and Le Guess Who
"Disobeyed Flute", a pipe tone from a twilight valley, a summon to an unknown fate. "Circulation" is a damaged dalek, to a hobbled Moondogian tempo. "Float", ghostly keys emanate from the bottom of a well, seeps into some plucked strings and asian drum. "The Devil to Pay" invokes some hellish tableau, an eery chant, to the sharpening of some instrument of gore, backed by an oscillating helicopter synth. Consumer rocks along with a consistent rhythm, like a slowed down YMO, with whimsical klaxons in tow.

Rabit resets his sound in kaleidoscopic, cinematic dimensions on 'Life After Death', an absorbingly psychedelic, pop-wise and fractally refined follow-up to his trio of boundary-pushing albums that bridged the gaps between DJ Screw and Coil, grime and the GRM Divined and constructed over the last two years between studios in Houston, TX and Paris, France, 'Life After Death' is Eric C. Burton a.k.a. Rabit's most concerted effort at working deeper into the cracks between genres, so deep in fact that stylistic taxonomy becomes obsolete and sonic alchemy is now firmly the aim of the game. Across its 12 tracks Rabit essentially offers himself as a conductive vessel between dreams and machines, a kind of dark interpreter and interlocutor between metaphysical spirits and the material world.'Life After Death' is still patently Rabit, but a tempered version of himself - one that's clearly coming, or has come to terms with himself and what he wants from his music, which now finds him moving away from relatively obvious pattern recognition to a finer graded consolidation of styles, meters, textures and feelings. In his words 'the probing and revisiting of genres in electronic music felt fetishistic and limiting and wasn't the best way for me to communicate', adding '...I think the occult term is interesting because I don't hear this explored in music in ways that I find relevant. I leave it to time and the intelligent listener to make up their own meaning.'
Within this wider yet finer semantic framework, Rabit elaborates an unfathomably mystic sound akin to a movie score without the visual aspect, conjuring a kind of modern sonic answer to the
percptions and notions expressed in Alejandro Jodorowsky or Stanley Kubrick movies. It's succinct parts each connote the feeling of distinct, interrelated scenes traversing from keening synthetic chorales to impendingly doomy orchestrations, knots of gnarled distortion and isolationist instrumental grime études, with each finding a Cerberus-like biting point between rawness and
deliberate, filigree detail, or the ultimate abstraction of death and the thizzing surreality of waking life.

Crotocosm is an occasional collaboration between Jordan GCZ (Lushlyfe, Off Minor) and Willie Burns (Black Deer, WT Records). Tracks were recorded together live in Amsterdam and Brooklyn between 1996 and 2017.. it's a TIP !

After some ground-breaking live shows and their 2016 debut release for ART - London Modular Alliance have gone from strength to strength to become one of the most in-demand and popular electronic acts. Their brash yet sophistictaed brain-melting tracks have been featured at clubs and festivals worldwide incl. London’s Planetarium, Reaktor - Amsterdam, Printworks - London, etc. LMA themselves have described ART20 as their favourite collection yet - and indeed the production skills on display are stunningly impressive. Space and dynamics are tough to master yet when it is handled correctly it leaves room for a heavyweight sonic assault as displayed here. From the creepy, sinister yet tongue-in-cheek vibes of Lavendah - to the lush Detroit/IDM style breakdowns of Peach Hat. Harnessed Black Holes is the perfect cruiser track - stately and majestic whilst the EP ends with the throbbing, strobe light-only style of title track Precious Materials. Another landmark release from these fine purveyors of Electronica. ART is proud to present ART20 early this summer 2019.

A superb oriental electro sound... The Ingaza first press on vinyl. Gatefold Sleeve.

The brand new EP 'Have You Been There, Have You Seen It' on Ninja Tune finds Helena in breath taking form, lining up four lithe, muscular and overtly shadowy analogue excursions improvised and recorded in her studio in Hamburg. For fans of Actress, Karen Gwyer, Hieroglyphic Being, Omar S. 12' black vinyl in a yellow speckled paper innersleeve housed in an artworked 3mm spined outer sleeve. Artwork by Carlo Miozzi.
Praise for Helena Hauff's 'Discreet Desires' (2015): Brooding, machine made menace... a soundtrack for an unseen dystopia' - The Wire (lead review) Dark, sharp-edged hardware jams... (sounds) that will set your synapses alight with delight.' - Mixmag (8/10 - Album Of The Month) Throbbing, three-dimensional electro that hums and buzzes with dark and decadent energy... an intense and impressive debut album' - Crack Magazine

Slathering at the heels of Low Jack's much sought-after Riddims du Lieu-dit and Clara!s reggaeton bomb Meneo, Antinote's Iueke moonlights with a body-gurning batch of mangled technoid bombs for Low Jack and co's killer Les disques de la Bretagne series.
The last we heard from the Antinote co-founder was on a series of archival 12's for his label issued between 2012 and 2015, as well as on a pair of completely unclassifiable mixtapes for Demdike
Stare's DDS label released over the last couple of years, but Champion features his first new recordings in perhaps over a decade and, true to form, they're not at all what we were expecting.Champion (Version) deploys a a super rugged swing and recursive digital noise coming off like T++ and Gescom programming daggering robots, while Zonck brilliantly recalls Autechre's remix of Lexis' Hypnotise - all achromatic, dense, percussive madness that again brings to mind T++, or
more specifically his Dynamo gear.Dem A Burning is more glacial and spacious, swilling the dance with caustic acid noise and
sloshing subbass in deadly, futurist style recalling Timeblind's much overlooked but completely ageless Rastabomba session, before Polxat expends his restless energy in a properly Autechrian
madness.
Pure fiyah.

Almost in time for the third anniversary of Japan Blues' show on NTS radio - a monthly Japanese musical nabemono, occasionally straying into other Asian territories.

The self-released album's six tracks form an atmospheric Nipponese travelogue, with some underbelly tourist spots taken in on the way. The track-listing is printed on a lovely hand-made paper insert, to confound the download card fetishists.

Orders may be rationed, as stocks are limited.

Second release by Japanese artist Kosei Fukuda from his own platform. Great atmospheric sound scape with Japanese precision. Minimalistic Experimental IDM Techno. Including one Digital Bonus.

Les Editions Japonais, is a new label to showcase Japanese artists new and old, the first release is by Tokyo based band Kufuki.

Kufuki, was formed in 2010 by Ryuichiro Konno (electronics), Motomasa Saito (electronics), Tosimasa Matsumoto (vocals), and Yudai Nobunaga Kogawa (vocals,VJ, electronics), hailing from various musical genres, ranging from techno, rock, blues and hip-hop. Tired of formulaic club music, they set out to create their own electronic ethnic music, firstly taking influences from places they had travelled, but more recently concentrating on electrifying minyo, or traditional Japanese folk music.

MInyo has an ageless tradition in Japanese culture, mainly work songs - for example, sung by field workers and fishermen - and regional tributes. Passed down over the centuries by performance at seasonal festivals, they are often accompanied by dance. These traditions prevail, and many songs are familiar to a large proportion of Japan's population, young and old.

Kufuki have already released two albums, the self-released "Fukamidori" (2010), and "Kufuki', on the Wonderyou label (2012). Favourable reviews appeared in Japanese, American and European web magazines: Bad Alchemy Magazin (Germany), Loop (Chile), Sound & Recording Magazine (Japan), Hemisferia (Colombia) and more. They toured South Korea in 2013 and Europe in 2014, taking in Germany, Portugal and the UK. This year they are planning another European tour.

The band's singular sound is a rollicking rendition of minyo, using the driving work-song rhythms as a background to their call and response vocals, and phalanx of decaying synthesizers, all in a pentatonic key.

Torobayashi is a 20th century folk song, originally released in the early 60s by Masao Suzuki, as part of the original wave of popularised minyo. Akusejima is much older, named after the tiny remote volcanic island in Kagoshima. And, tucked away on the B side is a cheeky dancehall-tinged re-work of Torobayashi by Japan Blues.

The 4 track 12' comes in black disco bag, with label artwork by Motomasa Saito, and with a washi (Japanese paper) New Minyo sticker.

Mind Records Are Extremely Proud To Announce Their Next Release: Onyx Complete Works.

Onyx Was An Early 1980's Boston Based New Wave / Avant-garde Band, An International Duo Of American Songwriter And Instrumentalist Judd Stone, And British Vocalist (and Then Boston Fashion Model) Beveur. They Released Two Singles And A Cassette.

All Of The Instruments Are Played, There Is No Syncing Or Sequencers Used On Any Of The Recordings.

A Dread Combination Of Primitive Sci-fi, Beatboxes, Live Drums, Organ And Synths, Interspersed With Beveur's Ice Cold Chat And Vocals.

Since So Many European Labels Have Been Reissuing Lost And Obscure 1980s Japanese Ambient Albums Of Late, It Was Probably Inevitable That At Least One Label Would Put Together A Compilation Paying Tribute To The Sound. It Turns Out That Jazzy Couscous Has Won The Race With Kumo No Moko, A Superb Double Album That Does A Terrific Job In Putting Japan's '80s Ambient Scene In Context. As You'd Expect, The Majority Of The Tracks Feature Either Dreamy Electronic Sounds Or A Mixture Of Acoustic And Electronic Instrumentation, With Nods To Jazz Coming Thick And Fast. There Are Naturally A Couple Of Fairly Well-known Names On Show, But For The Most Part The Compilers Have Done A Terrific Job In Highlight Lesser-known Tracks From Unsung Heroes.

Osaka based producer 7FO. Having previously released a cassette on RVNG International, and a 7'' single on Bokeh Versions in 2017, this is the Japanese producer's debut full length vinyl release. The tracks, recorded between 2012 and 2017, have been tweaked, remastered and recorded to vinyl for the first time.
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The mysterious figure recorded the tracks at home, processing guitar sounds, using a sampler, synthesizer and junk equipment. Following in the footsteps of the ambient giants of his native lands, 7FO's music continues this illustrious heritage whilst offering something fresh, modern and beautifully rendered. He describes his own sound as 'gorgeous sustained tones and dreamlike oscillations that drift through the inorganic/electronic world reverberating through our subconscious creating sonic fables in our minds'.

The 12'' comes with artwork designed by label head & visual artist Jack Hardwicke. To accompany the release Greek filmmaker George Kountouras, who also collaborated on the artwork, has directed a gorgeous video for the title track 'Moment'.

2018 repress!

Hosono's solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.
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The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer.

Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom.

Compilation of the works by MJ Lallo, weird harmonizing mantras layered with drummachine rhythms.. Very psychedelic compositions where she uses her voice to create all kinds of sound(scapes)
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Take Me With You is a revelatory voyage through the captivating universe of voice artist and poet MJ Lallo. The works on this 2LP compilation were all recorded in her home studio between 1982 and 1997, primarily using drum computer, synth and her own voice processed through a Yamaha SPX 90 digital effects unit. They range from wordless harmonizer mantras and primitive drum computer meditations, to psychedelic latin dance-floor anthems and synth-drenched end-of-the-nighters. Lallo has created her own inimitable galaxy of sound where the human voice, liberated from the constraints of language and abstracted using digital technology, is able to explore the outer realms of human expression, like Joan La Barbara with an Eventide and a new-age sensibility. Although Lallo's flight path is distinctly her own, her journey converges with other travellers as diverse as Jon Hassell, Laraaji, Stereolab, William Aura, Laurie Anderson, Meredith Monk, Gertrude Stein and even Terry Gilliam (whose film Brazil was a big influence on Lallo). Like something beamed in from another planet, Lallo's work is both fascinatingly strange and strangely familiar, and will leave a lasting impression for lightyears to come. Double gatefold LP, remastered DDM pressing.






[E B1 | Midnight in the Sky

Peter Fonda is a New York based producer, DJ and promoter most notably known for his Drum Machine Circle and Keep Away From Children parties on his home turf amongst a track on a Lives Through Magic double cassette compilation alongside Daphni, JD Twitch, Pantha Du Prince and Patricia. Here we see him make his debut on New York's Parka following on from the first two EP's courtesy of Abu Ashley and Milo McBride.

The Burrell Connection is somewhat a resident with Craigie Knowes; he lived in the same flat in Glasgow with label boss Max when he started the label in 2015, he featured on the first release, he contributed to second fundraiser album, he's also played half of the parties at their Glasgow home, La Cheetah Club, and travelled with the Craigie Knowes DJ team to wow crowds around Europe. But enough of the history, this is now - The Burrell Connection's debut EP with the imprint, Hyper/Orbit. Hyperactive techno and breaks blended together, emotive pads, 808 basslines and that ever-creative and homage-paying sampling ability that The Burrell Connection's noble followers have come to love. It's Scotland's poster-boy at his finest. Diversity is the key to longevity.

Minimal multi-instrumentalist weirdo zone brilliance on another obscure uncovering from the excellent Growing Bin...big tip!
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"If you've kept a keen ear to the underground, you may have noticed a trance revival creeping into the dance floors and darkrooms of late, a post ironic return to the 64 bar breakdowns and peak time key changes of your serotonin drenched youth.....

So what's this then Has Growing Bin gone from groundbreaker to copycat Dig a little deeper folks, for the Trance is question is Jürgen Petersen, a forgotten cosmic kingpin in tune with true electronic excellence. When Danielle Baldelli wanted to show off his eclectic tastes, which record did he reach for Petersen's 1980 LP, 'Here And Now' of course. And when John Schaefer put together his essential exploration of New Sounds, who did he describe as Germany's answer to Eno Trance, damn right! After blessing the world with a trio of essential electronic LPs between 1979 and 1983, Petersen moved out of the limelight and lived off the grid, collecting his mind expanding music on a series of self-recorded, self-released cassettes, known only to the inner circle of elite European diggers. The sounds found within were unusual, experimental and ecstatic.

Fusing the organic tones of piano, 12 string guitar and sitar with soothing sine waves and hypnotic synthesis, Petersen harnessed the healing frequencies out there in the cosmos and transfixed the
listener with pure otherworldly beauty - ambient music for a new age... Unravelling these rare cassettes for music lovers everywhere, Growing Bin treats us to 'Tapes', a five track vision quest for the
horizontal travellers and fourth world nomads. Sven can keep his cocoon, we're off in search of the butterflies..."

Universal Eyes Ist Eine Experimentelle Noise-supergroup Der Detroiter Formationen Wolf Eyes Und Universal Indians, Bestehend Aus Nate Young, John 'inzane' Olson, Aaron Dilloway (pan, The Trilogy Tapes, Dais) Und Gretchen Gonzales Davidson (ex-slumber Party-mitglied/kill Rock Stars). "four Variations On Artificial Society" Ist Das Ergebnis Ihrer Reunion, Aufgenommen Und Produziert An Einem Wochenende Mit Der Detroiter Underground-legende Warren Defever (his Name Is Alive/4ad) Und Gepresst In Superlimitierten Auflagen. Cd Im Jewelcase, Lp Auf Farbigem Doppelvinyl Mit Download-code & Poster. Die Lp-erstauflage Erscheint Auf Weißem & Colaflaschen-klarem Vinyl, Eine Spätere Auflage Mit Roten Und Violetten Farbspritzern.

Unperson Comes Along With This Fourtracker, full of Massive Soundscapes and Futuristic Rhythms!

Appointment008 is an extract of the seminal rehearsals of the Appointment Live Act recorded on ferromagnetic tape. Each side lasts a dozen of minutes and endorses the Appointment Live Act innovative potential.
The Appointment Live Act is not grounded on prearranged phrase or patterns: every performance is unique and unrepeatable. Marieu samples vinyls ad-lib and adds noises and blips with a little Korg monster, John Swing controls the delays and writes relentless drums on a tr-909, Lucretio arranges emergent structured on an analogue sequencer,EMG plays out this structures from an insurgent Vermona Perfourmer and explores the sonic spectrum with a German grainy filter. Distortion, saturation, improvisation, breaks, funk and techno: the Appointment Live Act goes beyond minimalism to reach out the inner functions of the waveforms transmission.

Brassfoot Makes His Dba Debut Following A Number Of Appearances At The Dba Presents Parties. Since Breaking Through With His Apron Ep On Funkineven's World-leading Label In 2015, Brassfoot Has Turned Heads With Releases On Uttu, Paul Du Lac's Bio Rhythm, And His Own Seminal Nca Recordings. On The Indentured Servitude Ep Brassfoot Showcases His Own Unique Stepping House And Techno Flavour Across Six Tracks, With Time To Meditate And Reflect Between The Party-starting Peak Timers Also Included.

"blinds Down, Crouched Over My Desk, I Switch On My Machines. Whatever The Final Result Is, I Wouldn't Even Bother Unless I Was Having Fun First. Sometimes There's Just One Tiny Portion Of Magic After A Long Recording Session, But It's Always About The Enjoyment First. It's Dark Inside And It Influences The Mood Of The Music. It's Also Dark Outside And It's Obvious Where That Leaves Its Mark." (brassfoot, 2018)

guerrer@ represents the revolution that must occur (and keep occurring) within oneself, so that it may also occur outside oneself. of looking backwards and forwards, simultaneously and always. of accounting for present and potential material makeup. of accounting for the contemporary abhorrent and luminous actions of the flesh. a pledge towards infinitely malleating--and, thus, the necessary deliberate reconfiguration of--identity. the necessary deliberateness of movement and becoming. the possibility of convalescence. insomanywords: faith, hope, affliction and anger, daggered at oppression, wherever it may be found.

On their debut ep the german band holygram proved themselves as masters of the new wave, post punk and industrial krautrock: it's driving, gloomy and full of catchy moments / laid back drums meet driving basslines and synthesizer melodies to refelect the conflict of the lyrics / it's just impossible to stop listening to this masterpiece / a record that will be important and very searched, no doubt.

Rólant av Reyni is an electronic producer from the Faroe Islands. Under his moniker, Hús, Rólant's productions are at times hazy, melancholic instrumentals that would fit a Sofia Coppola dream sequence and at times dark and bleak tinted by London's Deptford where his debut long player Nevember was written. Peering out from underneath saturated beats, Hús forges soundscapes with the harmonic sensibility and grace of Niels Frahm and Boards of Canada and the desolate undercurrent of Burial.

Solipsism is an archival release of music from Mike Simonetti's
tenure as owner of Italians Do It Better Records, spanning from
2006-2013. During that time Mike wrote a lot of music. Some of it
was used for films, some for TV commercials, some for fashion
shows and he even released a record or two.
Influenced by the intersection of 80's arena rock bands like AC/DC and Judas Priest, glam rock/dance bands like Rockets and Supermax, and especially the underground Italian producer Piero Umiliani - the album is chock-full of atmospheric rock-inspired arpeggiated riffs. The mixture of metal and chugging dance music makes for a unique listening experience. Every song has a riff, every song is heavy and dense. Only one song goes above 118 BPM. These are heavy chuggers that make for a tense emotional experience that exceeds your standard, easy-to-write-off 'soundtrack' fare, mainly because it was never written with that in mind. It was meant to be a fist-pumping arena rock inspired thumper! You can hear that in the one two punch of 'A Prayer For War' into 'Illusions", which is an outtake from his "The Magician"
sessions. Other songs like 'Solipsism' showcase the airy melodies
of that were to come with his other project Pale Blue, but that is
not typical on this album. If you listen closely, you can hear how
Simonetti's music and dark vibes inspired his then label partner
Johnny Jewel to take his own bands Chromatics and Glass Candy in a different, more cinematic direction.
This was written and recorded years before the Drive soundtrack and all the hoopla around the sudden soundtrack resurgence. In
2011 Mike was asked to submit some songs for a soon to be
released Hollywood remake. He submitted most of the songs from this album, and they were slated for release on the soundtrack,
but the project fell apart, and the film went in a different direction
and changed producers. Soon after, because of all the drama and foolishness, he left Italians Do It Better to start over with 2MR and Pale Blue. This is the nail in the coffin. Godspeed.

Scotch Bonnet Records revels in the sheer breadth of reggae and dancehall for their second daringly diverse Puffers Choice compilation. Following the success of 2016's volume 1, the label arm of Glasgow's Mungo's HiFi has selected more cream cuts from their globe-trotting link-ups celebrating sound system culture.

The music presented in this compilation is probably the closest distillation of what has inspired A Strangely Isolated Place over the past ten years. The ASIP website and its many versions; blog posts; guest mixes; even some of the older archived (now hidden) posts, were revisited to find the perfect tracks to put forward. There were, however, a few limitations in mind: (1) It had to be a track previously written about or featured in some capacity on ASIP from 2008-2018. (2) The track has previously not been released on vinyl. (3) The artist isn't currently a part of the ASIP label family. The end result isn't a compilation of rarities, b-sides or label exclusives that you may have expected at a typical ten-year milestone. Instead, it's a compilation of music that has helped define ASIP as many people know it today. From drone and space ambient; to shoegaze-inspired guitars; nostalgic electronica and melodic synthesizer music, Full Circle presents many of the elements that have been captured over the past ten years on A Strangely Isolated Place. To help celebrate the occasion, all profits from this compilation will go to a charity called The Harmony Project. We felt that investing in and helping the next generation of potential musicians would be a fitting tribute to the overall concept of the release. Pressed into the grooves of this record is some of the finest music to grace my ears that I felt passionate enough to feature on ASIP in the past, and now once more on vinyl - Ryan Griffin. In more ways than one, we've come full circle.

The music presented in this compilation is probably the closest distillation of what has inspired A Strangely Isolated Place over the past ten years. The ASIP website and its many versions; blog posts; guest mixes; even some of the older archived (now hidden) posts, were revisited to find the perfect tracks to put forward. There were, however, a few limitations in mind: (1) It had to be a track previously written about or featured in some capacity on ASIP from 2008-2018. (2) The track has previously not been released on vinyl. (3) The artist isn't currently a part of the ASIP label family. The end result isn't a compilation of rarities, b-sides or label exclusives that you may have expected at a typical ten-year milestone. Instead, it's a compilation of music that has helped define ASIP as many people know it today. From drone and space ambient; to shoegaze-inspired guitars; nostalgic electronica and melodic synthesizer music, Full Circle presents many of the elements that have been captured over the past ten years on A Strangely Isolated Place. To help celebrate the occasion, all profits from this compilation will go to a charity called The Harmony Project. We felt that investing in and helping the next generation of potential musicians would be a fitting tribute to the overall concept of the release. Pressed into the grooves of this record is some of the finest music to grace my ears that I felt passionate enough to feature on ASIP in the past, and now once more on vinyl - Ryan Griffin. In more ways than one, we've come full circle.

AEVA conjures up images of our world laid to waste. Having picked up wide and varied support on his debut 12' Dramatic Sunset, AEVA returns with his Superstars EP, a trajectory marking the implosion of a star turning supernova as euphoria dovetails into paranoia. Summer draws to an end and the melancholy imprint of unfulfilled potential begins to rust as the smell of wet concrete fills the air. This is Massive Life.

UK Dub pioneers Alpha & Omega (Greensleeves / A&O Records) represent the foundation of soundsystem culture and bass music migration from Jamaica, via the UK, to the world. Formed in the 1980's and with over 30 studio albums to their name. Steppas Records is overjoyed to present the first in the A&O LP reissue series; King & Queen. A timeless and much sought after album originally released in 1989 currently only available at sky high prices. Lovingly re-mastered and presented in the original sleeve featuring the iconic A&O artwork. King & Queen is a genre-defining album and a true piece of musical history.

PRESS:

'Enter a path few can follow, but many can appreciate. A studio or sound's dub-plates are like a Shaolin monk's sacred teachings. London-based Alpha & Omega take us into their world of mesmerising roots and divulge their exclusive 'specials'.'
MUZIK

'Through minimal manipulation, (Alpha and Omega) deliver the listener to a place of great sonic peace.' OPTION MAGAZINE

'The compelling presences at the hear of these airy sonic worlds have a harder edge than some of their ancestors.'
WIRE

'Massively thunderous bass lines, galloping drum tracks and a willingness to tastefully adorn dubs with digital flutes and various electronic sounding washes.'
PULSE

Dirk P. Haubrich's peculiar sound first caught Quanta Records' attention in 2016 during a night dedicated to Jirí Kylián, the Czech former dancer and contemporary dance choreographer, at the Opera Garnier in Paris. A few weeks later, the first steps were taken to set up collaboration between the artist and the label. The process was organic and lead to the release of Dirk's first official record: Robinson Out Of Context. This seminal work is made of two pieces: 'Robinson Out Of Context' and '7 to 8'. These compositions are meant to accompany choreographies respectively by Bruno Listopad and Shen Wei.

With a career spanning over twenty years, Dirk P. Haubrich has built an impressive discography and a characteristic auditory identity. His quest for deeper and more diverse arrangements has been an inner drive and a defining process for him. Among the myriad of tracks that Quanta Records had the pleasure of discovering, two were selected after an intensive formatting to adapt them to the 45rpm standard.

This record is challenging and requires a lot of attention from the listener since the composition, rhythms, atmospheres and textures have been minutely fine-tuned. As the record unveils itself to its audience, the listeners will discover a smooth and perfectly mastered composition that develops into a journey through its two separate pieces. The German artist's diverse soundscape intertwines long drone and ambient sequences with percussions and broken beats that offer an ideal opportunity for reflection and contemplation. The details incorporated in this rich and intriguing work are an invitation to get lost in the sound and to escape.

The creative process behind this record, from the composition in Berlin to the mastering session with Rashad Becker, allows for Dirk's art to be transposed from ballet stages to different spaces for a wider audience to discover and appreciate sounds that bridge gaps between experimental, ambient and electro-acoustic.

Drums, computer & electronics

Jon Wesseltoft is a Norwegian multi-instrumentalist musician and composer based in Oslo. Working equally with acoustic sources as with electronics. Performing in a wide variety of projects, and solo under his own name.

Balázs Pándi - When the time predicated finally comes & human clones are reproduced enmasse': my vote for the first musician to be dub'ed is the almighty Balazs Pandi. Home base as Budapest Hungry: this looming drummer has all the corner chops covered from Repulsion-blast beasts to the futuristic urban free scree of the New York Art Ensemble. Starting out a metal thrash & hardcore skin pounder of local energy units: Balazs soon got hit headfirst into the avant jazz world and has since jammed with Wadada Leo Smith, Arthur Doyle, Trevor Dunn, Jamie Saft,Joe Morris & Roswell Rudd. If that wasnt threatening enough: Pandi has also branched into the PA-Mangling World of free electronics scattered with continued live and studio recordings with the master of noise Masami Akita aka Merzow, also with free-sludge rockers Porn, world consumer Bill Laswell and Mr. Godflesh himself Justin Broadrick- and jazz crossed-stream polluters Mats Gustafsson & Sonic Youths' almighty Thurston Moore. Whoa! Enough sound-flesh-ink to make a library shake in fear but its Balaz's knowledge of the importance of local & global cultural as he is seen being a Hungarian Journalist of music and culture and mainlining the importance of maintaining a grassroots DIY hard work local esthetic that keeps him firmly planted to the drum stool to blow minds in both swagger and swing knowledge. If musical history is a bench press, B.P can rock 250 LBS + no probs. And find me another Hungarian that can flip OMEGMA sides while thumbing thru the pages of DJ Screw's "History Of Houston Rap" book and you can eat all my Eastern European Progressive rock Lps. In conclusion: a full artist & musician of the highest CLONE-ABLE character." John Olson: Life Is a Rip-Off

"Following up on Arctic Saturation, this is a "live" record of sorts, its mood and good chunk of material captured live at a gig in Stockholm brilliantly organised by Masskultur Stockholm - they brought in a quad PA, and after the gig I traded one of my 7"s for a drink. The rest is me in a little lonely room overlooking the garden in Haringey trying to do dub ambient field recordings on the B-side. It's all quite languid but slippery, vague tonal ebbs weave through the field recordings. Never really settles on anything obvious, rather pulls you into its own hole of spiralling echoes - did I already mention the word moody It features some of my most cherished sound captures, the seagulls of Gothenburg and a young soprano practicing next door, not to mention a gratuitous amount of audible delay effects. And anyway, just when you think it might stay in the zone forever, it all gets dry and matter-of-fact and checks out... I took the files and mixed them at the house of ORILA during the hottest week I've ever come across in in Athens, stuck indoors and treating the music as my lifeline. Properly sat on the results, almost forgetting about them in one of those aimless periods that you begin by thinking you'll have it all sorted by November, but two years down the line you're in a different town in another tiny room not sure where the plot is anymore, yet all of a sudden you realise there's nothing actually to achieve or realise, just you should let things go and move on.

Markey Funk's Delights label continues spreading the sound of modern way-out grooves with a brand new 7inch double-sider. Both tracks, recorded by the enigmatic Berlin-based Italian composer Nicola Spiromarino, explore the cosmic, synth-driven sound of the late 1970's futuristic library and film music.

Bearing traces from his earlier synth ambient project Sansernes Rus as well as his previous engagement in the danish noise and techno scene, this debut EP operates on the fringes of percussive techno, melodic ambient, and bass music with nods to several other styles including IDM and millenium trance. In other words Safe Following Distance' reflects a very adventurous approach to music making, offering four individually strong tracks out of which each one draws upon inspiration from different genres while contributing to an overall aesthetic perspective.

Tim Reaper returns to Sweet Sensi Records bringing his patented old skool junglist production. 4 smashing ragga jungle cuts that would smash the dance in 1993 and 2018 and beyond!

Off-kilter Broken Beats From A Collection Of Up & Coming Artists From Around Europe And Beyond.

A1. Twelon - Quad

Twelon Heralds The Start Of The Ep With A Builder Track Perfect For Openings And Breakdowns Mid Set. Industrial Creeps And Hisses, Spliced With Intricate Percussion.

A2. Nollern - Sitar Pro

Nollern's Eff_el & Dan Beaven Burst Forth To Bring An Upfront, Yet Minimalistic, Glitch-rife Drum Track - Perfect For The Players Wanting To Layer An Element Of Sparse, Brutal Breaks Into The Mix.

B1. Tlk - In Your Shadow

Tlk Brings Us A Beautiful, Emotion Filled Arp Track. 'one Of My Goals When Making A Track, Is To Only Use One Sound: To Make One Synth Sing.' - Linkwood. This Is The Inspiration That Tlk Used For In Your Shadow.

B2. Xantrax - Xtk

A Trippy, Jazzy Combination Of Atmospheric Synthesis, Acoustic Drums And A Heavy Bass-weight Underlay, Giving The Ep A Raw, Yet Balanced Finish.

ArchiPOP#2 is the 200th release on Beatservice Records, and the LP-version is a special limited edition celebration vinyl version. It contains a collection of the best electro-pop and house tracks from the last few years of digital singles from Beatservice Records.

ArchiPOP is a series of curated selections from the Beatservice Records archives. Songs that have been on single/EP releases or standout tracks on albums are put together in a new and well-selected environment by label boss Vidar Hanssen. The artwork following these compilations are mirrored and manipulated architectural images from Tromsø, Norway, the hometown of Beatservice Records. The pictures are taken by German born, now Tromsø resident architect and photographer Kristina Schröder. Many of her pictures show familiar architecture in new and unusual perspectives.

Archive curating + architectural manipulations = ArchiPOP!!

UMX is back with another cracking release , this time with artists from the USA and Japan . this EP is filled with 4

strong electro tracks with a lot Low Bass , beware not to blow your speakers. Get it while you can cause this a

150 copy limited edition

"typically In My Work I Deal With Fixed Concepts And Defined Parameters. With "entrop" The Concept Was To Not Deal With Such Notions And Instead To Embrace Chaos. I Built A Noisy Little Synth - A Ciat-lonbarde Esoterica Spike Ring - Which I Modified With Further Feedback Loops To Intensify Its Unpredictable Nature. The Drum Track Is Not Programmed - Instead The Drum Computer Follows The Pulses Of The Synth. The Recordings On This Tape Are Edited And Layered From Several Sessions. I Find It To Be One Of My Most Musical Works - Less Rational, Almost Purely Instinctive." - Zeno Van Den Broek, Berlin, 22.vi.2018

Biography:

Zeno Van Den Broek Is A Dutch-born, Copenhagen-based Composer And Artist. Van Den Broek Works In A Multi-sensory Way To Research And Express Physical, Social And Acoustic Notions. He Utilises Immaterial, Digital And Temporal Means To Create Site- And Concept-specific Works. This Trans-disciplinary Method Has A Strong Conceptual Foundation, Originating From His Background In Architecture, Which Enables Him To Comprehend And Reveal The Richness And Complexity Of Spatial, Visceral And Physical Perception.

NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS NO MORE DREAMS...

- 2LP housed in printed 5mm outer sleeve with paper inners, 8pp booklet, A5 sticker sheet and download card insert. Download includes original album and 4 previously unreleased bonus tracks. Initial copies on gold vinyl.

Beacon's third full-length record enters sight as a work of meticulous revision and refraction. Returning home to New York in 2016, four years and several tours since the duo's rst release with Ghostly International, Thomas Mullarney III and Jacob Gossett knew the next direction would be different. Together they embarked on open-ended sessions, adopting a more linear style of songwriting compared to their previous loop and texture-driven method. They fundamentally constructed demos from piano chords and guitar phrases with vocal melodies, editing iterations almost ad innitum, looking through each from a multitude of angles. Compositions expanded, while others pared back to where they began. Like the bending of light, this abstractive and patient process outlines a space and scale in which seemingly separate colors — minimalist ballads, elaborate pop spirituals, and four-on-the-oor dance sequences — can coexist at different speeds, fanning out with spectral cohesion. A prismatic collection Beacon call Gravity Pairs.

'All matter is created by dividing gravity into pairs,' said 20th-century scientific-mystic Walter Russell, whose idiosyncratic 'new world-thought' writings and musically-informed schematic drawings were as fringe in their time as they are fascinating. Mullarney details the concept further: "'Gravity Pairs' is how Walter Russell describes the rhythmic order of the universe. I kept reading 'pairs' as both a noun and verb; simultaneously the elemental units of Russell's balanced universe and the process that brings us together." This curiosity of natural phenomena shines through the album's kaleidoscopic artwork — dichroic glass prisms photographed by the band themselves — and its lyrics, most directly through the narrative device of light.

With each iterative breakthrough, Beacon expanded the spectrum of these recordings as well as their possibilities in the live setting. The material can be played straight or in previous variations, enhanced by the recent addition of a drummer to their live band. Another epiphany came in the spring of 2017 when Beacon joined Tycho at Coachella and for dates in Europe, with Mullarney experimenting as the band's rst ever vocalist. 'Just doing things at that scale, and at that point in the record, was really validating,' says Mullarney. 'We came back with condence to nally nish the record.'

Two models exemplifying this mode are 'Be My Organ' and 'On Ice.' The latter is a smoke-lled still-life. Notes arpeggiate along a cool, motorik beat as Mullarney repeats 'you're not moving,' his vocals vaporized and echoed. The former elevates on a percussive build, reaching its peak in the nal strobe-lit minute. Then there's a late album ourish, 'The Road,' which, through pinwheeling repetitions beamed into four-on-the-oor framework — from Tycho drummer Rory O'Connor — folds vibrating wavelengths into a symphony of fragmentary energies.

Russell, the mystic, believed in balance, a rhythmic exchange 'between all pairs of opposite expressions.' On Gravity Pairs, Beacon channel the philosophy with pure pop mystique, slicing through dense and foggy dance and electronic music apparatuses to create something familiar but unique, melodic but cathartic. Rippling through these songs are iridescent synthesizer lines, stoic piano phrasing, dazzling percussion, posh harpsichord, understated xylophone, and a crisp voice in complete control. Taken as a whole, in their various combinations and compressions, these complementary and secondary tones unlock the lushest eld of color, a universe of light.

Having dropped a tasty teaser a couple of weeks ago, Black Sun Empire fulfil their promise of delivering a brand new long player album project entitled 'The Wrong Room' that is sure to get pulses racing.

Black Sun Empire have been threatening an album of this calibre for a while, with a steady string of releases detailing their vision for the future and pushing them to the very top of the Drum & Bass pyramid. The wait is now over and all seems worth it, as we delve into 14 tracks of unrelenting artistry that bear all the hallmarks of Black Sun Empire's creativity, passion and desire, whilst being a benchmark for the rest of the scene to aspire to in 2017.

This is more than just a collection of tracks thrown together, but an expansive adventure through the many facets of Drum & Bass and its adjoining generic neighbours. From the Grime scene of the UK in Virus Syndicate to the fiery Hip Hop stylings of Dope D.O.D, Black Sun Empire have assembled a team of co-conspirators to imbue the collaborative tracks with an organic solidity that underpins the vibe and values of its creators. The same can be said for the straight up DnB dancefloor decimators, with Pythius, State Of Mind, Neonlight, Audio and Prolix all receiving honourable mentions and delivering some bone-crunching basslines to compliment the breaks.

To be released on World Mental Health Day, part of the album's proceeds will be donated to a UK-based mental health charity. 'I often wonder how sadness moves through people,' Emika says, 'through time, through stories and history, and if it's something that becomes us rather than coming from us.'
% of album sales will be donated to charity Help Musicians UK
emikarecords. com Invites fans to anonymously share their experiences of depression and create a waterfall of comments inspired by the song Wash It All Away
Studio video promoting the album via Soundcloud, Autumn
Live / DJ video, promoting the album with Beatport, Autumn
Live streaming of the album from Emika's studio via FB, Insta, YT, September.
Bookings by Christopher at Melt Bookings. Team chose to give fans time to listen to the album first, shows starting early 2019, special album show with live band and dome visuals planned in the Berlin Planetarium Feb 2019. A few promo shows summer / fall 2018.
Boiler Room live show as part of Open Dance Floor series tbc
* Given its years of manifestation behind the scenes of other projects, Falling In Love With Sadness reflects a renewed understanding of Emika's own genealogy, kindred lineage and its connection to modernity. Marking a drastic departure from the menacing, stripped-down qualities of albums past, Dva and Drei, Emika has surfaced with a new upwelling of sound gracing the bittersweet, melancholic and sanguine.

* With the interplay of myriad genres both rhythmically and melodically intertwining between spacey, dub tinged Promises, lush synth pop hooks on Escape and the title track's soulful electro, a full spectrum of musicology remains primary to the ever-evolving chroma of Emika's umbrous sound.

* Further characterised by the breathy sibilance and sultry tones of Emika's noirish, vocal aesthetic, the album navigates through the morose and trappings of misanthropy by illuminating a narrative of emotional resilience and recovery.

* Co-produced with Robert Witschakowski of The Exaltics, and continuing her collaboration with guitarist Chris Lockington (as heard on Drei and Dva), Falling In Love With Sadness provides a fifth solo album for Emika, but moreover, defines itself as an overture for her future works.

The Launch Of Sub Channel Music Is The Latest Achievement Of Max Hock, For Many Better Known As Es.tereo Or Theme. Shaping The 170 Genre For Almost Over A Decade Now, His Name Is Undoubtedly Linked With Musical Passion And High Production Skills. Working With Samurai As Theme Has Been One Of 170s Best Kept Secrets, Culminating In The Acclaimed 'passages' Lp In 2017. The Cinematic Soundscapes Max Hock Has Woven With His Productions Made Long Waves Within The Scene And Were Appreciated From Music Lovers All Over The World.

To Gain More Musical Freedom And Follow His Inner Beliefs, Max Hock Now Founded Sub Channel Music. Starting Off With The Magnificent "earthbound Ep", Es.tereo Is Going Back To His Roots And Creates Distinctive Dark And Tribal Soundscapes, Mixed With A Strong Organic Vibe. To Round This Ep Up, Man Of The Moment - Homemade Weapons - Delivers A Fierce Remix Which Erupted Dance-floors From Berlin To Washington And Has Proven Itself As A Serious Weapon Numerous Times.

Flowing energies and social pressure, high expectations and pathetic fails, driving rhythms and cheerless inertia, so-called integration but effective exclusion; these are some of the opposite poles reeled out of the debut full-length delivery of Glass Knot (Lasse Bjørck Volkmann aka Metalized Man, and Nicolai Vesterkær Krog aka Misantrop) on Foul-Up. 'Present Tense', is a multi-level sonic object whose large-scale reach only equals the profoundness of the tale of love and hate it discreetly tells - in between the lines. Laying down a hot-blooded mixture of warped industrial rhythms, chopped-up breaks, off-kilter drones and hi-NRG anti- techno with a strong punk attitude, the seven tracks blaze their trail away from expectations and norms.

A1. Present Tense 1
A2. Present Tense 2
A3. Present Tense 3
A4. Present Tense 4
B1. Present Tense 5
B2. Present Tense 6
B3. Present Tense 7

* Breaking into a new century, following last months 100th release on the label, Ishan Sound collaborates on 2 killer tracks with Bristol-based Hodge and Alex Hughes aka Muttley.

* 'C5' refers to cold explosives and makes for a perfect title for this stark, cold rhythm. A circling melodic synth line sets a moody context before the floor drops out and an industrial strength sub drives things forward at 130bpm. Deep, hard, dark, original. Exceptional quality from Ishan Sound and Hodge.

* Flip for a 140bpm excursion from Ishan Sound & Muttley, melding elements of trap, grime and dubstep meticulously to form an engaging sonic that is both fuel for the dancefloor as well as providing introspective qualities for bass weight meditation. 'Still Smoking' sums it up appropriately.

Mickey Pearce is back in business with 'One Hundred Smiles', a new album of swaggering UK club music experimentations, and a new label Box Of Toys.

His first album, 'Michael' (2016), saw him exploring new territory; crafting a strange and melancholic landscape of beatless textures and leftfield house and techno. Approached with a fresh perspective, 'One Hundred Smiles' slows the tempo and ups the collaboration.

'The last record was a reflection of my situation around that time. This one is like stepping out from under a cloud. It's about the joy of collaboration; meeting and working with new people. It's also about the ambiguity of smiles, and the complicated relationships we form.'

The album features appearances from rising UK talent Poté, Taiwanese vocalist Meuko Meuko and Greek electronic pioneer Lena Platonos.

'Poté is a crazy talent. We've done a bunch of sessions and made a load of tracks, two of which ended up here and one of which is going on his next record.

Meuko Meuko is an artist from Taiwan. We communicate entirely via Instagram. She'd send me translations of the lyrics in Instagram messages, but I'm still not sure if I've chopped them into any sort of sense. The instrumental was called 'Slime', and she misread that intentionally or unintentionally to mean 'smile' and sent me all these crazy lines about 'your lovely smile' and it was just perfect. I love her.

Lena Platonos is a legend, and someone I was honoured to work with. The day she told me she had been playing and enjoying the record around her friends was a good day.'

'One Hundred Smiles' is the first release on his own label Box Of Toys. The label is named the same as his 2017-2018 radio show series, which featured the album's guests as well as Randomer, Machine Woman, Airhead, The Maghreban and Object Blue.

'One Hundred Smiles' is released on LP and digital via Box Of Toys on 2nd November 2018.

Solipsism is an archival release of music from Mike Simonetti's
tenure as owner of Italians Do It Better Records, spanning from
2006-2013. During that time Mike wrote a lot of music. Some of it
was used for films, some for TV commercials, some for fashion
shows and he even released a record or two.
Influenced by the intersection of 80's arena rock bands like AC/DC and Judas Priest, glam rock/dance bands like Rockets and Supermax, and especially the underground Italian producer Piero Umiliani - the album is chock-full of atmospheric rock-inspired arpeggiated riffs. The mixture of metal and chugging dance music makes for a unique listening experience. Every song has a riff, every song is heavy and dense. Only one song goes above 118 BPM. These are heavy chuggers that make for a tense emotional experience that exceeds your standard, easy-to-write-off 'soundtrack' fare, mainly because it was never written with that in mind. It was meant to be a fist-pumping arena rock inspired thumper! You can hear that in the one two punch of 'A Prayer For War' into 'Illusions", which is an outtake from his "The Magician"
sessions. Other songs like 'Solipsism' showcase the airy melodies
of that were to come with his other project Pale Blue, but that is
not typical on this album. If you listen closely, you can hear how
Simonetti's music and dark vibes inspired his then label partner
Johnny Jewel to take his own bands Chromatics and Glass Candy in a different, more cinematic direction.
This was written and recorded years before the Drive soundtrack and all the hoopla around the sudden soundtrack resurgence. In
2011 Mike was asked to submit some songs for a soon to be
released Hollywood remake. He submitted most of the songs from this album, and they were slated for release on the soundtrack,
but the project fell apart, and the film went in a different direction
and changed producers. Soon after, because of all the drama and foolishness, he left Italians Do It Better to start over with 2MR and Pale Blue. This is the nail in the coffin. Godspeed.

The act of escaping that which is predestined. / A hustle. Reto A Ichi is a sonic tabula rasa for Guillermo Herren AKA Prefuse 73. There are identifiable elements of the artist you already know - an uncanny sense for rhythm, an ability to shape samples and frequencies like clay, an affinity for the subtle changes of repetition - yet this is first and foremost music born from the need for silence. There is no easy entrance point or index for the listener.

The first album, The Lapse of Exchange, is the sound of life as heard from a small Chinatown window in downtown Manhattan, the thunder of populism on the horizon. The album opens with music that reflects the inherent tension between the life of the artist - the self-doubt, the late nights, the aspirations - and the world outside - the hustle and bustle of a city that never sleeps, the wars abroad, the politicians at home. It's a tension felt in the repeating, circling keys of "Let The Pianos Freeze", the pulsating rhythms of "No Juntos", or the call and response of pitched vocal samples in "A Sword In The Rain". Ultimately it all becomes too much for our unwitting hero: the car horns outside the window, the 24 hour news cycle, the early stages of an election that tears down any remaining semblance of normality. Reto A'ichi can no longer grasp his humanity or connect to that of people around him.

With the walls closing in, he packs his small life and escapes.

The debut Shiken Hanzo EP for Samurai Music follows his appearance on Decade (Phase 2). Title track 'Myth' is a signature Shiken style ghostly stomp while 'Yebira' is the most floor targeted of the hidden warrior's rhythms so far. 'Cloud Of Sparrows' drips in tribal complexity and 'Kunai' ricochets in deep hypnosis mode. 4 tracks of sinister vibrations that capture the full scope of the Hanzo style.

The Brighton-based powerhouse duo known as The Prototypes have officially announced the release of their very first vinyl record, hopefully signifying a legacy of future Get Hype Records vinyl packages for drum and bass fans everywhere. Featuring the monumental original mix of "Rocket Guns Blazin'" paralleled by the internationally-supported remix by Crissy Criss, Malux, and Erb N Dub, this exceptional record is one for dance floor fans everywhere. After the massive success of the label's launch, multiple world tours, countless number #1's alongside the groundbreaking signings the legendary duo themselves have discovered, this will be an excellent milestone for the Get Hype Records team.
We Get Hype.

By the time Twin Peaks' second season had aired and Fire Walk With Me had just begun principle production, Thought Gang had been born. The esoteric jazz side-project of David Lynch and Angelo Badalamenti evolved from the seeds of Twin Peaks' trademark slow cool jazz and blossomed into more experimental pastures: horizonless vistas of acid-soaked free-jazz, laced with spoken word narratives and sprawling noisescapes. Fire Walk With Me's soundtrack would ultimately showcase two preliminary tracks ('A Real Indication' and 'The Black Dog Runs at Night') from a full-length album that wouldn't see release for two-and-ahalf decades. Beginning in May 1992 and continuing throughout 1993, the bulk of the remaining material for the album was recorded in pieces, and dove-tailed into a string of contracted sessions for other Lynch-Badalamenti projects.

In the years following, fragments and working versions of Thought Gang material would make appearances in everything from a Lynch-helmed Adidas commercial to scenes in Hotel Room, Mulholland Dr., Inland Empire, deleted scenes from Fire Walk With Me, and most expansively utilized in Showtime's third season of Twin Peaks.

By the time Twin Peaks' second season had aired and Fire Walk With Me had just begun principle production, Thought Gang had been born. The esoteric jazz side-project of David Lynch and Angelo Badalamenti evolved from the seeds of Twin Peaks' trademark slow cool jazz and blossomed into more experimental pastures: horizonless vistas of acid-soaked free-jazz, laced with spoken word narratives and sprawling noisescapes. Fire Walk With Me's soundtrack would ultimately showcase two preliminary tracks ('A Real Indication' and 'The Black Dog Runs at Night') from a full-length album that wouldn't see release for two-and-ahalf decades. Beginning in May 1992 and continuing throughout 1993, the bulk of the remaining material for the album was recorded in pieces, and dove-tailed into a string of contracted sessions for other Lynch-Badalamenti projects.

In the years following, fragments and working versions of Thought Gang material would make appearances in everything from a Lynch-helmed Adidas commercial to scenes in Hotel Room, Mulholland Dr., Inland Empire, deleted scenes from Fire Walk With Me, and most expansively utilized in Showtime's third season of Twin Peaks.

- Legendäre experimentelle Jazz-Aufnahmen von David Lynch und Angelo Badalamenti von Anfang der 90er Jahre. - die Musik wurde versatzweise in David Lynchs Film- und Fernseharbeiten verwendet, ist aber nie als richtige Veröffentlichung erschienen. Thought Gang wurde nach der Ausstrahlung der zweiten Staffel von ,Twin Peaks" geboren, als die Hauptproduktion des Kinofilms ,Fire Walk With Me" gerade erst begonnen hatte. Das esoterische Jazz-Side-Projekt von David Lynch und Angelo Badalamenti entwickelte sich ursprünglich aus dem Slow Cool Jazz, der die ,Twin Peaks" TV Serie mitgeprägt hatte. Thought Gang erblühte zu einem experimentelleren Sound: horizontlose Aussichten auf LSD-getränkten Freejazz, geschnürt mit gesprochenen Wortnarrativen und ausgedehnten Geräuschkulissen. Der Soundtrack zu ,Fire Walk With Me" präsentierte zwei vorläufige Tracks ("A Real Indication" und "The Black Dog Runs at Night") von einem Album, das von Mai 1992 bis 1993 stückweise aufgenommen und zweieinhalb Jahrzehnte lang nicht veröffentlicht wurde. In den folgenden Jahren tauchten Fragmente und Arbeitsversionen von Thought Gang-Material immer wieder auf: in einem von Lynch geführten Adidas-Werbespot; in Szenen in ,Hotel Room", ,Mulholland Drive" und ,Inland Empire"; in gelöschten Szenen von ,Fire Walk With Me" und am meisten in Showtimes dritter Staffel von ,Twin Peaks". "Frank 2000" und "Summer Night Noise" sowie ein alternativer Instrumental-Mix von "Logic and Common Sense" unterlegen Szenen der dritten Staffel und helfen, den ausgesprochen experimentellen, rauschhaften Soundtrack der Serie zu definieren. David Lynch über Thought Gang: "It's sort of like jet-fueled jazz in a weird way, but it's all based on stories. It's Modern Music."

Zwerm has never strived for a one-sided artistic profile. During the past ten years the quartet dallied between pure noise-impro, English renaissance music and contemporary composed music. The common denominator being not so much a particular stylistic view but rather a shared curiosity, Zwerms projects typically start with the question: 'what would happen if ...'
Badminton in Tehran started with the question: 'what would happen if we would worked with grooves for a few months' After that, anything was allowed. We created an online space where each one of us could drop our personal demos, which could then be used freely by the others. Within a few months a primordial soup of beats and grooves and little snippets of text was created. And once we started the recording sessions with producer Rudy Trouvé this served as the raw material out of which 10 new songs were crafted. Badminton in Tehran is Zwerm's first record in which all tracks are composed by Zwerm and it grooves like a Rube Goldberg-machine - DIY and slightly irregular.

REPRESS !
Opening the EP, 'A Matter Of Time' sets the things up with a phlegmatic tempo centered around a feverish acid line. A soft mist of organic snares, dub percussions and jazz hi-hats slip over a spacious spread of synthesizers.'Abduction' steps into a more intense dimension, bringing distorted, shamanic, high-energy drumming intended to put the listener into a trance state. The momentum is reached as a deep organ covers the whole structure and releases twirls of acid onto its mediative canvas.Closing the side, 'Harmony Of Spheres' brings the pace down again, condensing all the acid material into a drowned mechanical piece that finally breathes when pads comes in at half-course.The B-side opens with 'Alternative Currents' a gasping piece of electronic jazz centred around a play of tribal percussions and dissonant pads. 'Parsec City' continues the story with its amazing free jazz rhythm investigation, showing once again the expertise of Marini in complex patterns. Closing the EP, the shorter 'Seven Transmutation' plays with sharp acid stripes and immersed organs chords on a frame of abstract drum sequences.

Overmono (UK brothers Truss & Tessela) turn to their DIY Poly Kicks imprint for the first time together with the 3-track EP, 'Raft Living'. This record follows up from the previous 'Arla' EP series, released earlier last year on the iconic XL Recordings.

'Daisy Chain' opens with an infectious breakbeat topped with rich, effervescent chords, while 'The Mabe' offers a mind-bending, 130bpm hardcore-jungle anthem. The EP ends with title track 'Raft Living'; a 2 minute arpeggiated ear worm, closing off a standout EP in the Overmono catalogue thus far.

This is the third album of Book Of Air, a series created by the granvat platform and curated by the composers and brothers Stijn and Bert Cools.

As in the first Book Of Air album "Fieldtone" and the second "vvolk", the parameters time and sound are again widely present. This time the 3 interwoven bass lines give the deep drive and foundation of the sound, completed with a layer of acoustic instruments and sparkling chords on top. "Se (In) De Bos" is inspired by the fluctuation objectivity of our daily observations.

vvolk investigates performing and improvising music, in close relation to present time; what are the possibilities in playing music, when changes in this music pass by unnoticed How do we as musicians relate to the running time of a performance This clearly challenges the improvising musicians, and makes audience and
performers discover new territories in collective improvisation.

after A Cancelled Flight I Found Myself Stranded At The Tokyo Airport Overnight. Between My Interrupted Bench Naps The Surroundings Found Their Way Into My Dreams, Particularly The Big Banners In The Departure Hall Stating: 2020. Not Aware That They Were Announcing Upcoming Olympic Games, My Imagination Wandered. 2020, A Leap Year. The Year Of The Rat, The Election. Perfect Vision. The Year Of Hindsight. The Repetition, The Ritual Of The Superstitious. A Spell Cast On The Approaching Future, Not Yet There, But Close Enough To Be Seen With Full Clarity. The Year Itself Seems To Draw A Circle Around Its Followers, As To Protect Anyone Who Dares Enter.
And It All Begins On A Late-capitalist Night...'

Twenty-twenty Is Molly Nilsson's 8th Album, The Latest Opus Of An Artist In A Constant State Of Development And Strength. Twenty-twenty Is About Emerging From The Husk Of Your Old Self, About Binning The Chrysalis And Daring To Stand Up Both To Power, And Also To Your Own Limits. In 2018, We See The Climate Changing, Democracy Crumbling, Inequality And Injustice Erupting. 2020 Examines The Near Future, Seeking Out Clarity, Reflection, Renewal And Opportunity. It Contains Anthems So Tall As To Induce Vertigo, Leaving The Taste Of Euro Dance In Your Mouth, Albeit Without A Four On The Floor Beat. Here, The Pop Auteur Is Haunted By The Late Prince, Channelling Courtney Love And Lou Reed, Anger And Love.

Recorded As Ever In Her Own Lighthouse Studios And Co-released With Her Imprint Dark Skies Association, The Record Is Consistent In Strategy And Approach To Past Releases, Yet On 2020 Nilsson Pushes The Limits Of What Can Be Said In The Scope Of A Pop Song Even Further. Despite Working With Used Keyboard Sounds That Evoke Memories Of A Distorted Past, The Sound Is Distinctly Contemporary. The Record Drifts Between Playful Punk Methods And Hi-fi Ideas, Strikingly Clear Through The Fuzz Of A Surrounding World Painted With Reverb.

Rather Than Gracefully Dissecting, 2020 Rips Apart Personal Neuroses And Insecurities, Looking For The Roots Of Issues And The Equation That, When Solved, Will Produce The Future. i Don't Care If The World Is Through, Every Night Is New,' 2020 Erupts With Fist-in-the-air Empowerment, A Realization That If We're All Alone Down Here, We Can Still Make It. Every Night Is New Is A Personal And Societal Manifesto, A Slogan Comprising The Different Layers That Make This Record Molly Nilsson's Most Personal, Evocative And Emotionally Packed In Years. First Single Serious Flowers Is A Naked Confessional Trance Hit Stripped Of Its Beat. Centred Around Broken Trust And Friendship, Nilsson Sings Over Suspenseful Synth Strings With A Vocal Delivery So Inexact And Honest, Its Vulnerability Seems Almost Unaware Of Itself. Although Very Much In The Vein Of Nilsson's Production Style On Her Recent Albums, Days Of Dust, Accomplishes Escape And Breaks Free From The Past. There's A Carpe Diem Immediacy To This Fast-paced Rock Song That Belies Nilsson's Near-iconic Self-contained Delivery: like I Had Just Been Saved From A Burning Building Of Desire, I Got Back Up And I Ran Right Into The Fire.' It's So Immediate, And Speaks So Perfectly About The Nature Of Desire, That You Wonder How You'd Never Thought About It Like That Before.

The Themes On The Album Are Submerged In The Inner Life, Lucidly Dreaming With One Eye Open, Fixated On The External World And Its Growing Pains. Nilsson Turns Inward And Seeks Answers To Questions Imposed By Physical Existence, Examining One's Own Responsibility In The Face Of Climate Change (a Slice Of Lemon), The Political Depression Of Society (gun Control), And The Struggles With Drinking, Between Euphoria And Despair (blinded By The Night). The Serious Topics Aren't Met With Hopelessness, The Tone Suggests Defenceless Optimism And A Tight Grip On Desire. This Time Around, We're Not Examining The Past With Molly Nilsson, We're Becoming Who We Want To Be. We're Exploring The Future, Accepting Who We Are, Clear Eyed And With Perfect Vision, Near And Far Sighted Alike.

Nach drei EPs auf dem belgischen Kultlabel R&S Anfang der 2010er Jahre und diversen Releases mit seinem Partner Blawan als Karenn, veröffentlicht der britische Produzent Pariah nun ein atemberaubendes Debütalbum auf Houndstooth, auf dem er eigensinnige Strukturen, üppige Harmonien und fesselnde Melodien in eine aufregende Mixtur aus abstrakten Landschaften und ausgesprochen strukturierten Songs und Soundcollagen verwandelt, so dass das Mixmag UK nicht umhin kommt, die Wurzeln seiner Inspiration mit "Eno, Vangelis und Aphex Twin" zu benennen.

"Here from Where We Are couldn't be further removed from his work with Blawan there are shades of the masters - Eno, Vangelis and Aphex Twin - in this collection of gorgeous, gossamer-light vignettes." - Mixmag UK

Known for a broad swath of genre-obliterating club tracks on crucial labels including Critical, Exit, and 50Weapons, Sam Binga approached us earlier this year with a radically different kind of project, a collaboration with Welfare, true junglist and label boss at D&B bastion Rua Sound. The result of their team-up is Conamara Fieldworks. Its unique inspiration and patient process are best described by the duo themselves:

"In early November 2016, we set off through the bleakness of an Irish November into the wilderness that is Conamara, County Galway, Ireland, with about half an idea of what we wanted to do. Our friend Laney had been kind enough to allow us the use of a 300 year old cottage overlooking the sea, itself belonging to her family through generations which she was bit by bit restoring to its former glory. The isolation was perfect - very little in the way of creature comforts, no network coverage, but plenty of turf for the stove and Guinness for the belly.

Our routine for the next few days consisted of trudging the length of the rugged coastline in search of interesting sounds we could potentially process into usable elements for some kind of dub/dub techno-inspired composition...This took us inside tidal caves and abandoned ruins, across sheep fields, up and down mountains and winding country lanes, in and out of the odd pub, under upturned boats and (carefully) across huge washes of seaweed-covered shoreline. Using our handheld recorder (shouts Danny Scrilla for the lend) we assembled a palette of varied noises, constantly battling with the peaking and distortion created by the incessant Atlantic gusts.

Each evening, following some intense huddling around the stove and vital Irish home cuisine and stout, we'd examine and dissect what we had collected that day, sometimes discovering the most interesting material firmly planted in the background of the soundscapes. A certain amount of (but not too much) processing later we had the bones of a few short loops of each sound which made some kind of musical sense when played alongside each other.

Binga suggested staying true to the craft and keeping the rawness to the foreground by attempting to develop the loops into full compositions via live desk mixing, arrangement and effects. We said our goodbyes to Conamara and a month or two later said our hellos to the Dubkasm shedio. Following a crash course from the dynamic duo, we set to work for the day, learning as we went along and enjoying to the full the unpredictability, intuition and sheer vibes a dubbing session can bring, particularly in a studio kitted out with some fine analogue gear which undoubtedly helped us to keep that damp, saturated feeling that Conamara had sown."

The resulting collection of music speaks for itself, and does so in its own language. It is meditative, deeply textural, and richly saturated, with awesome sound design, generous bass weight, and dubwise finesse. Referencing ambient, concrete, and dub techno while never letting any genre dictate its path, Conamara Fieldworks is a deeply rewarding and intensely involving listen. A restrained yet transporting remix from the one Ossia completes the set.

Composer, multi-instrumentalist and mixed-media artist, Takehisa Kosugi has stood on the forefront of the Japanese avant-garde for over six decades. In the 1960s, he was part of Japan's first improvisational music collective, Group Ongaku, and contributed to Fluxus in New York. In 1969, he founded the influential, experimental ensemble The Taj Mahal Travellers, and in 1975 he would release his first solo album, Catch-Wave.

"Mano-Dharma '74" features improvised violin drones and voice with various oscillators, echo delays and layered tape experiments that the artist made in New York in 1967. While Kosugi's continuously changing spectrum of sound shifts gradually (almost imperceptibly), photocell synthesizers create ultra-low frequencies to disturb the crestless sound waves. The brighter the light is, the harsher the noise becomes.

The yearly festival record of Nachtdigital with great tracks by Kann, Johanna Knuttson, Vai, Manuel Stallbaumer & Stefan Schmidt-Dichte. 4 Collage like pieces of 18-24min each!

A fluid dream logic runs deep in William Fowler Collins' Field Music. The New Mexican composer of dark minimalism has long centered his practices upon the slow burn of the drone through guitar, electronics, etc. That remains the case for Field Music, with Collins extending his strategies through compositional exercises into rhythm and a diverse array of conceptual signposts that push his work along unfixed, sometime oppositional directions. The idea of 'field music' can relate to the archaic use of military drum corps in battle, whose patter Collins has intermingled with the polyrhythms associated with Voodoo ritual. Collins also proposes that the 'field' be defined as the physical self as gleaned from his secular readings of the Bhagavad Gita. The 'field' as the fabric of time and space also becomes a possibility when Collins literally wraps this album in the history of the atomic bomb, as the cover photo portrays the humble ranch where the first nuclear weapon was assembled.

Endlessness is the long-awaited and last instalment of a trilogy of pieces for electric organ by artist Alfredo Costa Monteiro. A follow-up to Umbralia (Triple Bath, 2011) and Insula (Entr'acte, 2014), this third piece is composed by two parts, essentially austere in approach but extremely rich in tonal range, with a strong mesmerizing atmosphere. Through the circularity of their forms, it explores the idea that persistence of time is our measure of infinitude. Ultra-Limited Edition of 250 copies, of which we have only 150 for distribution - order now before it's too late!



Play loud.

After gracing Holger with one of his signature remixes about two years ago (Holger 6: The Moonland Remixes), Barnt now returns with two of his own works, the

rst ones since his widely acclaimed debut LP of 2014.
Side A features an etheral composition in

ve parts - accurately titled »A-Seite 1-5« - while Side B displays Barnt's idosyn- cratic version of techno at its best: »If She Says She Is A Healer, She Is A Healer«. Unmistakably the man from Magazine, yet in surprising new garments - and another perfect match for Holger.

Seminal and much sought after Afro Jazz session recorded in Paris in 1979 featuring Senegalese percussionist Cheikh Tidian, produced by Jean-Paul Rodrigue for his cult Freelance label. The session features saxophone player Jo Maka - leader of the Celestial Communication Orchestra but perhaps best known for his work with Angolan singer Bonga - and regular Steve Lacey collaborator Bobby Few, in a Parisian answer to Black Jazz and Strata East.

Edition Telemark presents the ninth album by this long-running improvisational noise & electro-acoustic project, founded in 1999 and originally called Angel, recently renamed as die ANGEL. It is the duo of German musician Dirk Dresselhaus alias Schneider TM, who has been active in electric and electronic music since the late 80s in various bands and projects ranging from rock music to electro-acoustic improvisation, and Ilpo Väisänen, well-known for his work in Finnish electronic duo Pan Sonic beginning in 1993, as well as, more recently, in a number of solo projects.

die ANGEL's music inhabitates the no man's land between improvised noise and electro-acoustic music, with tracks incorporating processed electronic sounds, instruments, and field recordings. Yön Magneetti Sine is their most stripped-down album to date, completely recorded in July 2017 in Väisänen's cottage near Karttula, Finland. It contains five improvised tracks featuring only processed acoustic signals from two self-built one-string resonance instruments, a spring, and an acoustic guitar. Both one-stringed instruments were built by Väisänen from parts of a weaving loom, a bench, and two barbecue bowls.

All tracks were recorded live without overdubs and, according to Dresselhaus and Väisänen, relate directly to the surrounding landscape and the special atmosphere of the white nights that occur in central and northern Finland during summer. To them, the music heard here is to be called blues, albeit with non-standard instrumentation and structure. Thus, their working title for this album was "The Electro-Acoustic Blues Album". Edition of 300 on blue vinyl in full-colour sleeve with various photos of the recording process and the surroundings.

Dj Bebedera Is A Young Producer Who Hails From Lisbon And One Of The Pioneers Of The Tarraxo Do Gueto / Fodência Style, Which Is The Lisboan Sub-genre Of The Angolan Tarraxinha.

The Tarraxo Do Gueto Is Characterised By Its Languid 90bpm Beats Highlighting The Erotic Side Of Kuduro Music Which Is Surprisingly Known To Few Audiences.

The 2 Labels Bazzerk And Promesses Have Collaborated On A Series Of Two 7" Singles With The Lisboan Producer Which Groups Together 4 Iconic Tracks From The Genre.

In the first part of a two-volume release, Eric Copeland (Black Dice) delivers Trogg Modal Vol. 1. It has been one year since releasing Goofballs and Eric has doubled down on his unique approach to crafting dance music, pushing a sort of 'Freakbeat 4/4' agenda even further than before. Where Goofballs was the first album recorded in its entirety in Eric's current home of Palma de Mallorca, Spain, and the result of countless hours spent working in the studio, Trogg Modal Vol. 1 is a bit less serious and more carefree, with tracks that are propelled forward by a singular, frenzied energy.

Chunky percussive layers, hard steady kicks, and tweaked loopy vocals create a playful vibe that is best described as a tropical-industrial hybrid. The final product comes together via seven succinct, self-described 'rippers,' music created both deliberately and accidentally, and always with a sense of humor that bubbles over and out through the speakers. With Trogg Modal Vol. 2 out in early 2019, this two-part release pulls into focus a vivid and unfamiliar new direction for Eric Copeland.

The Maciunas Ensemble was founded in Eindhoven, The Netherlands, in 1968 as a free improvisational music group that set out to realize the score "Music for Everyman" by Fluxus initiator George Maciunas, which they interpreted as allowing total freedom in the sounds being produced. In the mid-80s, after a number of personnel changes, the group settled on the line-up of artists Paul Panhuysen and Mario van Horrik, musician Jan van Riet, and scientist Leon van Noorden, which remained stable until Panhuysen's death in 2015. The group met and played together on a regular basis, usually improvising on instruments that were at hand and recording every session. Before playing the next session, the previous recording was listened to and discussed. In 1980, the Eindhoven art Initiative Het Apollohuis, also the home of Panhuysen and his family,became their home base, a place that subsequently gained fame for being one of the first and longest-running venues for sound art and experimental music in Europe.

In the recent years, the Maciunas Ensemble has begun to go through its vast archive of recordings and select material for publication that remained unreleased so far. The first bundle of archival recordings, dating from 1968 to 1980, was released on an 11-CD set on Apollo Records in 2012. For their 50th anniversary in 2018, the second part of archival recordings is to be published, its first instalment being this LP on Edition Telemark comprising unreleased tracks recorded between 1982 and 2012. More archival material will be released in digital format by the ensemble.

This LP allows a glimpse into the musical directions the Maciunas Ensemble has been undergoing during those 30 years. Side A features two repetitive, thundering tracks from the early 80s on guitar, piano, and cello, heavily inspired by minimalist rock and post-punk music. Side B contains four shorter tracks, with "Russolution" (1985) played on self-built aluminium monochords, "Stamples" (2002) employing sampled voices, and the other two, from 2009 and 2012, respectively, being improvised tracks on vocals and a number of instruments.

Regular edition of 250 in brown Kraftpak sleeve with printed inner sleeve containing various photos of the ensemble and liner notes by Mark van de Voort and Werner Durand.

Emotional Rescue returns to the music of "dark ambient" pioneers O Yuki Conjugate (OYC) with the reissue of their debut album, 'Scene in Mirage'. Released in 1984, it's post-industrial; cold wave overtures mixed with an ambient oeuvre created a compelling album that has gained cult status.

Recorded in a four-track basement studio in Leeds it showcases two very different sides to their sound. Side E follows the earlier recordings of their debut cassette release "Untitled" (ERC051), with use of analogue drum machines, synthesizers, bass an the ingenious use of tape loops made from audio cassettes stolen from local public libraries.

Side O however, points to the future development of the band with experimental sound collages. Built from percussion, voice, flute and drones created using a home made digital delay with a 1.6 second sampling feature for instant soundscapes. At the touch of a button this was DIY at its core when at the time most samplers cost more than a four-bedroom house in Knightsbridge.
Quickly selling out in its original pressing, inexplicably their record label decided not to re-press, so an expanded cassette version called 'Scene In Mirage/Soundtracks' was re-released on the band's own Final Image label with an accompanying video. Here, Emotional Rescue's re-issue combines the best of both versions in a lovingly recreated sleeve taken from the original design templates.Based around original members Roger Horberry and Andrew Hulme, OYC is now returning in its fourth incarnation with live shows and hopefully, new music to come. Watch the horizon.

Following the recent reissue of Vox Populi!s Aither album, Emotional Rescue further explores the more discerning, esoteric sounds of the French 80s avant-garde scene in coute Visual artist, sound designer, musician, label founder and emotional tree consultant Ramuntcho Matta is a man of shifting, relentless talents. Diagnosed with autism at a young age. Therapy based on yoga and music set him on a path, leading to learn from the likes of composter Cuarteto Cedrn. Discovering avant-music at an early age, he moved to New York to study in the "Third Street School of Music", meeting John Cage and going on to work on projects with Laurie Anderson, Brion Gysin and Don Cherry. His architectural concepts applied to composition were explored on his 3 solo LPs from the 1980s. The middle of these, coute, is possibly his most cohesive, exploring the use of extra-European musicians, especially African and Brazilian percussion, jazz horn playing, as well as Uruguayan singer Elie Meideros. Mexicos Cacau de Queirozs performance on saxophone and flute is stunning, former Gipsy Kings member, Jorge Negrito Trasante attributes much of the LPs Brazilian percussive flavour, while Magmas bassist Jannick Top brings gravitas, including performing a water claps duet alongside Matta on the exquisite O Clapo. As one piece, coute endlessly avoids standard musical formulas, seeking textures of far-flung elements; alchemy against a background of freedom to experiment that would be the theme throughout Mattas career, whether setting up SSR records under the alias Michael Pope or in his more recent output, teaching methodology of doubt

The first legendary Pink fairies album: a real must for all psychedelia and garage fans. Contains 'Do It', 'Heavenly Man' and the manifest-track of the band: 'Uncle Harry's Last Freakout", 10 long minutes of anarchist rock, rich of feedback and acid guitars.

This really was 'proto-punk'!

The packaging is just like the original one, with an external artwork on plastic sleeve.