Beats Novedades

After their stunning debut on ART, electro purveyors LONDON MODULAR ALLIANCE return as they keep up their unstoppable momentum on the contemporary electronic scene. With a slew of high profile live shows behind and in front of them - LMA go from strength to strength as evidenced by this 5 track EP spanning deep, emotive ambience all the way to heavy wobble electro bass. Unmissable!!

This production is a collaborative effort of Jakarta-based DIVISI62 and DISK (Berlin). It features 4 tracks by the constituents of DIVISI62. All artworks were delivered by DIVISI62, the covers were silkscreen-printed in Bandung, Indonesia and the inner sleeves are stamped in Berlin.The approach to rhythm and dramaturgy on all tracks is rather unique and original - and so are the samples used. DIVISI62 draws from the rich musical heritage of Indonesia in terms of rhythm and sound yet the producers are heavily influenced by global club culture and bass-music. This combination adds up for the most intriguing listening experience: Strange virtual spaces mixing with all-too-real ones, creating a hyperreal spacial feel in which musical structures unfold in a highly unpredictable and deeply entrancing way!

Belgium's most praised dubstep label DUPLOC has been consistently releasing two-track singles since 2015. The imprint curated by platform duploc now announces the launch of a new 12" vinyl release series. Catalogued as DUPLOCv001, the first EP features no one less than label resident Hebbe. The Dutch up-and-comer was introduced to DUPLOC in the beginning of 2018 with DUPLOC020, as he was signed to Crucial Recordings and Artikal Music UK short after. Now he returns to the label for the first volume of the new DUPPLATES series.

'Watch Out' is one of Hebbe's most anticipated tracks as a chest-oppressive weighty sub bass rolls through a distorted landscape of cinematic samples and sinister melodies which are constantly progressing. Of course resident ENiGMA Dubz has to be involved in this first instalment as he delivers an incredibly stunning remix, hitting you with pure bassweight and powerful synths. On the flip side, compatriot Melle and the like-minded Mr.K enthusiastically accompany Hebbe to unleash both the bouncing 'Wayside' as well as the murky 'Lemon Twist', two highly overdue cuts. The 'DUPPLATES Vol. 1' is an essential in your record collection and marks a first much promising episode for the next to come on DUPLOC's prestigious series.

* The second vinyl release on Mirae Arts comes courtesy of Michiru Aoyama, a Japanese ambient producer from the quiet seaside city of Kamakura, just south of Tokyo. Michiru Aoyama's music was hand-chosen by legendary composer Ryuichi Sakamoto in 2006 for a Japanese radio audition and he later flew out to Berlin in 2008 to further his studies in electronic music production. Since then, Michiru has released projects on prominent ambient labels such as Organic Industries, taâlem, and Somehow Recordings.

* Michiru Aoyama's Brilliant Days comprises of two long tracks featuring untitled songs that weave in and out of each other. Michiru's signature guitar harmonics are treated with serene electronic filters and met with youthful under-layers of electronic experimentations and glitchy backdrops. Instead of telling a story, Brilliant Days leaves the listener to their own narrative of nostalgic youth, love, and memories. Mastered by James Plotkin.

* 180g vinyl pressed at the highly reputable Gotta Groove Records, Cleveland, Ohio.

* Comes with insert and download code.

Progressive industrial to cinematic ambient, via new beat synth explorations.

New album is split across a series of 4 ltd 12" singles.

Benny Divine's impressive musical CV includes quantities such as The Gary Wrong Group, Wizzard Sleeve and Nashville's prolific purveyor's of Foghat-pop, Natural Child, but it was just a short year ago that Goner gave wide release to the Bênní debut album, I & II, which launched the new sub-genre we now know as 'Hi-NRG New Age' and had its creator casually glancing over his shoulder for the rumored mobs of outraged Skyfax, Mannheim Steamroller and Windham Hill Records loyalists that could never quite catch up to his live performances, as they were not listed in back issues of TV Guide and Reader's Digest: Large Print Editions.

Whereas I & II was, as its title explicitly implicates, the combination of two previously-released cassettes, The Return is a nine-track song-cycle composed for the full-length format. Imagine this album as an alternative historical narrative: not as a source of soundtrack afterthought, but rather the initial spark of inspiration for an entire '70s sub-genre of gritty crime and science fiction films. Additionally, the fuzzy electro-pop chops are just as impressive as the spacey burps and gurgles that made his debut so gripping.

Pivotal Golden Püdel düde and Helena hauff collaborator F#X yields an hour long live-set recorded at +4Bar/Tresor on 16th December 2016 for Nina's roving V I S labelKnown as Chris to his pals, and as both C (with Nika Son), and Black Sites (with Helena Hauff) on discographies, F#X is his solo vehicle for hot-wired, raw and off-kilter electronic grooves, previously found on two tapes sparring with his other alias, E.K.G on his private imprint, 999USD. '9.12+4' is effectively the first F#X release proper and a strong example of his mostly improvised praxis. Over the course of an hour long set, brittle electro drums fray and spray over hypnotic,
gibbering synths and plasmic drones, spooling into piquant, chromatic Braindance melodies and sputtering IDM that sounds like a raw echo of the D'Arcangelo brothers' productions or indeed, a not-so distant relation to Helena Hauff's scuzzy rinsers.

We are both pleased and proud to be releasing a new album by Mayerling, 'Roche'. More than five years have gone by since we collaborated with the talented musician behind the project, Sylvain Bombled - who, like HITD itself, hails from Besançon, France - and put out his first brilliant album 'Cut up'.

It's more electronic and bold than the first album... less traditional, more adventurous. The guitar has given way to synths and other analogue sequencers. As for the vocals, they have all but disappeared, as though the listener should be left to be totally taken in by the beguiling, trippy graphic powers and cinematic quality of the new compositions. These ambient hymns reveal something new to the listener with each playback. The rich production and fine details guide us through arid, solitary lands, striking us like the midday sun in Death Valley.

'In recent years I have been researching old Japanese culture and customs in order to deepen my musical production. I found that, countless times, we still don't see through it as a whole. I am still excited to find that there are many untouched roots yet to be discovered which only motivates me to pursuit my research further.
As I dig deeper, I'm always struck with the general idea that 'everything has its own ground', otherwise known as rigid ideas and concepts.

Indeed, it is important to have a clear ground to explore things from. Especially as our times are overloaded with too much information, things which are spoon fed to us will always be short lived, so for me it becomes a case of those rigid ideas becoming less flexible.

One of the many benefits of computer music is being able to separate it from history/traditions and allowing you to simply enjoy mixing sounds and concepts, regardless of its original meaning. By being free from 'having to' make sense we can make creation much more enjoyable.

When I made this album I put my priority in freedom, rather than being stuck with those rigid ideas and concepts. This way I could really enjoy and get deep into the 'mixology' of it all.
Like my other works, Japanese is always a fundamental motif and I envision it like an imaginary radio drama by adding spontaneous dialogs throughout.

I will be happy if listeners pay attention to these (and other) details and enjoy listening to my work.''
- Sugai Ken, 2018

Tasos Stamou presents his most recent electroacoustic music project 'Musique con Crète'.

The project is the result of a three-year creative research project across Crete (GR). Starting with an artist residency the musician visited the Greek island over the course of three summers, collecting field recordings, performing with local musicians, producing electronic compositions and gathering old records and tapes of traditional music of the region. The project resulted in the assembling of a unique sound collage which reflects his personal experience as a music visitor to this part of the Mediterranean with one of the richest ancient history and living traditions.

Tasos Stamou is an electroacoustic music composer, performer, alternative music technologist and tutor. During a decade of sound performances and recordings Tasos Stamou developed a unique style of live electroacoustic composition. Long and continuous pieces are created live using a 'portable electroacoustic music studio'. His gear consists of acoustic (prepared strings, reeds, objects) and electronic instruments (handmade electronics, modular synthesizer systems soft synths). Based on sustained tonal textures and free improvised instrumental solos, his live compositions create a particular and unique atmosphere of ritual noise. He has collaborated in recording and performing projects with a wide range of free improvisers and sound experimentalists (Adam Bohman, Steve Beresford, Sharon Gal, Alan Wilkinson, London Improvisers Orchestra, Mike Cooper, Andrea Parkins, Kuupuu & Lau Nau, Terry Day, Adachi Tomomi, Ignaz Schick, Magda Mayas, Arma Agharta, Thodoris Ziarkas, etc.).

A. Response & Pliskin remix 'The Flood' by Drum Cypha & Champa B to devastating effect - rolling out with bonecrushing amens, sombre pads and earth-shaking bass resulting in a haunting ambience that will stay with you long after the track has finished.

B1. Champa B goes in on the breaks with the none-can-test riddim of 'Eradicated'. Pinpoint drums and punchy FX roll along until it breaks down into an amen onslaught, sitting atop sludgey hunchback bass squelches and naaasty mid-range growls.

B2. Acid Lab's debut on Holotype is the sublime and aptly titled 'Steamroller'. Opening up with light, Vangelis-esque keys and atmospherics it soon gets down to the nitty with crunchy breaks, powerhouse drum patterns, mentasm echoes and teeth-clattering bass stabs. Cavernous pressure to get the whole dancefloor screwfacing.

After what feels like an unholy passage of time since our first 12" release, Discipline is extremely pleased to announce that we are back in the game with a sequel that, while tonally quite different from our first, should be right up the alleyway of any discerning DJ of expressive, forward-thinking Drum and Bass music. Antagonist's "Cycles" is a cinematic excursion through a carefully sequenced procession of moods, seven and a half minutes of spacious, balanced dynamics, squalling acidic stabs and sparse percussion punctuated by sharp Amen cuts in the final stretch. Cycling through a range of emotions, the carefully crafted delivery, and the gradual emergence and departure of each theme add up to a gloriously coherent statement. The B-side sees Fortune flipping the script with 'Rough Divide', a call and response groove that, as ever in his productions, chucks the map over its shoulder and picks the less obvious paths to meander down.Brooding strings, amniotic sub bass, wind and weather warp into the crackle of records and the warmth of a dying fire, and a sense of real foreboding that resolves into a payoff so satisfying you'd get a lump in your throat thinking of the whole entire hordes of DJ's who don't have the patience or the confidence to play more than two minutes of any given tune.
We hope you enjoy this record as much as we are proud of it, and we hope you will take the time to appreciate these pieces of music for what they are.

Gamelan and capoeira in dub. The collective behind this doesn't like to talk much but their music is beautifully conversational. De Leon is the most organic and percussive of their shifting identities, developed on their Aught project in small-run, clear-shell cassette tape releases over the last few years.They've appreciated a cult interest for their takes on outernational rhythm, field recording, and the tension and relief on the knife-edge of dance music; all delivered with an impressive commitment to anonymity and clarity of vision through cut-and-dried aesthetic minimalism.These six pieces of music seem formed from wood, metal, air. Dramatic, balletic flourishes and tightly woven interlocking patterns are embedded in slowly changing and "live" atmospheres. The shadow of a hand over the mixing desk makes gradual adjustments to alter the pressure and dimension of the space.Lean, organic, percussive, warmly engaging. A cracker. Bim.

At long last! We're delighted to present a hypnotic time-capsule courtesy of Dissmentado aka Ismael Pinkler from Carisma and Kompakt collaborator, Máximo Graesse Bondino.

Recorded during summer trips in Buenos Aires and spending autumn in Tromso, Norway between 2006 - 2010, Maximo and Ismael met several times during that period and used friends houses and studios to produce a long list of material, selecting later the best of it for this compilation.

The tracks are long and slow, with deep and moving beats and long background sounds dedicated to warm up dreamers and after hour survivors.

The elements develop their movements in a relaxed way through the tracks creating a loose feel. Every beat was played with their hands and there is no arpeggiated melodies to remind you where the ground is.

The release is complemented by a beautiful artwork by the supremely talented Glasgow-based artist, Rosie McGurn

There is some serious music coming out of NZ right now and has been for a while and these tracks are of no exception. This EP has a very sonically pleasing sound about it all coated with an industrial vibe. From a main room club banger right through to the early morning dark twisted "I have had way too much of a good night" tracks this EP really does push the boundaries and brings something new and refreshing to the table

UVB-76 Music's latest offering ushers in new blood to the camp in the form of Stave. The Chicago resident's 'ATK' EP sees the tempo submerge to lower depths and the pressure intensify amidst the harsh dynamics and sonic battery that the label is now synonymous for. A four track rhythmic cavort that plays the urge to dance and the allure of subversive nature. plays on*

hand-numbered clear mint vinyl LP in spray-painted sleeve limited to 200 copies (comes in different coloured sleeve, we cannot guarantee which one you will receive)

A lucid, dynamic, atmospheric trip through consciousness, incorporating an incredible range of texture, tone, and three-dimensional space. This is a glimpse into the most emotive, most personal of Dead Fader's extensive work. There are delicate moments of introspection, furtive agitation, and exuberance, all tightly interwoven into a singular, enthralling whole.

SUNANDBASS ambassador FD returns for his latest EP to guide you back to familiar shores ready for our annual celebration in Sardinia. Rich and expressive music that works on the danceoor can be hard to nd but FD brings the goodness once again, with this diverse three-tracker.

'All Yours' hits the sweet spot straight away, with dusky vocals and tight beats. Deft guitar licks keep the funk uid, wrapping around an essential groove, whilst crystal keys shimmer in the heat haze. An ace opener to any set, this track strikes a rare balance between rhythm and elegance.

Flipping the script with an ice-cold intro, 'Second Villain' creeps up close and personal before dropping a murderous bassline on your chest. Produced alongside one of Switzerland's most respected DJs, Ryck, the 'Villain' encompasses and embraces inuences from Jungle and Drum & Bass alike.

Finalising the ninth release on SUNANDBASS Recordings is 'Wah Wah Track', which puts the music rst to prove that the medium really is the message here. Melodic layers rise and fall like waves on this classy and uplifting piece of future soul music.

G.I. Gurdjieff was an Armenian and Greek philosopher, spiritual teacher, and musician, whose teachings of The Fourth Way influenced thousands worldwide and created communities that still exist to this day. His goal was to teach humans to reach a higher consciousness out of the "waking sleep" he considered most to be living in. Music was an important part of his teachings and these brilliant harmonium improvisations were recorded in 1949 in Paris, just a short time before his death. Droning and ethereal, these beautiful pieces mark a pinnacle in the work of a legend of human spirituality.

EIMERT, HERBERT - EPITAPH FÜR AIKICHI KUBOYAMA/SECHS STUDIEN
Herbert Eimert was a German music renaissance man, with his expertise ranging from theory to composition, editing, radio production, and criticism. He wrote numerous books on music theory, worked for years at the British occupational forces run Nordwestdeutscher Rundfunk. It was there in 1951 that he established a studio for electronic music that he ran until 1961, which hosted recordings from Stockhausen, Xenakis, and Cardew, among others. This brilliant work begins on side A with 'Epitaph Für Aikichi Kuboyama', a brilliant piece of voice and electronics dedicated to a Japanese fishing boat radioman, who lost his life from complications related to radiation poisoning in 1954, after the ship he worked on was contaminated from fallout after the USA's nuclear testing at Bikini atoll. In addition to being a brilliant piece of electronic musique concrete, it is a damning indictment of nuclear warfare, as prescient now as it was during The Cold War. Side B is made up of six studies in electronic music, showcasing Eimert's talents which are as impressive as his more famous contemporaries. Essential early electronic music.

Returning to the boards after a strong label showing in fall 2013, boss man Liondub is back for the first time on the label since 2009 featuring NYC's Jahdan Blakkamore and Trinidadian fire starter Metric Man. Fans of the label will surely remember the 2009 smash 'The General', another collaboration between Jahdan and LionDub and truly a massive tune that ignited dance floors and radio sets worldwide. The pair returns here with more fire, but they have both been busy since, with Jahdan earning writing credits and a Grammy nomination on the Snoop Lion album and LionDub busy with his infamous Wednesday night Koollondon radio show and touring spreading the
word both on the streets of NYC and around the world. 'Money Me Say' features Jahdan on the chorus with the lively chat of the pair on the verses and a heavy dread skank as they graphically describe the struggle and the everyday hustle to stay alive.
Returning to round out the package are Liondub International veterans Noah D and Marcus Visionary. Both blessed remixes of the General in 2009 and return, hitting hard once again. Noah D flips the track in an even heavier version, referencing Bristol's purple sound in his keyboard production; portions of the vocals are kept in place, but more as samples than the fluid narrative of the original, with the dramatic production contours maintaining tension and modern day trap influences resonating throughout. Even more transformative is Marcus Visionary's slow jungle remix, which strips most of the original away and deploys only the chorus and short vocal snippets over an entirely new backing track in Visionary's signature style with heavy sub bass and classic breakbeat pressure. This is the first of a series of releases from Liondub featuring Jahdan and Metric man, and if this is any indication, this is a project well worth watching closely. Full marketing campaign Radio and club support from 6Blocc, Aries, Bassnectar, Daddy Skitz, Freq Nasty, Gold Dubs, Jinx In Dub, Joe Nice, Stagga, Rompa, Steve Barker, Schlactofbronx.

'La Camera Astratta' is the result of the amazing collaboration between Piero Milesi and Daniel Bacalov with the experimental theatre-performance of Studio Azzurro and Giorgio Barberio Corsetti. A presentation of immersion in a dimension devoid of gravity, concerning a soft, ethereal, articulated and perfectly interpenetrated reality. It's an evocative ambient soundtrack, with rhythmic cadences, soft and repetitive, full of airiness; the music expresses the scenic aims and investigates and reproduces their sensations, marking the engendering of silences and melting moments of higher performing tension. The general architecture reaches a balanced combination between the whispering power of the voices, the electronic modulations, the rhythmic inserts and the aquatic and biological samples; each of those elements analyze the narrative intention of an almost microcosmic-embryonic exploration of the inner space-body. A creative music work of which the stylistic form proves persuasive for its possible fabulous nocturnal suggestions and for its vibrational quality that concerns psychophysical involvement; a calm meditative experience that invites us to quietness and to the fading union of something that was previously split and broken within us.

Scored for Maurice Béjart's choreography to the 'Orphée Ballet', based on the Greek god Orpheus, this is one of Pierre Henry's finest works of musique concrète, the genre in which Henry was an early innovator and to which he devoted his career. After years working for the French national radio (RTF) and honing his studio chops on radio spots and editing/composition, Henry formed his own studio in 1958 and began working on modern dance and ballet and soundtrack work. Incorporating percussion, industrial soundscapes, nature sounds, spoken French narrative, and synthesized tones, 'Orphée Ballet' is a beautiful piece that, while less known than what is perhaps his most famous work, also for Béjart's ballet production, 1967's 'Les Jerks Électroniques De La Messe Pour Le Temps Présent Et Musiques Concrètes Pour Maurice Béjart', is equally compelling and groundbreaking. Following his passing in 2017 at age 89, Henry's work has found renewed interest, and this is a welcome reissue of one of his rarest and finest works. Truly brilliant.

The third episode of the alchemical association between Roberto Musci and Giovanni Venosta, reprinted for the first time by Soave Records in an elegant edition in double vinyl in gatefold cover. This work seems to be even more enigmatic than the previous ones. The "plunderphonics" style of the compositional process, significant to allowing a technical experimentalism of inexhaustible variety of materials used (compendium of sounds, harmonies, ethnic timbres) and the infinite possibilities of assembly between non-sense and provocation, still remains. We are almost stimulated to guess - in the articulated sound architectures of the tracks - every single fragment of popular or cultured music from every part of the world (Asia, Africa, Middle East, South America) related to the ad hoc inserts of polyphonic instrumentation distorted and dazed. The music expressed is basically a polyhedral pataphysical gaze on the complexity of the existing, an immersion in the contradictory forces of reality; the attentive listener will be able to recognize the tortuous and magical lines of a free and imaginative artistic creation, which is absolutely counter-current and unconventional.

Killer Smile is an independent multi-genre record label, created by UK-based producer John Morrow (Foul Play, 4 Horsemen of the Apocalypse, Johnny Halo, Skeleton Army) and lifelong friend and electronic music veteran Darran Juzyk. The first release on label Killer Smile comes from its founder and ex Foul Play member John Morrow aka Skeleton Army. The "Catchy Schisms EP" features four eclectic tracks firmly rooted in leftfield territory. Vague pads, swarming electronics, deep bass tones and off kilter drum tracks mark a distinct change in style from previous house based Skeleton Army releases. This is John back in experimental mode, not afraid to take a few risks and avoiding traditional dance floor constraints.

Obscure producer from Newcastle, The Jaffa Kid in full emotional dnb-jungle motion. Ace!
for fans of UK jungle golden years, Dj Guy, Boards of Canada etc..

Superb compilation of modern ambient/minimal electronics featuring exclusive tracks from a wealth of current talent inc. H. Takahashi, David Edren (aka DSR Lines), Miaux (Ultra Eczema) , Kuupuu (Em Records) Nuslux (Keijut) & Olli Aarni. Finnish Label collab between LAL LAL & IKUISUUS. Tip!
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Neptunalia, a festival of Neptune, celebrated at Rome, of which very little is known. The day on which it was held, was probably the 23rd of July. The festival was celebrated with games. Respecting the ceremonies of this festival nothing is known, except that the people used to build huts of branches and foliage, in which they probably feasted, drank, and amused themselves

Glasgow's Wheelman provides the tenth iteration of DBA's Dubs series, following a series of high profile releases on Huntleys & Palmers, Studio Barnhus, and his own Stereotone label. Signal is Wheelman's most ambitious effort to date, its searing amen stabs and deep sub bass guaranteed to wreck any club, while floating pads and crystalline strings add a bittersweet moment of rave nostalgia to the breakdown.

On the flip, in line with the DBA Dubs concept of pairing a house track from an up and coming UK producer with a remix by an established techno name from across the pond, Detroit In Effect provide a cold, bleep-drenched take which raises the tempo of Wheelman's original to an almost breakneck speed. D.I.E, also known as Cybonix, were prolific throughout the late 90s and early 00s on their own M.A.P. label and more recently on Rotterdam's Clone.

To coincide with the release of the tenth edition in the DBA Dubs series the label are also making all ten original tracks available as a digital package, while all ten of the remixes from the series get their own bundle, with Wheelman and Basic Soul Unit providing a megamix of each edition respectively.

Ceremony in the Stillness is the new album from A-Sun Amissa - released September 14th via Gizeh Records and Consouling Sounds.

For its fourth full-length, A-Sun Amissa plunges deeper than before. Guitars come to the fore. Heavy, distorted chords are present from the off, complemented by desolate ambient passages of sound. The claustrophobic atmospheres remain but combine with a new density and sonic experimentation to present a huge leap forward in structure and composition.

Ceremony in the Stillness hints at themes from the previous three outings while very much pushing the project into new territories. The intricate nuances and lulling melodies from Desperate in Her Heavy Sleep (2012) reappear while the billowing guitars of You Stood Up For Victory, We Stood up For Less (2013) are referenced throughout. In comparison to 2017's The Gatherer it's clear there is a firmer direction in the song-writing as the album weaves through elements of doom, dark ambient and post-rock, placing its very own unique mark firmly into the ears of the listener.

A-Sun Amissa is the project of Richard Knox (founder of Gizeh Records and member of The Rustle of the Stars, Shield Patterns and Glissando) and while Knox takes the central role on Ceremony in the Stillness, again we see several collaborators contributing to the record.

As album opener The Black Path unfurls, the cello of Jo Quail creeps through the thick wall of guitar to offer a moment of calm before the song comes to life with the introduction of drums (from Archelon's TJ Fairfax) for the first time on a A-Sun Amissa record. Alongside a dense and hypnotically repetitive riff, it's A-Sun Amissa's heaviest moment to date as the song collapses under its own weight to leave a crumbling and uneasy passage of cello and guitar drone. Intertwining guitars take centre stage on the melancholic With Wearied Eyes as the atmosphere harks back to the debut album, before the hefty guitar riffs return on To the Ashes. The Skulk reminisces on The Gatherer as David McLean's saxophone unravels around the ondes Martenot of Christine Ott amongst a shifting tide of oscillators and drones. The record then takes a turn as No Perception of Light's soporific opening gives way to a mesmerising beat and bassline, developing into a wall of crunching guitars and electronics. The closer, Remembrancer, features chiming guitars, conversing over bowed strings, the melancholy returning again as an enveloping, haunting orchestral outro brings the record to a conclusion.

Whether Ceremony in the Stillness represents a permanent shift in direction for A-Sun Amissa remains to be seen. What's clear is that Knox is comfortable being on the outside looking in, and on expanding A-Sun Amissa's palette of sounds even further it only adds to the intrigue of what comes next.

Alucidnation is the audio project of Bruce Bickerton.

He's been writing and producing music since he started building up his studio equipment in the heady days of the early 1990s.

Bruce's first 'proper' job was as a studio tape op, engineer and producer, and this experience has subsequently laid a solid foundation for his future music career.

The music of alucidnation played a key role in the Big Chill, the UK's first 'boutique' music festival. Bruce performed and DJ'd at pretty much every Big Chill event between 2000 and 2010, gigging in countries such as Greece, India, Japan, Korea etc. These were all significant events because they planted seeds which have since flourished worldwide. In hindsight, The Big Chill festivals represent an inspiring highpoint for music, DIY culture and live electronica-based audio performances. Bruce released two critically acclaimed albums on Big Chill Recordings; 'Induction' and 'Get Lost'. The label also released two alucidnation EPs, simply titled 'ep:01' and 'ep:02'. Bruce also undertook mixing and blending duties on The Big Chill's award-winning 'Glisten' compilation, released back in 2001.

Bruce signed his third long-player to Interchill, releasing 'Aural Architecture' in late 2013, along with a third EP, called 'ep:03', which contained remixes by scene stalwarts The Irresistible Force, Greg Hunter and Another Fine Day.

Bruce has continued to compose classic chill out and electronica, where the melodies are central and prevailing themes are calming, centred and mellow. Once he's managed to capture the sound and elements he's after (usually after the immediacy of a first take), he flattens the board - which prevents any temptation to revisit or recycle later on. It's a punk methodology which seems to work.

The new release 'Paracosmic' is imbued with the same principles and production values that have informed his large back catalogue. It's primarily an analogue affair, utilizing live takes & favouring his arsenal of old Roland synthesizers, outboard effects and 'proper' instrumentation. Bruce tends to shy away from computer plugins and fancy gimmickry - consequently this new album is whoozy with timeless electronica.

We are happy to announce Andre Bratten's 12' trilogy! Each 12' edition of 300, no re-press. First out is Un and Pax Americana.

In tip-on sleeve with Japanese obi, insert and postcard. Handmade edition of Painted Screens - designed & assembled at Impression Lointaine, signed on the back.

Music box: intimate music with a large palette of instruments; voices and sounds, mixed feelings and mysteries...A window opened on travelling memories, half-awakened thoughts and shared moments - dreamed and nocturnal wandering atmospheres, with undulating rays sporadically lighting a subconscious painting.

Originally released in 2014 on cassette, newly remastered for this vinyl edition, Andrew Chalk plays musical arrangements along with Federico Durand, Daisuke & Naoko Suzuki, Francis Plagne & Timo Van Luijk.

AUDREY CHEN's long-awaited new solo album "Runt Vigor" is an adventurous sonic exploration of the voice, cello and analog electronics.

AUDREY CHEN began her relationship with sound through the cello and voice over 30 years ago and since the past 15 years, her predominant focus has been her solo work, joining together the extended and inherent vocabularies of the cello, voice and analog electronics.

More recently, she has begun to shift back towards the exploration of the voice as a primary instrument, delving even more deeply into her own version of narrative and non-linear storytelling. She derives her sound material in continuous process, championing the "in-between" and overlooked. Regardless of instrument, CHEN's mode of experimentation touches both the abstractly beautiful and the aggressively unsettling, creating a kind of curiously imagined architecture, non-prosaic song or ritual that reaches beyond gravity or language.

Recent projects, aside from performing solo, includeher long running voices duo with PHIL MINTON, duos HISS & VISCERA with modular synth player RICHARD SCOTT, BEAM SPLITTER with Norwegian trombonist HENRIK MUNKEBY NØRSTEBØ, and the "romantic noise duo" AFTERBURNER with DORON SADJA (electronics/light projection). Past projects include work with German conceptual artist JOHN BOCK, a duo with NYC abstract turntablist MARIA CHAVEZ, and a quartet with NATE WOOLEY, C. SPENCER YEH and TODD CARTER that released a LP on MONOTYPE. Hernew projects include a double duo/quartet with BEAM SPLITTER and STREIFENJUNKO's, EIVIND LØNNING and ESPEN REINERTSEN and MOPCUT with LUKAS KÖNIG and JULIEN DESPREZ.

David Holmes was drawn to DIE HEXEN by their 'magical sensibility that has both shades of dark and light, which is something that always appeals to me in music'. After featuring in his edition of the famed Late Night Tales compilation with a take on the original suicide song 'Gloomy Sunday', DIE HEXEN returns to expand upon their dark ambient journey towards transcendence with an eagerly awaited debut album.

DIE HEXEN's genre eschewing synth driven compositions draw inspiration from the disturbing beauty of Hieronymus Bosch's artwork and several brushes with death, evoking a spirit who traverses realms of the underworld to bring forth knowledge of an Ancient past and in doing so, to reveal the not so distant future.

The Garden of Unearthly Delights transports the listener through strange visions of darkness, beauty, creation, destruction, death & rebirth. An exorcism of body, gender, tribe towards a place of ultimate transcendence.

Somewhat of a polymath, DIE HEXEN has already shown their prowess with live performances part music/part performance art spectacle, as an avant-garde filmmaker and as an award-winning multi-instrumentalist, sound designer and film scorer.

DIE HEXEN's divergent interests from Japanese Butoh theatre to Wiccanism, Shamanism, celestial mysticism and time travel informs their method, as they explain themself; 'The compositions I write are not written, at least not by me. They appear to me as audio/visual hallucinations. I can hear, visualise, and feel the whole composition before me. My hands know instinctively what notes to play and like a stream of consciousness, voices emerge. Having suffered severe head trauma that resulted in a heightening of the senses, the theme of death is an increasingly present theme in my work. With this, my perception of death and what is beyond changes as I contort between this world and the next physically and mentally, musically and visually. Working with music or film, my vision is one. The calling to express these auditory hallucinations is inevitable'.

The aesthetics of this EP is related to the universe electro / idm early 90's by a choice of very precise synthesizer. P6, Sh- 101, Tb-303, Tr-808 and to coordinate the whole an RS7000 which comes to rhythm this refusal of modernity. Foreign sequence digs into the techniques of the past to find the answers, he shows his know-how here and uses it to express a multitude of emotions between nostalgia and optimism.

Serum, Bladerunner and Voltage take no prisoners with their debut EP as the triple hitting force Kings Of The Rollers. The drum & bass royalty have smacked this one out the park with the aptly named 'Rave Alarm' EP. Stay alert Cerberus, there's a new three-headed beast in town.

Kinobe scored one of the biggest chill-out club hits of the Noughties, the deathless 'Slip Into Something More Comfortable'. Known from dancefloors, club backrooms, bars, radio spins, Café del Mar compilations and TV spots the world over - most famously the 'femme fatale' Kronenbourg beer advert - 'Slip...' established the duo at the forefront of a scene that still includes Groove Armada, Air, Röyksopp and Zero 7. Now Kinobe are back in a big way. Founder member and songwriter Julius Waters is now joined by Chuck Norman, multi-instrumentalist, producer and programmer who has worked with the Pet Shop Boys, Peter Gabriel and Robbie Williams. Norman has beefed up the classic Kinobe sound, while adding a pop sensibility to a raft of sparkling new material destined to soundtrack 2018 and beyond. On August 31st 2018 comes Golden Age, the first Kinobe album in 9 years. Lead single 'Little Words' might just be one of the tunes of year, a Donny Hathaway-esque, soulful slice of too-slow-to-disco that nods towards 60s hipster groovy. At once instantly familiar and brand new, a heartfelt three-and-a-half-minute pop-dance floorfiller - with a hook once heard, never forgotten. Elsewhere the Stephen Hague mixed 'End Of The Road' is a huge gospel-tinged ballad destined to own daytime radio, 'Skyhigh' is a gorgeously haunting sundowner, 'Heartstring' is all cosmic soundtrack strings while 'Sunray' is Kinobe at their very best, with its irresistible hooks, washes of melody and downtempo beats. Golden Age is shaping up to be the chilled album of the year, a thirteen-track soundscape of sparkling songs and idiosyncratic instrumentals that is vintage Kinobe. With live shows and festival appearances planned through the rest of the year, the return of Kinobe is only just beginning. Welcome to the Golden Age.

Following the release of his collaborative EP with Arovane on Apollo Records, Synkro is proud to present the first release on his own label Synkro Musik. Despite having come up during the dubstep era McBride's music has always resisted easy classification - 'Luminous' sees him shift his musical focus back towards the Autonomic / ambient drum & bass sound of his early works for Apollo & Exit Records, backed with a killer remix from drumfunk legend & good friend Dev Paradox.

"This takes me back! 1991... Joe, Damo and I used to hit every Biology at the docks. We were young and skint, but somehow managed to always make it to the rave. We were so up for it! The vibes were sick... good music... best mates... and the ecstasy... mannn those little fuckers (Damo from Carlton north, if you ever listen to this on here, hit me up brother!). I'm a family man in my 40s now but this music takes me back to my 20s, I close my eyes and I can still feel the rush, the heat of everyone crammed into those warehouses and the huge, stupid grin on my face.'

Fierce Detroit influenced soul drenched techno by label boss Jose Cabrera.

Identified Patient & Sophie Du Palais / Randstad / Mitchell Goor / Stevie Whisper.
Amsterdam / London / Rotterdam / Beograd
A untitled tale of feminism, broken hearts and futurism.

The long awaited third release from TRUSIK Recordings welcomes Chestplate and Crucial Recordings artist Mesck into the TRUSIK fold. This time it felt appropriate that the breadth of Mesck's work be highlighted for full display.

The Doomsayer EP features three original tunes, a collaboration with up and coming producer Kali, and original artwork from Mesck himself for the release. Across the length of the Doomsayer EP, the now Colorado based artist showcases his hyper detailed and neon-lit take on dubstep as the soundtrack for the end times.

'Doomsayer' leads us towards the road to hell, the unwashed flagellants of LA clogging the streets with something malignant as the hills of Ventura County burn to cinder and ash. 'Psychodrama' coaxes the tendrils from an awful nebula, breaking the smog-encrusted skyline — its squirming melody burrowing itself further into the mind in an effort to agitate psychotic behavior.

As the melody of 'Psychodrama' disjoins the barrier between rationality and insanity, 'Ill Behavior' sees the whole of Los Angeles lose themselves into a frenzied and wanton rage. The gnashing of teeth, the pulling of hair, the gouging of eyes and the boiling of skin as the Kali Yuga consummates. As the City of Angels takes its final gasps, 'Pills & Chains' shepherds the wretched survivors across the highways choked with burned-out car hulks towards the sulfuric gate.

Ploy returns for his third solo Timedance record, the 14th release on the label. The London producer is in absolute banger mode for this one, get ready to see this one tear up dancefloors across the world. Combining ideas from his previous, more cerebral records, Ploy finds his stride with these frenetic gunfinga-ready assaults, both as fun and playful as they are playful and rude.

Sixth EP on FireScope Records the new sub label of the legendary B12 Records. This release is by B12 Ft Yonii, UK techno fused with wonderful pure and beautiful vocals.

B12 Established early 90's with a multitude of releases appearing on Warp Records UK, B12 Records, Soma Records, Delsin Records, FireScope Records, ART , Buzz, De:Tuned

The EP entitled In Vain is the first EP featuring B12 and the wonderful singer songwriter Yonii. These are real songs, with real meanings and are the the result of a pure and wonderful collaboration. The tracks tell a story, and with open ears and heart they will deliver the message clearly
'Sympathy' A very acoustic sounding drum and percussion arrangement held together with glorious B12 esq Pads is the opener here. The vocals elevate this track to another level, with a dangerous equilibrium of vulnerability and distain.
'Shotgun' Straight in with a heavy synth baseline and lyrics. A menacing track featuring a vocal that floats effortlessly on a downtempo B12 vibe. An exposed interplay of rhythmic melodies and dark imagery.
'Moth' A busy beat and synth driven backdrop provide the platform for Yonii to tell her story of love and pain. Is it all in Vain Why must we gravitate towards the flame that ultimately extinguishes us....
'Sympathy (Beatz)' & 'Moth (Beatz)' Just the Beatz of the main tracks :-)
Finished in glorious white and green splatter vinyl with exclusive full colour artwork by the wonderful Catherine Prendergast AKA Cellar Door

Dom & Roland's Label has gone from strength to strength from its conception in 2006. Featuring collaborations by Dom with other Artists such as Noisia, Hive and Amon Tobin the label has continued to push sonic boundaries whilst staying true to it's ethos of 'not selling out'. It is currently in A ' Dubs from the Dungeons' Phase releasing sought after unreleased music from the 90's from various accomplished artists every month on limited edition gold vinyl.

* YOU - DILLINJA

This technical amen smasher surfaced just before the blue note era. Highlighting Dillinja's untouchable production prowess, this is inspired breakbeat and bass wizardry at its pinnacle. Previously unreleased, It has been beautifully remastered from Digital Tape to sound as powerful as it did thumping out of the Metalheadz dub sound system in Hoxton square in 1997.

* KING OF THE BEATS - DILLINJA

One of Dillinja's DJ tools created for the A-list in the mid nineties! A masterfully simple yet effective arrangement of body blowing power. Guaranteed to knock drinks of speakers and make Rizlas dance on tables!

* DJ PLAY: Jumping Jack Frost, DJ Lee, Bryan G, Fabio, Grooverider, Peshay, Loxi, Andy C, Break, Fierce, Doc Scott, Dbridge, Goldie, Ant TC1, Gridlok, Marcus Intalex, SB81, Ulterior Motive, Noisia.

Mako and Villem join forces once again for their brand new single forthcoming on Horizons Music, where the pioneering collaborative duo will demonstrate why they've been championed across the scene for well over a decade now. Always keeping it inherently underground, both producers have earned their stripes over the years, delivering slice after slice of fresh, beautifully woven music whilst pushing their own individual careers and setting themselves up as two of the most influential figures within the underground scene. And Horizons Music is just as crucial to the drum & bass scene, having dropped a number of sonic imagings which have captivated audiences across club spaces globally. With Mako already gracing the back catalogues of labels such as Metalheadz, Symmetry and Dispatch, alongside Villem's releases on Spearhead Records, Mako's own Utopia Music and Metalheadz, their history has proven to be an impenetrable force.'Beggin U' and 'Schachror' realign their listener with the reasons why Mako and Villem have long been heralded as greats within their sphere. The intricately laid out vocals of 'Beggin U' drift through the record's intro, slowly building the way for its rolling percussion and carefully defined breaks. Zipping bass layers and cranking drums take you through the motions, allowing you to bask in the tracks formations segment after segment. 'Beggin U' presents the centrepiece of Horizons' ethos. And that's scrupulously crafted records without limitations.Next up, 'Schachror' delivers the same levels of production prowess, again bringing together the might of two legends for a track which resonates across drum & bass fans both old and new. Whilst its intro remains foreboding, the track begins to fall into ethereal atmospherics and meticulously placed bass notes, as you're drawn deeply into a dreamy landscape. Mako's signature is peppered throughout 'Schachror', whilst Villem's expert craftsmanship is clear to see from the track's dark complexity. Horizons Music have again struck gold; although with such a groundbreaking roster and back catalogue, it's hard to see how they'd be unable to add to this, having kept up their reputation. This is why their sound is so identifiable, years on from their first release.

Goatherder is the seventh album from underground London producer Kristian Craig Robinson, AKA Capitol K. This ace manipulator of audio and punk warlord of groove has crossed a tapestry of styles and approaches with his own secret compass since 1998.

Along with everything from Chinese pop to the marching band music of the United Arab Emirates in his early musical vocabulary, the influence of rave, new wave, grunge, and noise-core would collide to create a bold new sound. His early studio experiments gave birth to his debut, Sounds of the Empire (Planet Mu, 1999) built upon a heady balance of samples and live sources that placed Capitol K at the forefront of the UK's electronic scene. The follow-up, 2002's Island Row, was released via XL Records, with lead single Pillow becoming a daytime Radio 1 crossover. Nomad Junk (2005) combined Asian field recordings into a vibrant psychedelic collage, while Notes From: Life On The Wire With A Wrecking Ball (2008) paid homage to London's squats and free anarchistic artistic spaces of which K was a part for many years. Andean Dub (2012) was an exploratory South American-influenced album of heavy synth laden cumbia sound system tracks.

The last seven years have seen Capitol K's stature as a producer elevated with his establishment of the renowned Total Refreshment Studio and recording work with musicians such as the Mercury Music prize nominated The Comet Is Coming, global dance act Ibibio Sound Machine (Merge), the pan-Arabic Flamingods (Moshi Moshi), Serafina Steer and her BAS JAN project, and contemporary folk artist Rozi Plain, among many more.

This latest work was developed and recorded in his native Malta, where he built a studio in a cave (a former goat stable). K gathered bamboo instruments collected around the world, including an ancient Quecha reeded pipe (his new-found lead instrument), and various resonating vessels and percussive objects including dry fennel storks collected from Punic troglodyte sites, and atonal flutes built from fresh cut farmland reed. Ritualistic improvisations took place over a series of seasonal visits, awakening genetic memory and plant communication.

Back in London the tracks were interfaced and expanded with post-industrial machine beat and bass guitar lock down. Homage is paid to New Age synthscapes, while a Spirit Jazz overtone arrives from K's recent years as the sonic muscle behind a plethora of luminous albums born in his Total Refreshment Studio. Goatherder follows on from the 2016 collaborative incarnation LOOSE MEAT and sonically abridges 2012's Capitol K album Andean Dub.

Outside of studio production and his solo repertoire as Capitol K, Kristian has toured as guest musician with multiple bands over the last 15 years, including Brazil's Cibelle (Crammed Discs), Archie Bronson Outfit (Domino) (whom he also co-produced), and recently Du Blonde (Mute Records).

His last project, Loose Meat, was a collaborative album of poetic dance music received lots of radio play in the UK and toured across the country for a year, performing a number of festivals.

He established the Faith and Industry record label which handled his subsequent releases and through which now he releases a number of other artists that he develops and produces.

Enigma - Le Roi Est Mort, Vive Le Roi

Brooklyn trio Forma's latest LP continues their mission to 'broaden the idea of what an electronic music ensemble can sound like.' Semblance emerged from exploratory sessions at The Schoolhouse, the Bushwick loft where members Mark Dwinell and John Also Bennett live, then was tracked at Gary's Electric studios, where their previous album Physicalist was also recorded.
Inspired by polyrhythmic composition, the human voice, and conceptual improvisation strategies, the songs are striking in their textural detail and emotional nuance, alternately synthetic and sentient, futuristic and intuitive. Incorporating flute, piano, guitar, saxophone, acoustic drums and cymbals alongside an array of synthesizers, the record persuasively demonstrates the group's unique playing abilities and fluid chemistry - attributes they credit to 'techniques we've developed to trick our electronic machines into mimicking the spontaneous character of live instruments.'
Members George and John Also Bennett also cite as an influence their recent stint in minimalist composer Jon Gibson's ensemble, performing his 1973 proto-ambient masterwork Visitations. The long- form modal piece requires restraint and deep listening to execute, qualities especially apparent in the more muted moments of Semblance, such as 'Rebreather' and 'New City.'
The group states the intent of the new album as 'to be more direct and exacting', which it is. Over half a decade spent writing and recording together has distilled Forma's hybrid electro-acoustic interplay into an attuned and astounding language, capable of articulating impossible symmetries and reflective states.
The stunning visuals of the artwork are by frequent collaborator of the group Peter Burr.

Dark minimal synth electronics & experimental sounds by LOS INICIADOS, a mysterious project - highly influenced by The Residents - related to legendary Spanish synth-pop band AVIADOR DRO.

This is their rare and sought-after second album, originally released in 1983 on the DRO label as the soundtrack to a puppet stage play, based on ALFRED JARRY'S 'UBU ROI'.

'Trumping The Body's lumpen collaboration with The Haxan Cloak and Dylan Carlson's slightly underwhelming sides with The Bug by a country mile. '
THE QUIETUS on 'Mirrors For Psychic Warfare'...

"Kelly and Parker deal in a form of debased, defeated industrial future-folk, a zoned-out space cluttered with crunching metallic debris. Some of the quieter moments skirt the dreaded dark ambient category - but that subgenre always seems to suggest hokey cyberdelic techno-sabbats or the Hellraiser sequel in which chief Cenobite Pinhead sashays around on a spaceship. By contrast Mirrors For Psychic Warfare seed concerns about depleted stocks of tinned food and the likelihood of typhoid.' - WIRE

Claustrophobic sudor that evokes all you held dear from Skinny Puppy, Foetus, Godflesh, Swans..It's been three rough years since Mirrors for Psychic Warfare sprang into existence with their startling self titled debut, but don't think for a second that the time was spent idle.

This unit (comprised of Neurosis' Scott Kelly and Producer Sanford Parker) constructed an even more unnerving and destructive record with 'I See What I Became,' I know, hard to believe.

Over the course of these eight bile-rich pieces a sonic abattoir is erected, exploited, and razed. Turbulence rises and churns giving way to rhythmic machinations, lights flicker, a grand mal/guignol seizure besets a frog-headed snitch, blood collects in a stainless steel gutter.

There's nothing fun here, nothing but the cold of an autopsy followed by the heat of a crematorium. A sliver of galvanized bone flies from a circular saw into the toothless maw of a streetwalking Kali Yuga. Good or bad, I'm not sure what we did to deserve this. Aesop Dekker July 9, 2018

'Trumping The Body's lumpen collaboration with The Haxan Cloak and Dylan Carlson's slightly underwhelming sides with The Bug by a country mile. '
THE QUIETUS on 'Mirrors For Psychic Warfare'...

"Kelly and Parker deal in a form of debased, defeated industrial future-folk, a zoned-out space cluttered with crunching metallic debris. Some of the quieter moments skirt the dreaded dark ambient category - but that subgenre always seems to suggest hokey cyberdelic techno-sabbats or the Hellraiser sequel in which chief Cenobite Pinhead sashays around on a spaceship. By contrast Mirrors For Psychic Warfare seed concerns about depleted stocks of tinned food and the likelihood of typhoid.' - WIRE

Claustrophobic sudor that evokes all you held dear from Skinny Puppy, Foetus, Godflesh, Swans..It's been three rough years since Mirrors for Psychic Warfare sprang into existence with their startling self titled debut, but don't think for a second that the time was spent idle.

This unit (comprised of Neurosis' Scott Kelly and Producer Sanford Parker) constructed an even more unnerving and destructive record with 'I See What I Became,' I know, hard to believe.

Over the course of these eight bile-rich pieces a sonic abattoir is erected, exploited, and razed. Turbulence rises and churns giving way to rhythmic machinations, lights flicker, a grand mal/guignol seizure besets a frog-headed snitch, blood collects in a stainless steel gutter.

There's nothing fun here, nothing but the cold of an autopsy followed by the heat of a crematorium. A sliver of galvanized bone flies from a circular saw into the toothless maw of a streetwalking Kali Yuga. Good or bad, I'm not sure what we did to deserve this. Aesop Dekker July 9, 2018

Collecting orders for repress

'They hit the limit. The limit hit back!'

Vision Recordings presents 'Dead Limit' starring Noisia & The Upbeats

'Jones' depth of character is mouth-watering 9/10 RuPaul LeSnack, Variety

'Great stunt sequences hampered by a terrible soundtrack' 2/10 Mario van Peebles 2015 Shark Documentary Festival Awards Honorary Mention

'Depicts gravely the ongoing struggle between man and wild insects' 7/10 National Geographic

German electronic music producer and drum & bass 'enfant terrible' Phace (aka Florian Harres)
has announced his fifth album, - Between., will be released on 5th September via Neosignal
Recordings. Recorded in Germany and New York, and mastered by Phace, he.s given this LP a
unique tone by updating his own sound through combining contemporary digital music
production and analogue equipment.

Two years in the making, and 36 minutes in playing time, - Between. is a concise body of work.
Representing his trademark detail and juxtaposition of different sounds, the record follows
Phace.s successful 2015 album - Shape The Random.. His diverse discography includes a
further three full-length albums - Raum und Zeit. (as Neosignal), - From Deep Space., and his
legendary breakthrough - Psycho., countless releases and chart-breaking singles on labels such
as Vision, OWSLA, Mau5trap, Critical, and Division, and his own imprints Neosignal Recordings
and NËU Music.

Championed by the likes of Amon Tobin, Skrillex, Noisia, Andy C, and beyond, the Hamburg
based DJ and producer has become renowned for his ever progressive take on bass and
electronic music. Influenced by early drum & bass and breakbeat, techno and electro, but also
IDM and rock, over the past decade Phace has further defined his own forward-thinking style,
which is now paving the way for a new generation of producers.
Ahead of the release of - Between. in September, Phace will issue a series of four singles,
beginning with - FMS. on 27th June. Tour dates will be announced soon.
The album tracklist follows on page 2.

PHACE said:
'My approach to this record was to write music outside of my comfort zone, both geographically
and stylistically. It was made between my home in Hamburg and New York - a city that I took a
lot of inspiration from. I tried to condense all the music into a smaller tracklist, to solely focus on
the essence of what I wanted to say; to blend between my past, where I am now, and where my
music.s going.'

Repress
Solid red 12 vinyl comes accompanied with a limited edition double sided 'Redders' Ep poster (insert). Vinyl purchase includes EP instrumentals as a digital download (Critical Store exclusive)

A man who guested on many a Critical release finally brings his very own EP with the hugeproduction backing of Gorgon Sound, Sam Binga, Hyroglifics and Moresounds. An onslaught of halftime bassline, dancehall and electronic twists in one EP ready to floor the room!

Repress

Sam Binga returns to drop his debut EP for Critical Music. Inviting back the infamous Redders for vocal duties, picking up where his trail blazing single AYO and the much loved 'Lef Dem' from Critical's 'Underground Sonics' LP left off. A deft combination of low slung beats and bass with a nod to the jungle tradition.

Repress

Going Good's 13th release is finally upon us and we are quietly confident that it is indeed a truly special one. This is London duo Weird Weather's second sonic offering and already their stepping left-field sounds are pricking up all the right ears. Contained within are some heavyweight signals transmitted live and direct from the capitol's infamous MAP Studios, giving us a heady blend of Shaka inspired sound-system meditations, early 90's FAX reflections and spirit invoking downtempo meanderings. Weight for the bass.

Beverly Glenn-Copeland is already known amongst collectors and music heads for two sought after albums of folky jazz in the key of Joni.It was this album, originally self-released on cassette in 1986 that caught the label's attention. The album, entirely recorded on DX-7 and TR-707, lies somewhere between digital new-age and (accidentally) early Detroit techno experiments. The inimitable style of BGC here is both peaceful and meditative while simultaneously rhythmic and bass heavy. The album was recorded in the northern Canadian town of Huntsville where BGC was living at the time and is a beautiful fusion of personal vision, technology and place. Issued here for the first time on vinyl, with a full restoration and re-master.

Dais Records Is Proud To Announce The Official Reissue Of "elph Vs Coil - Worship The Glitch". Remastered By Engineer Josh Bonati And Supervised By Coil's Drew Mcdowall, The Vinyl Release Is Pressed Onto Double 12" Lp Vinyl (from The Original 10" Release), And Is Packaged In A Gorgeous 24pt Stock Matte Gatefold Lp With Sticker And Vellum Track Listing Insert. . Also Available On Digipack Cd And Digital.

"unexplainable" May Well Be The Best Explanation For The Members Of The Uk Based Electronic Outfit Coil. Making A Radical Shift From Intentional Accessibility, By Means Of Traditional Pop Songwriting, To Abstract Happenstance, Coil Had Entered Into A New Phase In Their Career...uncharted Waters Utilizing What Was Then The Newest Computer Technology, Digital And Analog Synthesis And The Newly Formed Ideas That Something Outside Of Themselves Was Steering The Ship.

During The Studio Sessions That Developed Into What Would Become 'worship The Glitch'. Coil Became Aware Of Random Compositions Emitting From Their Gear, And Were At Odds With Constant 'accidents' That Were Perpetually Plaguing The Recordings. The Band Called These Unintentional Emissions "elph": A Conceptual Being That Is One Part Physical Equipment, One Part Celestial Being...constantly Playing The Role Of Trickster, Throwing A Wrench Into Coil's Methodology. Eventually, These Accidents And Mistakes Were Embraced By The Band, And The Process Of Misusing Audio Software To Create Intentional "errors" Was Adopted As A Musical Technique. The Acceptance Of The "mistake", And The Use Of Discovered Mistakes As Intentional Elements Slowly Became The Drive And Concept Behind The Album, Thus Birthing The Title 'worship The Glitch'.

Originally Released In 1995 On Coil's In-house Imprint Eskaton, Worship The Glitch Was Coil's First Proper Album-length Attempt At Conceptual Ambient Composition, With A Radical Focus On Chance. Seamless Vignettes Of Shattered Electronics (though Ebbing Softly And In Delicate Balance With Each Other) Provide An Underlying Uncertainty And Discomfort To The Listener.

Recorded during two Redbull Sessions in Paris, this four tracks EP, Royaume, is all about the joy of musical collaboration. Agnès Gayraud invited two musicians she admires: Lætitia Sadier (Stereolab, Laetitia Sadier Source Ensemble), cult figure of the indie scene since the 90's, and Mondkopf, adventurous electronic French composer. The result is a delicate and at the same time raw FrenchEnglish journey, in a balance between two languages, two different moods that eventually link up in some underground and fascinating passages. We are snatched, unresisting, with « À la divinité (The Belief Song) »'s mysterious mood, featuring Lætitia Sadier, or the English adaptation of La Féline's song « Le Royaume ». In the end, while they cover the obscure yet powerful composer Gérard Manset's « Comme un guerrier », La Féline and Mondkopf seem to literally crack the whip on the back of the horses of the Apocalypse.

Apart from being known for founding the infamous vinyl imprint Subaltern Records and for his residency on SUB.FM, Gabriele Romeo aka. Mentha has made quite a name for himself with his Jazz-influenced bass music productions. This LP is a selection of tracks from his vault, showcasing his musical abilities and tasteful compositions in this self-release.

1 - All Or Nothing
Greeting the listener with melancholic yet optimistic vibes is the first track of the LP, 'All Or Nothing'. Setting the loungey and open space feeling for the release, captivating chords and soothing melodies join a potent sub-bass in this introspective overture.

2 - Same Spot ft. Vale
'Same Spot' picks it right up where the first track left it, emerging further into a vast ethereal space. Charming guitars pave the way to uplifting trumpet lines, masterfully executed by Vale. A meditative bass-line seamlessly merges all elements together into a seductive modal composition.

3 - Sunflower
Showing off his instrumental skills yet again, Mentha delivers a sunny and laid-back masterpiece with an apt title, rounded off by a perfectly executed contrast between bumping subs, crispy drums and radiant spaces. Bossa-inspired rhythms bond with Rhodes, jazzy horns and crystal guitars shifting through the realms of major and minor.

4 - Natural Rain
Natural Rain maintains the meditative vibe while entering mysterious spheres of consciousness. Like sunrise in an enchanted forest, this track is magically captivating and keeps the listener under its spell throughout. Oneiric melodies encounter pads and polyrhythms, leading to a climax which completes this mystical journey.

5 - Water March
Like a light breeze on a hot day, Water March takes it easy. Marked by Mentha's very own signature guitar and trumpet, this peaceful march unfolds playfully. While surprising with energetic bass frequencies and instrumental intricacies, this piece shows an insight of the artist's musical roots.

6 - In My Head ft. Aphty Khéa
A psychedelic masterpiece, 'In My Head' sets a strong statement at the end of the release. The unsettling atmosphere of the track is tastefully matched by Aphty Khéa's pristine voice. Creating an eerie yet soothing vibe, this track lets the mind roam freely through time signature changes, dynamic transformations and instrumental layers which remind of Steve Reich.

Bomb The Bass is the alias from the English electronic music producer Tim Simenon. He released his debut album Into The Dragon in 1988. It's an intriguing trip through electro, acid-house and hip-hop music. On the album you'll find his breakthrough hit 'Beat Dis', which became popular in the underground and club circuit. It feels like you're listening to a radio broadcast show, including intro skits in a melting pot of styles. A true classic in the history of using samples in music.

Bomb The Bass were one of the first acts to bring sample-based music and scratching to a mainstream audience.

The 30th anniversary edition of Into The Dragon is available as a pressing of 1.500 individually numbered copies on blue vinyl.

'One side of me is very much against the explanation and intellectualisation of my work. This side of me says the work is just
another world and we won't get anywhere by talking about it. That it's a distraction from feeling it. The other side of me loves to intellectualise and interpret. But of course, it's always just a temporary snap shot of what I project in the moment. I call these two sides the child and adult in me. They're constantly in conversation as I work and after. The child is a lot more present in the process of working, and the adult has a bit more presence afterwards. For the last EP I wrote brief snapshots of what each track meant to me. Some of it still feels true now, and some of it has changed. For this EP I'll just leave it with no explanation. I've done a lot of new visual work that will come out alongside this and they can also be interpreted and paired in any way. If this EP is your first encounter with my work and you want more context, you can check my website and Instagram. It's all the same world.'

Following the success of their 2015 album Astronautilus, jazz-rock mavericks Get The Blessing return with their spellbinding new Album 'Bristopia'. Blending their mutant jazz sensibilities with spacey electronics and post rock atmospheres, 'Bristopia' ventures into new, unexplored territories.From the jagged, interweaving brass patterns of opening track 'If It Can It Will', through the brooding atmosphere of 'Bristopia' and absorbing, haunting melodies of 'Not With Standing', the Bristolian quintet channel subterranean depths and soar from dizzying heights, leading the listener through a complex labyrinth of tangled melodies and sliding soundscapes of dark, immersive production.Having been conceived, born and raised in Bristol, the band now pay tribute to their hometown with an album that careers around the city's one-way system (not always in the correct direction of travel), darting into some of its hidden alleyways and lesser-known night-time hot-spots, and occasionally just stopping to take in the dizzying vistas of sprawling buildings and distant hilltops.'Sometimes you have to go away to see where you're from' - with this in mind, they headed up into the the picturesque setting of Vale Studio, Worcestershire- taking their old friend Tim Allen to engineer and to select from the studio's excellent vintage mic collection., 'We recorded as we have for the last two albums, dividing the time between prodding and poking at things we'd prepared in advance, and summoning up the spirits of invention from complete unpreparedness, unleashing little soundtracks for imaginary films. After three days we returned to base camp to pick over the spoils, at which point the process became more like sculpting: Jim wielding the chisel and the rest of us jogging his elbows until we're left with some beautifully strange shapes.'.Enlisting the help of regular / irregular collaborator Adrian Utley, whose guitar-sprayed some strikingly unexpected colours across some of the objects, they then persuaded pedal-steel guitarist Margerethe Bjorklund to add some skilfully applied brushstrokes to the piece. Just as they were examining these new creations on their sonic plinths, and wondering what exactly they were, the Bristol Jazz and Blues Festival invited GTB (and their long-running visual collaborator John Minton) to scour the Bristol Archive and create 'Bristopolis', an abstract, poetic film homage to Bristol. 'We realised that some of the new music is the soundtrack for a real film after all, even stranger than the one in our heads. We get to play these new tunes live at a one-off happening for the festival, with John's visual creation filling an enormous screen behind us. All begins to make (non)sense.'With this powerful return, Get The Blessing send their sonic transmission deep into the furthest corners of the universe, setting the pace for the current UK Jazz revival, demonstrating that the early pioneers of the scene still have something important to say.Formed back in 1999 by bassist Jim Barr and drummer Clive Deamer (rhythm section of seminal act Portishead) alongside Jake McMurchie (on sax and electronics) and Pete Judge (trumpet and electronics) the Bristol-based four-piece boast a truly international fan-base, having forged a unique signature sound that defies easy classification. Despite several short breaks for other projects over the years - most recently in 2016 when drummer Clive Deamer was on tour with Radiohead, they have never lost sight of thumping tunes, monstrously infectious beats, or joyous collective spontaneity. After eighteen years, their ability to produce such creative and intelligent music - balanced with wit and passion - is testament to the free spirit that they embody.

* Four years after their debut album, Hybrid Minds return with a brand new 15 track collection of sublime Drum & Bass. Not just a solo affair, the duo have enlisted the help of a league of talented vocalists to help bring their vision to life, with contributions from Tiffani Juno, Rocky Nti, Charlotte Haining, Linguistics and long-time collaborator Grimm amongst many others.
* Due for release on their own imprint Hybrid Music, the first 3 singles from the project, released throughout 2016 have gathered millions of plays online and have ensured them a busy summer playing shows and festivals all over the UK, Europe and beyond.
* "We're very excited to bring to you our second album 'Elements'. We've been working hard for the last 3 years trying to perfect it in every aspect, we hope that the time & effort has paid off and we cannot wait for everyone to finally hear it.
We'd like to thank everyone who has worked on the project with us, they did a fantastic job & without them this would not be the same. There was so much talent involved and it really was an honour to work alongside such a diverse & talented bunch of people. We hope you enjoy this album as much as we enjoyed making it!" Matt & Josh

Smart bomb alert! Senegalese Mbalax derivatives in approved Dub mode

There is a purpose behind ambient music: it is utility music. Brian Eno made that clear. If we go by Eno's definition, the music on T.RAUMSCHMIERE's new album is not ambient. Although - or in fact, because - each individual track on this album immediately and effortlessly generates atmospheres, it is impossible not to be drawn in. T.RAUMSCHMIERE sucks the listener into the perceptible endlessness of his pulsating sounds, even though the music does not actually expect anything from the listener. It is not demanding, it does not sound lofty or ethereal. It is in constant movement and evolution while sounding grounded at the same time. The tracks are not weightless; they have body.

Tenderlonious lays down his fute for this LP and goes back to the MPC, with help from the illusive Dennis Ayler. Comprised of ten cuts 'Brick City' takes the listener on a journey through Afro-House, Funk, Jazz, Rare Groove, Boogie and Broken Beat - something for everyone here! Brick City (4am)' and Buterfy' groove efortlessly whilst synth leads interject over tasty chords, all the while being supported by solid bass lines - these two
will undoubtedly set a strong pace on the dancefoor. 'Funky Booda' does exactly what it says on the tn, it's a straight Funk classic! Its infectous groove and soaring leads are sure to have you clapping your hands and stomping your feet. 'Be Ur Friend' is a fery Afro-House number - reminiscent of one of Tenderlonious's early releases 'Bob's Riddim.' There's also more hip-hop inspired selectons like 'Brick City (4pm)' or 'Pepe's Walk,' which bump hard and have strong traces of Sa-Ra and J Dilla infuence.
The record comes complete with quirky skits like 'Bootsy' and 'Ferndale Gateaux,' which blend in and out between the other tunes allowing the record to fow efortlessly from beginning to end. There is something for everyone on this album. It's the kind of record you can play at home from start to fnish or take out to the club as an essental dancefoor fller.

BCee & Villem's Vanguard Project has been going from strength to strength since they kicked it all off just one year ago.

* The duo are back once again with four more slices of super DJ friendly drum & bass for the dancefloor.

* Volume Four takes you from the hard edged banger Wizbit through to the deep liquid sounds of Diamond Dust, showcasing just how versatile this production duo are.

* Support from Friction, High Contrast, LTJ Bukem, Fabio, London Elektricity, Rockwell, Etherwood, Technimatic and a whole load more...

"Zed Bias is an electronic music pioneer, throughout his career he has traversed genres with ease whilst all the while retaining his signature sound.

It was in 2016 that he debuted on Exit Records with a three tracker featuring Zoe Violet, the release was a sign of things to come. Modern U.K. soul delivered in the 160bpm format, this aesthetic has now been developed with the Different Response album.

It's the sound of Zed Bias in 2017, undeniable soul with one eye on the dancefloor. He's gathered a formidable feature list to voice the album- artists from his native Manchester and beyond all lend their talents to the album.

Label owner dBridge says of the release: An LP that fits perfectly in what I believe Exit is about. Artists creating music with soul and a sound uniquely their own. Zed has shown again what's possible when you listen to your own voice'

Regener 8! Altern 8 mark the 25th anniversary of their klaxon and samples driven debut as the rave scene's Vick's loving masked marauders with the release of a deluxe remastered edition of their iconic Full On Mask Hysteria album.It comes as a limited edition triple heavyweight release.And in true Altern 8 style there are 2 separate individually numbered editions - 001 to 808 and 001 to 303.Cut super loud to allow DJ support for tracks that were cut too quietly on the original 1992 LP for club plays, the album also features exclusive tracks. MMEMOR-8I'm tellin' ya - sometimes words aren't enough. You had to be there.John McCready,one time legendary Network rabble rouser publicist,sums it up best. Talking about the current lengthy dissertations on how dance music has gone on to conquer the world, he points out: "The writers do not even scrape the surface of understanding just how iconoclastically funny this music and its' intrepid architects could be. A music - some of it over 30 years old now - which has a life of its own, and an inner core still burning long after its creation"
We were in fact very serious about the music, but we never stopped smiling. And Mark Archer and Chris Peat had us grinning more than anyone else.
Network became the UK's best selling independent single label in 1992. PWL were not impressed. The same year, we released the "Full On Mask Hysteria" album which music industry experts pompously told us would not sell, as Altern 8 were by definition a singles only act'. It got to No 3. We were workaholics, it seemed like we were connected to the mains some days, and had lots of success,But to be clear, there was no master plan.Yes ,the emotions were electric. but the direction was often dsyslexic. We were surfing a manic Techno / Acid House/ Rave Generation wave and we were desperate not to fall off and drown. It was time of (to quote McCready again) "deranged plans, impossible schemes and wild conceits" and of course our masked marauders Mark and Chris were slap bang in the centre of it.

The credible thing to say would be that I met Mark on the dancefloor at The Hacienda. In fact it was at a small club, No 7's in Burntwood, near Cannock Chase in Staffordshire. On Thursday nights No 7's was taken over for an Acid House session, where my mate Pat Ward would be joined by Neil Macey on the decks. I lived nearby, and at the time was managing Derrick May, Juan Atkins, Kevin Saunderson, and Inner City ,as well as partnering Dave Barker with the Kool Kat and Network labels. So, when not having the time of my life in Detroit pretending to be a techno version of Brian Epstein,I would rock up at No 7's with my latest collection of one-off acetates of brand new recordings. They would be duly handed over to Macey to be given their first play in Europe. Surreal does not even begin to describe it.

Anyway, Mark and I bumped into each there, and he seemed most impressed that Derrick and Kevin had both actually been to Burntwood. We arranged for a meeting with him, and his Nexus 21 partner Chris Peat, at Network's Tudor building HQ in Sparkbrook, Birmingham,and soon after they were duly signed to recording and publishing contracts. The plan was to make perfect Techno records with not an air horn in sight. Mark and Chris were both inquisitive and bright, and they fitted well together because they were polar opposites. Mark the dance music fanatic contrasting with Chris the ace musican. I liked them a lot. Nowadays Mark gets the recognition because of all the other things he has done since Altern 8, and is still very active as a DJ and producer, but Chris was a vital component in what became the Altern 8 success story.

Kevin came up with a corker when we sent him the parts of Nexus 21's "Still Life (Keeps Moving)' to remix, supplying astonishing remoulds not just from himself, but also by then unknowns MK and Carl Craig. Soon after, the awesome new Nexus 21 recordings "Self Hypnosis" and "Bio-Rhythms" proved just how on top of their game Mark and Chris were, and led to Network financing a trip to Detroit where they had the time of their lives making music and talking Techno at Kevin's KMS Studio with MK, Anthony Shakir, and Jay Denham, plus vocalist Donna Black. The results had us flying back over the Atlantic thinking we had cracked it. Nexus 21 were about to become Techno Royalty.

Then it went... insane. A month before, purely as a sideline, the always inventive pair had come up with eight tracks of demented helium rave pastiches: all air horns, speaker destroying bass blasts, and naggingly catchy samples. We didn't quite know what to do with them.We agreed, as it was an alternative to Nexus 21,to release all the tracks on one 12" (the kind of things our pals at Nu Groove In New York were doing) and call the project Altern 8, rather than a proposed suggestion of Alternate.That (accidental) eureka moment let the genie out of the bottle. Nexus 21 was shelved, as the value for money vinyl 8 track 12" was released and sold, and sold and would not stop selling. It was swiftly followed by a proper single, the crackling energy rammed Infiltrate 202" which charted... Network's first Top 40 hit. The next single Activ-8 went to number 3. The follow up Frequency could, in the zeitgeist of the moment, have gone to No 1 if we had not (for some quixotic reason) limited the release to 9009 copies.

Mark and Chris took to turning up at Network having driven down the M6 motorway from Stafford to Brum in their dayglo dust masks and nuclear warfare suits, revving up their mini and doing wheelies,outside our office and revelling in the craziness. Now fully fledged pop stars, they gleefully joined in with the plots for our (budget and less pretentious) take on KLF type activities. As fast as they came up with new tracks,John and myself would compete with each other to conjure up more and more scams to a very gullible Dance Music and Red Top tabloid press: Hot air balloons flying over Stafford dropping disco-biscuit Christmas cakes to grateful pensioners, purchasing rave tanks, setting up an Altern 8 chip shop in Ann Arbor, Michigan, picking up a stranded Elton John on the motorway...Mark and Chris happily picked up the baton on all of them, with photos of the duo looking like deranged Budgies in the hazmat suits appearing here, there and everywhere. The hype was well and truly on.Dave Barker kept things ticking over for the label while we indulged ourselves.

Later on Chris stood for election to Parliament in the General Election against Tory grandee Bill Cash on a Rave ticket. If I remember correctly he did not finish last, proving that there were some people around even less in touch reality than we were. My 5 year-old daughter was turned into MC Crazy Clair intoning "Top One, Nice One, Get Sorted" on Activ 8. Maybe someone should have notified Esther Rantzen...but if they had, no doubt Mark and Chris (not ones to miss a trick) would have simply have sampled her outrage on the next single.

Some of the stuff became legendary. The film of mad-eyed young ravers dancing on top of the cars in Shelley's Car Park, at an impromptu open-air gig (we needed shots for a video) after the club closed is now iconic. We had no permission to do it, and I had a very irate club owner after my blood.

Yes, we were contriving events, , but to be candid nobody with an iota of common sense believed the nonsense they were printing. It was all a game, and in reality a kind of innocence surrounded the whole Altern 8 adventure. Back then,The Sun would run front page headlines about Evil Acid House barons destroying the country. However, Archer and Peat, the duo who personified this alleged threat to the nation's youth, would be more likely to be having a refreshing cup of tea at home in Stafford, than recognise,never mind get involved in,any E's Are Good activities. Their modus operandi was more like The Chuckle Brothers than some of The Kray Twins type characters controlling the less wholesome parts of Rave Culture at the time.

It's easy now, for the cynical, to sneer and characterise Altern 8 as simply cartoon rave, and claim they were not as "vital" as some enigmatic myth maker who never smiled (and only sold a few records, mainly because they weren't that good anyway). But just step back and listen to this album: It's anthemic and iconic, and as John put it, - has an inner core still burning long after it was created.
.
You ask about credibility One Saturday night, I went with Mike Banks of Underground Resistance, the Techno god who was legendary for his hatred of the commerce that had become part of dance music's landscape, to a huge Rave somewhere in London, and Mike spent ages taking photos of Altern 8 on stage, basically ignoring everything else going on. I asked him why he was interested in our hit makers,surely they stood for everything he detested . "Are you kidding. I love those guys!" Mike replied...

Like I said you had to be there.

Lots of the above bits are (inevitably) sampled from McCready, a lesson learnt from Altern 8. Dedicated to Mark and Chris, Dave Barker and John McCready - watch yer bass bins, I'm telling ya!

Neil Rushton

Experimental industrial Bass music. Something unexpected and sometime techno, really worked-out on the sound quality. Meeting of noise a,nd mechaniks. Crazy stuff is so important in our life...

If you want to know what Gabe Gurnsey's debut album
'Physical' sounds like, the first thing you should do is forget all
about Factory Floor, the group he co-founded 13 years ago.
Gone are the cold, lengthy, stripped back deconstructions of no
wave electronica and industrial techno, abandoned in favour of
something altogether warmer, torrid and succinct.
'It's a real departure from Factory Floor,' he explains. 'Yeah,
that was the intention. There's only one track over six minutes
long! There's only one crossover point on the song 'Night
Track', which is 6'33' - that's probably as close to Factory Floor
as it gets. What I wanted to get into with 'Physical' had more to
do with exploring songwriting and structure. The album is very
escapist in one sense even though I don't want to escape from
Factory Floor but what I do on my own has to be separate and
it has to explore new avenues.' Gurnsey started writing tracks in his downtime from the group early 2017 and by the start of that Summer he had 30 demos ready for work. He admits he worked very quickly initially but then gave the tracks 12 months to develop fully into a new sound.
And that new sound - a 21st Century take on muscular electro,
Balearic synth pop, EBM, proto-Hacienda militant funk, early
Chicago house and minimal, Neptunes-referencing beats - can
be experienced in full on 'Physical' the album released on Erol
Alkan's Phantasy label. The album features additional production from Erol Alkan, who also mixed the record.
Double LP format includes printed inner sleeves and digital
download code. Press - Reviews in Q, Loud & Quiet, The Quietus, Record Collector, Uncut.
Features in Loud & Quiet, Electronic Sound, Q, Clash, The Quietus, Gigwise, Silver Soundz.








[]I C2 | I Get
[]J C3 | Version

3 remixes from 3 masters from the indie sound system culture from England : One Ragga Tek, one Ragga Hip Hop and one BalkanTribe remix. Massive party time at Irritant.

With this second release, Hawaii Bonsaï Records proves once again that they are your number one destination for all your Latin Bass needs ! Few labels have the insight necessary to gather all those producers and deliver a comprehensive and exciting picture of what tropical and latin bass is today as it grows in the hands of South-American, European or US producers. Think some blends shouldn't exist Listen to this incredible mixture of dub, cumbia, trap, traditional Andean music, beats, latin pop, folk, Zouk, and think again as this compilation sets yet another landmark in this expanding musical family.

Private & very limited weapon from an elusive Australian DJ & producer under the guise of DJ Oblong.

Hidden amongst notorious DJ mixes of the past year, the finally release 'Speed Your Rage to Me' references a sample known all too well to Antipodeans - now presented in a sunrise dance floor style.

300 copies worldwide.

The second release from Antimatter, a new project by Bule and F-on dedicated to Slow drone techno with field recordings and other 4x4 experiments. Thumping low end smothered in grinding drones and tape hiss.

First taste of the upcoming Tempo Dreams Vol. 5 album, compiled by LA based beatmaker Free The Robots. Coming in with a seperate vibe all it's own, the 7" features the exclusive track "Nasi Goreng", a lo-fi psychdelic beat heavy romp through South East Asia, complete with Gamelan vibes. On the flip, "Marano" is a downtempo ultra bass heavy joint with sparse production, vocal chops and swirling synths.

Gliptolito sees Frigio return to its beginnings whilst making a bold statement of future intent. This time in collaboration with Seti Recordings for a split release by the heads of both labels. Juanpablo shares the platter with ArD2, the team of Ekis and Penélope Martín (of NSRB-11 and Zwischenwelt.) Label boss Juanpablo opens with his ever evolving sound. Rasping beats and subtle key changes are warmed by basslines in the cerebral 'Ica'. 'There is a Silence' comes from a similarly esoteric place, gentle chords shimmering against glitchy undercurrents and clean drums. ArD2 follow up their 2010 appearance on Frigio with two tracks of complex machine funk. Sidelined is their trademark electro sound as the pair lean towards electronica and broken percussion for 'Winter.' Colder tones arrive with 'Utopia', sublime string work warming them through to bring 'Gliptolito' to a close.

BAKK extends it's mind-altering quest with Plafond 2 with two tracks averaging 17 minutes. From Antwerp's depths Milan W. brings a stunning track (consisting of three parts) of ambient exotica. The flipside carries synth wizzard Ekolali, who resides on a barn in Sweden, with a rhythmic jam to sink into. Comes again in a special screen printed outer sleeve and tasteful Obi strip made by the BAKK Deep Dream Department.

Nozomu Matsumoto Is An Artist And Curator Behind Ebm(t), okyo - Representing Work By Robin Mackay, Tcf, Sam Kidel, Etc. 'climatotherapy' Is His First Physical Release Following A Number Of Self-Published Digital Works And Mixes For Online Publications.'climatotherapy' Is Nozomu's Soundtrack For A Health Forecast Given By Amazon's Text-to-speech Interface Polly, And Is Perhaps The Most Disturbing , As Well As The Most Evocative Release On The Death Of Rave Label To Date; Creating A Widescreen, Hi-definition World Where You're Never Quite Sure What's Real.'climatotherapy' Features Polly Narrating A Non-linear Text Intersecting Issues Of Morality In Artificial Intelligence With The Artist's Experience Of Meteoropathic Sickness, And Its Symptoms Related To Barometric Fluctuations And Psychic-atmospheric Disturbance.
Nozomu Imagines That Polly Curates Our Mental And Moral Energy Into Health By High-definition Midi Orchestration. Polly's Prognostications Come Framed By A Hyperreal Tapestry Of Idyllic
Ambient, Cinematic Strings And R&b Folk Tropes, Conveying Nozomu's Ideas With Clinically Emotive Clarity.
The Effect Is Uncannily Calculated, Using Additional Human Vocals And Music To Limn In Hd Detail An Up-to-the Minute And Personal Perspective On Themes Of Ai And Morality Which Could Be Called Key To Japan's Hauntology.
A Strikingly Singular Work, The 15 Minute 'climathotherapy' Effectively Resonates With The Novel Musical Sci-fi Of James Ferraro, Elysia Crampton And T C F, As Well As The Death Of Rave's Own Editions Such As Mark Leckey's 'greenscreenrefrigerator' And Sam Kidel's 'disruptive Muzak'. It's A Properly Unique Record Of Its Times.

The fantastic new single from Okinawa Delays feat. the delightful vocals of Satoko Ishimine is a cover version of the Neil Young/ Nicolette Larson classic. Limited first edition twelve inch on light blue transparent vinyl & comes with fine selection of remixes from Phil Mison, Psychmagik & Willie Graf & Darren Eboli. Okinawa Delays consists of the talented producer Takeo Toyama AKA DJ Mizuki and the singer Satoko Ishimine. Takeo met Satoko almost five years ago when he hosted a party on Irabu island that is a one of the distant islands of Okinawa. 'We basically thought to make something like AOR tracks like Dusty Springfield or Fleetwood Mac instead of City Pop, also Satoko likes that song, so we decided to go for it and I'm very pleased with the result.

Finally repressed

Russian label Gost Zvuk (roughly translates as 'state standards for sound' ) releases its well-anticipated third record which is a courtesy of Oleg Buyanov - Moscow's underground scene veteran also known as OL. Inspired by some late Soviet documentaries exploring Russia's nature and science, this musical adventure reflects Oleg's very unique take on nostalgic post-Soviet neo-romanticism. Driven by raw and jazzy house groove, this record showcases the work from one of the high-profile Russian producers of our time. Supported by the likes of Huerco S, Anthony Naples and Madteo. Limited hand-stamped white 12''.

"City" ist das zweite Album des aus Manchester stammenden Gitarristen und Komponisten Stuart McCallum
für das Label Naim. Sein Debüt, "Distilled", erschien dort 2011. Auch wenn beiden Alben irgendwo in der
hypnotischen Schnittmenge von instrumentalem Jazz und melodiöser elektronischer Musik angesiedelt sind,
so wird im Vergleich doch eine markante Weiterentwicklung hörbar, denn auf seinem zweiten Werk taucht der
Brite noch weiter in die groovige Electronica-Welt ein. Dass dabei nach wie vor akustische Instrumente eine
dominante Rolle spielen, versteht sich für das Werk eines Gitarristen von selbst. Ihm zur Seite standen Robin
Mullarkey (ESKA, Roisin Murphy) am Bass, Sean Foran (Trichotomy) am E-Piano und Richard Spaven
(Flying Lotus, José James) am Schlagzeug und Synthesizer sowie an elektronischen Klangerzeugern.
Gastauftritte haben die Violinistin Emma Sweeney und JP Cooper, Sharlene Hector (Basement Jaxx),
Fridolijn van Poll und Sophie Barker (beide Zero 7) am Mikrofon. Die Verwendung von Gesang ist ein Novum
für McCallums Solo-Werk. Das im Übrigen gar nicht mehr so solo ist, da Richard Spaven, den McCallum aus
seiner Zeit beim Cinematic Orchestra kennt, "City" mitgeschrieben und koproduziert hat.

The Long Now is a duo featuring Richard Norris and Finnur Bjarnason, with special guests. They mix piano, voice, string section and electronics with the sound of the Icelandic breeze. The music sits within the post ambient, electronic, contemporary classical genre, with a strong sense of landscape, mood and melody. Richard Norris One half of the Grid, alongside Soft Cell's Dave Ball, one half of Beyond The Wizard's Sleeve with Erol Alkan... Richard Norris has a thing about working as a duo. With many productions and remixes under his belt, including tracks for Warpaint, Brian Eno, Tame Impala and many more, Richard brings an electronic sensibility to the Long Now. He has a long term passion for ambient, electronic, drone, soundtrack and modern classical music. Finnur Bjarnason Finnur Bjarnason is an Icelandic musician whose background is in classical music. Having trained to be an opera singer, rst in his native Reykjavík and later at the Guildhall School of Music and National Opera Studio in London, he then pursued an international career as an operatic tenor for over a decade, appearing in many of the world's most prestigious opera houses, singing everything from Montiverdi to Wagner to modern opera. As he has become ever more interested in where the boundaries between musical worlds get blurry, and particularly how the sound world of 'acoustic' singing world could best intersect with electronic music, he has begun an earnest exploration of the 'other side'. The Long Now play the Blue Dot Festival on Sat July 21st, with more dates to follow. The performance will be accompanied by a lm by BAFTA award winning director Kieran Evans, recently shot in Iceland. The band are currently preparing an album and series of live performances featuring piano, voice, electronics and string quintet.

Domino introduce 'Devotion', the hugely
anticipated debut album from one of London's
most exciting underground talents, Tirzah.
Arriving on the back of a lauded run of releases on
Greco Roman, 'Devotion' shines a brilliant new
light on Tirzah's unique experimental pop,
exquisitely soulful voice and potent contemporary
lyricism.
Written and produced in collaboration with
longtime friend and collaborator Micachu,
'Devotion''s hallmarks are rooted in a fresh, raw
emotion and feeling.
CD and heavyweight black vinyl with digital
download code.

"Dueños de Nada" announces itself as a strong and tough proposal. It comes with the intention to get away from what we are used to hearing from the Chilean producer. As a first album, and by incorporating broad influences into a range of genres, industrial sounds and punk, the debut by Tomás Urquieta feels huge and accurate.


The "Dueños de Nada" sample, which belongs to Martin Sorrondeguy, is used by Urquieta to assemble a classic techno piece mixed with a new sound proposal, and by uniting these elements, a catharsis and collective osmosis movement is generated on the dance floor that does not need further explanation.


The proficiency that Tomás has developed when creating percussion doesn't go unnoticed either. It is the sensation of a new breath in his music, a replacement, a much more mature sound is demonstrated by the high instrumentation mixed in with a full on Techno base. The rhythms are wild, futuristic and with a completely personal vision. There are tracks that lock you up and there's others that leave the need for a club ajar. It is a heavy album, political, metallic but very organized. There are voices in Spanish of direct protest towards the system, voices where he invites us to be part of a march to despair, a liberation march for the dance floor . If we could summarize "Dueños de Nada" we would say it's a cry for freedom, a cry which asks us to enjoy the feeling of complete freedom across 11 tracks that embrace this anarchy in which Tomás Urquieta invites us to join.

Paradise Valley's debut 'Deep Probe' EP could well be a case study on how to make an unforgettable electronic music record. Take an incredible, psychedelic collection of ideas that have been drenched in emotional content and heart ache and then infused with optimism and inspirational, healing emotions, shake it with visions of outer space, and the production level 99, put that into a track that will be the defining moment of any dj set: you just got 'Deep Probe'.

Late night miami am radio haze ..300 copies..

We at ZamZam have long been fans of Schlachthofbronx's genre-smashing club tracks that harness and hybridize bass music styles from Germany, UK, Jamaica, Mexico, Brazil, and beyond. But when we heard the dark dub of last year's 'Blurred Vision' we knew we had to reach out. Little did we know the duo was already into ZamZam, paving the way to an eagerly anticipated release championed on dubplate by selectors from The Bug to O.B.F. to Toddla T.

The Munich pair's ZamZam pushes a sound that's intutive and familiar, yet unlike anything else out there. Schlachthofbronx have carved out an absolutely unique and steely-eyed take on punishing dubwise informed not only by post-punk, house, electro, industrial, and traditional dub reggae principles, but by the legendary 60,000 watt Elemental Wave rig they host their Blurred Vision night on. Imagine an alternative musical universe where PIL, Mad Professor, and Basic Channel hole up in the Batcave for a pitch-black sound system rave and you're getting the picture.

'Dun Dem''s ring-modulating lead works its way into unsuspecting ears while the projectile kick drum calls in an extended intro that builds into one of the most satisfying drops we've ever heard in a steppers tune. A blackened bassline of pure dub fire drives galloping clave and 4/4 sleigh bells deeper and deeper into a flooded cavern of reverb and dark delights.

'Soundbad' is more maximal minimalism, wringing super-saturated color from deceptively simple elements, marrying a massive dub bassline to smeared white noise snares and rockers hi hats, twisting and rebounding lasers and warped FX into claustrophobic reverb traps.

Both tunes were tested, worked, & reworked through Schlachthofbronx' non-stop global touring schedule. Results in the dance speak for themselves - we think you'll have trouble knowing which side to reach for first. Do you want a sound system missile, or a sound system bomb

Mastered by Sam at Precise

Broken TV techno and panorama noise compilation that looks to expand people's perceptions of what can open up a dimly lit space.

Barker & Baumecker and IVVVO remix 2 original tracks from the Groovement catalogue and contribute with exclusives for the '10 is not enough' compilation to celebrate the label's 10 years journey.

These 2 reworks are dense, dee023p and rhythmically strong. Being distinct, the tracks complement each other giving this 12' a coherent authorship.

Already being played in clubs such as Berghain (Berlin) or LUX (Lisbon) this release marks the label's longevity and also its connection with the main music cities of the world.

Different Circles will be releasing 'Kazzt' in July, Airhead's long-awaited return to vinyl
following his 2014 releases on 1-800 Dinosaur and Hemlock.
Label co-head Mumdance makes a rare foray into remix territory on the AA side, twisting
up the original and making it look really strange
Kazzt is another milestone in the linage of our discography and is another very
important step towards slowly carving out the different circles sound - stripping things
down to the very bare bones and focusing on sonics, weight and disorientation.
- Mumdance