Beats Novedades

Alessandro Cortini returned to his Make Noise Shared System modular synthesizer last summer, to create two variations of a patch that could be described as ...a gorgeous sunrise over a decimated landscape...'

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The highly anticipated debut album from London based duo Amoss is finally here; we are pleased to introduce Everything Is Temporary .
Backing an impressive run of Dispatch EPs and singles, Everything Is Temporary is the culmination of Amoss so far; written alongside heavy touring, through years of scrutinous, hard graft in the studio, the album is a snapshot into their progression.
Pressurising themselves with the concept of what an album should entail, it was Codebreaker s monologue Everything Is Temporary that changed their view on the project, inspiring them to stick true to themselves and deliver raw, unfiltered material that would be an honest reflection of Amoss over the years and today.
"When we heard that lyric 'everything is temporary' it was like "yeah it f*****g is temporary, so why are we worrying about this, what's the point Let's just do what we've done all along, it hasn't failed us yet."
"We've worked with a number of people over the years and collaborations were on the table, but in the end, this is an Amoss record and so that's what it is; us writing music that is Amoss in 2017."
Following early teases from the album by Rene LaVice on BBC Radio 1, the pair will deliver an exclusive radio guest mix ahead of the album release in early April.
A sincere and honest look into underground Drum & Bass' strong beating heart, Amoss are proud to reveal their debut album with Dispatch Recordings.

The Psychedlic sounds of Jerome L. Scott & 'The Astro Band' is a unique glimpse into what we consider to be a stroke of genius. Recorded and originally released in 1985 on Jerome's own 'Gemini Interprize' label, in Maywood, Illinois, has now been exclusively revived by Fantasy Love Records!

New Lp-edition of a private press library recordings of the early '70s.
Together with Florian Fricke and Peter Michael Hamel, Deuter is certainly the main responsible of a fruitful encounter between European sensibility and Eastern aesthetics in the German music of the 1970s. Soundtrack was originally produced by Kuckuck in 1973 not for an official and public release, but as a library' to be used for films, TV and radio. As a library it respects the canonical and typological structure of the genre with 26 short sonic fragments, sequences imagined and conceived like fulminating illuminations. There's still a solid electronic vocation that, however, has put aside the most disruptive effluvia of D (1971) of pure kraut' ancestry. In fact, the album is more like an ideal passing bridge between some ritual instances of the previous Aum (1972) and the following successful phase of Deuter during the period when he stays in the Bhagwan Shree Rajneesh's ashram in Poona realizing, in parallel to a renewed inner life, masterpieces like Celebration, Haleakala, Ecstasy and Silence is the Answer. Musically speaking, Soundtrack presents itself as a heterogeneous work with nocturnal, cinematic, galactic and atmospheric-environmental implications. Electronics remains the predominant factor but can vary from mantra drones of more ceremonial and meditative space-relax' tones of some tracks (Triad, Deep Sea, Gothic Velvet or Evening) to the most amused formulations of pulsating analog synths that in the hands of Deuter become toy-equipement' to modulate and explore (Desert Rock, Synth Effect, Flea Dance or Laser). There is no lack of acoustic moments more ethnically inspired with Arabian and Indian (Reed, Arabia) or devotionally solar themes (Tom Bombaddils Dance), so evoking an air of diffuse peace then completely conquered in the beloved India.

The vinyl version of album was released in 300 copies only (it contains album CD and mp3/wave download code). Vinyl record is a transparent-yellow splatter.

FFRANCIS is a musical project between the successful songstress Misia Furtak and well-established electronic producer Hatti Vatti.

"FFRANCIS is like a completely autonomous person. Like a child of yours on one hand, like a close friend on the other." says Misia Furtak, who with Piotr Kalinski (aka Hatti Vatti) recorded "Off The Grid". An album with 13 premiere songs, where distorted guitars collide with drum machines. "The album is a collection of strange songs." - Piotr describes their collective work. "It's really hard to assign it to a specific genre which is probably its unique advantage - you won't get bored, because the next song will surely surprise you with a twist you didn't expect."

"It's a chronicle of our collective work fluctuating from cool to lava eruptions. It's neither my record, nor Misia's separately - I hear the four of our hands in it, so to say, I hear the spirit of this band. On top of everything else the work was also demanding, because we did almost everything on
our own. We recorded big parts of the album at our homes and where we lived changed multiple times during the process. We recorded at our friend's apartment in the old town in Warsaw, which we turned into a recording studio. I recorded some ancient analog bit machines at a repair workshop of Maciek Polak of Analogia.pl and Pin Park, and a 200 years old organ at a rehearsal space in Reykjavík. My Icelandic friend's grandfather used to play them at their church, which brings us to Iceland and nicely closes the topic of volcanoes." - Piotr Kalinski describes the recording process.

The 43 minutes spent with FFRANCIS bring something new each time you listen to the album. There are surprises hidden within the tracks in example the already mentioned 200-year-old organ from Reykjavík and a Casio toy keyboard recorded though a mobile phone, just to name a few.
These surprising details make "Off The Grid" even more special. A debiut record, which comes more than 2 years after the first joint recording of Misia and Piotr - a 7' single released worldwide on U Know Me Records (Got Me Started / Would You Like Me To Continue (UKM 039)).

"Looking at FFRANCIS you see the band moments, you see yourself and the passing of time and you also realize, that regardless of whatever plan you had this exceptionally autonomous individual without asking a single question created a very own presence. It is a part of you in one way and it's next to you and you recognize the connection and the resemblance but you also notice so many distinctively peculiar characteristics that you can't help to wonder there they came from. It's a very curious experience." - Misia Furtak sums up.

"Off The Grid" comes out on vinyl (with a CD enclosed), a very limited compact disc (a 100 numbered digipack copies with a special booklet) and via the digital streaming and download platforms. Michal Kupicz is responsible for the final sound (mix and mastering), and the graphic designers (and photographers!) behind the artwork are the befriended COALS, themselves.

Gunmen on Rasta Vibez!

A Very Fine Double-lp Edition With A Gatefold Sleeve. Liner Notes With Documentary Photos And Memories.
Four Long And Vaporous Unreleased Tracks That Document The Camisasca's First Mystical Afflatus, Bringing To Light The Moments Of collective Meditation' Of Some Events In 1978, Including The Recordings Drawn From The Exhibition "l'evoluzione Interiore Dell'uomo", Which Took Place At The Villa Reale In Monza. After His Participation In The Telaio Magnetico's Project In 1975, And In Parallel To His Contribution In Works Like Battiato - Juxe-box And Lino Capra Vaccina - Antico Adagio In 1978 And In Messina / Lovisoni - Prati Bagnati Del Monte Analogo In 1979, A More General Syntony Of Camisasca For Different Aspects Of Eastern Philosophies Seemed To Conceive His First Personal Form Of Music As A celestial Ocean' In Which To Break The Eternal Divine Love. The Mantra Nature Of Deep Drones Of A Natural Reverberated Harmonium Literally Introduce Us To Another Level Of Consciousness, Harmonic Chants Of Duphrad Inspiration Expand The Ethereal Voice In The Transcendental Plot Of All, While The Roberto Mazza's Oboe Intervenes To Paint This Perfect Osmotic Sound Echoing Motifs Of Ancient Medieval Saltarellos. For Camisasca "the Vibration Of Sound Is Something Primordial Which Contains The Mystery Of Creation", And In This Sense "the Musician Is A Medium Through Which The Nature Is Expressed".this Makes "evoluzione Interiore" A Intense Minimalist Work Where Singing Generates A Universal And Archetypical Spiral Of Purity And Candor That Suggests The Pandit Pran Nath's Lesson As Well As Dialogues In Concept With The Mutability Flux Of Seminal Works As Terry Riley - Persian Surgery Dervishes, Peter Michael Hamel - The Voice Of Silence And Nada Or With Research On The Overtones As That Of Roberto Laneri's Prima Materia.

8th release from RBMB
Lil'dave is a Philadelphia-based audio tastemaker who has made a name for himself by exposing people to soulful music in all it's forms. As a DJ, he can easily whip the most mainstream crowd into a frenzy, but he is at his best when he digs deep into his crates for funky grooves, broken boogie, and thumping bass. When it comes to making music, lil'dave's productions draw from his hiphop roots, as well as his love of house, afrobeat, uk garage, salsa, jazz, synthesizers, and soul. He has released music as lil'dave, Illvibe Collective, and under his electronic alias, Osage.

The shadowy forces behind The Tapeworm are delighted to announce the latest release to come flying out of The Wormhole. On a limited edition split LP two of Europe's foremost exponents of the tape loop go head-to-head, recorded within the hallowed environs of a former Buddhist Monastery - with dramatically un-Zen results.

On one side, Italian composer Marta De Pascalis mixes loops and analogue synthesis to create densely layered collages of glowing melodic shards and growling bass distortion, her hypnotic minimal synth figures warping and whirling around each other before dissolving into entropic oblivion. 'Her Core' is a rusty, sand-blasted slab of heaviness that provides the perfect continuation from her two solo albums - a hall of mirrors collapsing in on itself, over and over.

Meanwhile, Howlround is in full contraction mode on 'Hard Core', heading directly into the murky innards of a quartet of vintage reel to reel machines and using live tape delay to create syncopated rhythmic pulses, crackles and squelches that founder member Robin The Fog describes as 'accidental gabber'. Originally rising to notoriety through sonic portraits of entire buildings, here Howlround dramatically scale down the subject matter to concentrate on mapping out the endless psychedelic dimensions of a circuit board, discovering a whole new world of creative potential in the process.

Both sets were recorded live at London venue Iklectik during the fall of 2017 at "A Can of Worms", an event to celebrate The Tapeworm's 100th release. What's perhaps most remarkable about this LP is that it captures a pair of artists in a snapshot, in parallel. Here, Howlround shakes off the back catalogue, stepping out of the comforting confines of the studio. De Pascalis plays harder than ever before. Both artists taken by a moment, into the harsh glare of the unknown. The fact that each has created their noisiest and most abrasive work yet will surely be seen as a happy coincidence. A can of worms, indeed...

In the music of Curvative the looping state of mind is about The Nexus of temporal spatial idea between the decomposition base of on (Cholesky)

A Live mix of new and odd tracks from released soundtrack mixed with bass and dubby loops

"After almost 20 years of making tracks with blaringly loud kicks, you tend to start producing with the other elements first to give yourself a break from the constant pounding of monitors at point blank range. Following an analog filter shopping spree, I began working on a group of tracks where the low end was satisfied by the filtering, and realized these songs worked just fine without a bass drum. Therefore this record is called "Rareforms" since most of my other work consists of a kick drum and lots of loud effects. This record is dedicated to the brilliant synthesist and interpreter Isao Tomita, whose records always provide inspiration in the lab. Also to master storyteller Rod Serling and his frequent collaborator Bernard Hermann, whose score for the Hitchcock film Vertigo I adapted through some MIDI processes and wavetable synthesis, then sent it through a 4-foot spring reverb." - Phil Moffa

Repress

Rotterdam based Rasta Vibez present their latest 10'' project featuring the artist who shall remain unknown. Rastafari Army / Rich Man Dub once again contains that signature sound full of positive vibrations appreciated by a growing army of fans around the globe. Essential 100%. Be sure to get involved!

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UPPERMOST will be releasing his upcoming album on March 23, 2018 with a completely new perspective that should change the course of his career, expanding to a brand new pop oriented approach but keeping his French signature at the core of the project. His previous hit tracks Flashback and Beautiful Light have already generated more than 27 Million combined streams across platforms, while Mercedes-Benz selected Uppermost single Disco Kids to be featured in their Formula One advertising campaign and Starz/Encore chose another of his instrumentals for their 2018 TV spot only few weeks ago. Uppermost is being closely followed by international media leading to great articles from influent press channels such as DJMAG, Vice, Complex, Paper Magazine, and famous radios such as BBC 1 and Virgin. In addition to releasing music via his own independent label Uppwind Records, Uppermost has released music through powerful labels such as Sony and Ministry Of Sound and done official remixes for Dada Life, Lemaitre and Crystal Fighters. He has also already shared french festival SOLIDAYS's stage with Madeon, Yelle, Fakear and Die Antwoord. This new year, Uppermost premiered his upcoming live show at Paris . Point Ephemere . for a sold out event that turned into a great success. Meanwhile, a U.S. tour is already confirmed for the month of March.

Extending from the abstract and varied sound worlds exposed in the Alien Jams radio show and guest mixes, Nervous System responds to evoked feelings of unease and anxiety, anatomical complexities, signalling networks and political uncertainty,


Nervous System is the first compilation to be released on Alien jams and brings together tracks by Rosen, xname, acolytes & alohbe, FOQL, rkss, Ondness and Recsund.

Circuits is the new collaborative project from InsideInfo and Kasra. Two artists coming from different angles sharing a similar musical grounding to create minimal but heavyweight drum & bass. 'The Coming Through EP' is the first of several releases planned for 2018 and beyond.

180g
Perfect Records returns with a fully rounded release by Danny Scrilla. The A side, "Mirrors" features talented singer Alis beautifully tagging along on a very Scrilla trip to space. On the B side, "Can of Worms" is an intense, sub-heavy roller that's been blowing up soundsystems left and right. The final track on the EP, "Wipeout", is an absolute hoovery head-nodder for the dancefloor-inclined.

Three years since Profane's seminal album 'V.illan Mills' was recorded for Inperspective and it's long overdue that he returns to the label. This canadian native's unique style that somehow fuses the hip hop sensibilities of J.Dilla, the jazz/funk ideologies of Danny Breaks and the experimental truth of Squarepusher has been a breath of fresh air in recent years on the Underground D&B scene and these two new cuts from him are no exception. The experimentally epic breakbeat off tempo monstrosity of 'Drughmada' is a heady, giddy tapestry of beats and breaks with a sleazy sample and panic led overtones. 'West Newton Views' is a darker more minimal affair. A clunky, dubstep vibe which maintains moody intensity throughout. Tense and suspenseful.
The other side sees the triumphant return of Rome's Lynch Kingsley. This young, precocious talent has been a good friend to the label for a number of years and after making waves with his debut 'Eden EP' it was only a matter of time before his return. We are pleased to present 'Void', a dark journey through the breakbeat, sci-fi escapism of early 90's D&B which in time develops into a deep, break laden workout with gorgeous synths and fantasy atmospheres. A joy to behold.

Arriving at the scene of the crime, the notorious vinyl imprint Albion Collective untethers their next musical drive-by in style. Keeping steady with their tradition of meticulously well-crafted releases, after a fulminant outing of Stepper's finest Digid & Dubbing Sun, Egoless on version duty - the label welcomes UK's heavy hitter Glume and Slovenia-based bass conjurer FLO to their roster.

The Bristolian talent has been causing waves within the scene with productions, that inevitably find their way on to wax and sound systems all around the globe - taking the reign for the A- Side with the murky, sonic weaponry - aptly titled 'Thug'. For the flip side his fierce production style is joined by FLO, who's innovative approach to Dubstep has yielded support from the likes of Noisia, Mala and Joe Nice among others. Already having reached dangerous levels of aggregated bass weight, one more exceedingly capable individual enters the ring. On top of his game, accomplished and highly regarded producer Sepia treats the collaborative track from Glume and FLO 'Skateland' with a ridiculously heavy remix.

Inducing a state of hypnosis, 'Thug' appropriates your attention as oriental string arpeggios whirl up ponderous drums, setting the pace for a journey through low-frequency trenches, accompanied by vocal ramblings and Gangster wisdom, as well as a true-to-the-roots approach of its sonic nature and dance-floor-affine arrangement. 'Skateland' emerges out of dreadful depths, unleashing a sound system stomper of massive proportions, akin to opening Pandora's Box, built up from the ground to kill every sound bwoy on the other side of the control tower. Sepia's remix takes an equally sinister form - gradually increasing in intensity, unadulterated low end taking the cake alongside his characteristic, minimal instrumentation in full effect.

In this opus, KID has gathered its favourite MCs: Troy Berkley (Be), Demolition Man (UK), Jamalski (US), Senior Wilson (ES), Echo Minott (Ja) and Eva Lazarus (UK) - as well as the musicians Dubamix (Fr), Dubmatix (Can) and Crew Fogata Sound.

Surrounded by the throb of heavy machinery, the scent of dried fish, and the humidity of the South China Sea, electronic outfit Blood Wine or Honey have honed their manic hypno-tropicalia in the industrial warehouses and hidden rural hamlets of Hong Kong.

BWoH are multi-instrumentalists / vocalists James Banbury (synths, bass, cello, etc), Shane Aspegren (drums, synths, electronics, etc) and Joseph von Hess (saxophone, wind instruments, percussion, etc). Collectively, their witch's brew of brazen sax themes, lo-fi/hi-tech electronics, motorik drums, group-sung vocals, wonky tactics and party palpitations results in a ritualistically euphoric sound experience, taking notes from post-punk, dance floor experimentation, bass/soundsystem music and tropical polyrhythms.

Their hotly anticipated debut album, 'Fear & Celebration', is the culmination of a painstaking process of writing, recording and production for the trio. After the band's live debut at Sonar Festival Hong Kong, their breakout track 'Anxious Party People' shocked dancefloors all over the world, receiving a shortlist nomination at Gilles Peterson's Worldwide Awards for 'Track Of The Year' and catching the attention of major radio outlets such as BBC 6 Music (UK), Radio Nova (FR), KCRW (US), CR2 903 (HK), Worldwide FM, and NTS, as well as being featured on Bandcamp Weekly.

This is deep dance-floor for every mind's ear.

Delta Heavy have seeped their influence across every corner of the music market for years now, whether it's staple sets at the world's biggest festivals, including Reading and Leeds, EDC, Let it Roll and Glastonbury, headlining London's seminal Fabric nightclub or hosting an esteemed Essential Mix on tastemaker radio station BBC R1, they've become household names. And following a host of releases on twenty-five year strong, pivotal dance imprint Ram Records and collaborations for Monstercat alongside the likes of EDM pioneer Dirty Audio, they're set to
return with vocal lead single 'Nobody But You' ft. Jem Cooke. However, in the wake of their debut 'Paradise Lost' LP, amassing millions of streams worldwide and securing them a slot on iHeart Radio, they've already set themselves up as crossover heavyweights.
'Nobody But You' is a heartfelt anthem already dominating clubland and reasserting Delta Heavy's reputation as some of the most diverse producers since drum & basses inception. With an enviable work rate, Delta they continue to smash the prototype.

Cover with laser-cutting and printed inner sleeve, ltd. to 500 copies, incl. mp3A Score for Darling is both the sound track for the Danish film "Darling" (2017) as well as a collection of outakes from it. Raúl Pastor Medall (Rauelsson) and Erik K Skodvin (Svarte Greiner & 1/2 of Deaf Center) were paired together to work on the accompanying music after the director, Birgitte Stærmose wanted to try a new direction. Both together and individually they have created a highly affecting collection of pieces to a film that is not afraid of pushing the emotional content to the max, centered around the story of a dancer on the rollercoster ride of her life. This is also the first time either of them have made a full lenght sound track, making it their debut on the big screen.The music and instrumentation heard on the album is brimming with dynamics and diversity, featuring violin by Christoph Berg, cello by Anne Müller as well as a mass of other sounds like church organs, synths, guitar amp violation, electro-acoustics, piano and more, all layered together into 15 beautiful and devastating fragments of mood. The final piece of the album "Breathe" - featuring Otto A Totland on piano and Katinka Fogh Vindelev (We like We) on voice - can be seen as their own lamenting end title to a longer period of work with this album, finally finished.

Pulse Drift's third installment brings you the vinyl debut of a very talented young artist from Canada. And he delivers something quite special on this 4-Track EP. Deeply rooted in Detroit Electro, his musical sprouts gravitate towards a more experimental, forward-thinking sound universe. Build on a solid stem of rhythmic structures and covered with a cortex of melody and atmosphere, Funk grows and Groove emerges.

With his solo project Jesus Is My Son, Gregory Duby, a guitarist from the belgian Black Country, explores since 2005 another side of his expanded tastes in music. After years in noise-rock bands (The Invisible Frog, K-branding) both bands being under influence of metal and industrial music, Jesus Is My Son is  clearly on the classical guitar side of things. Except you can never forget and always feel the intensity of Duby's heavier practice in the soft and peaceful 'Innocence', sometimes in its almost threatening tension, sometimes in its profoundly melancholic relief. On the b-side, 'Insouciance' has an oriental feel to it, a lighter face: recklessness after a crash or smiling distraction before a tempest.

Animals On Psychedelics is a new label out of Cleethorpes, run by DJ/promoter Carl_H. Through a combination of name, artwork and musical output, Animals On Psychedelics focuses on the more tripped out, spacey side of electronic music. Release #002 comes from another member of the Family Miro SundayMusiq, who hosts the super sonic, boundry-pushing party Sunday Club*, down at The Pickle Factory. This will be a first release for Miro SundayMusiq and it certainly won't be the last here at Animals On Psychedelics HQ

Expounding upon its already stellar release schedule this year, with previous collections like Samba's Malignant Remixes featuring Bukez Finezt and Crucial Recordings' first compilation release overflowing with underground royalty, Crucial continues to strengthen its resounding reputation with its next release from the labelhead himself, Sleeper. Referencing years of technical and creative experience as well as sonic exploration within the 140 sound and beyond, Sleeper has extended his tastemaking musical palette onto his very own imprint, allowing other artists the chance to echo the philosophies of the label's forward facing, trailblazing values with their own musical outputs. Now, the labelhead is poised to undertake the mighty voice of the label himself with the release of CRUCIAL017, featuring four highly anticipated, dance floor ready tracks that simultaneously teeter the lines between simple and complex in all the right areas.

CRUCIAL017 clearly demonstrates that while the darker styles of dubstep will always reign supreme in Sleeper's extensive output, he'll never shy away from flexing his production muscles, as he's been known more recently for taking his forward-thinking creativity and sound design expertise to new heights while always allowing for his own personality to shine through. Infectiously blending the eyes down, experimental personality of dubstep with the heavy impact of beat driven bass music, the multifaceted nature of CRUCIAL017 shatters boundaries and challenges conventions with razor sharp melodies, perfectly broken percussion, wicked basslines and an overall unforgiving attitude. Sleeper's openness to and curiosity for exploration through a multitude of musical worlds has enabled him to fuse all areas of his taste to cultivate a unique sound system focused style that is clearly felt through CRUCIAL017.

"The kind of melancholia I'm talking about, by contrast, consists not in giving up on desire, but in refusing to yield. It consists, that is to say, in a refusal to adjust to what current conditions call 'reality' - even if the cost of that refusal is that you feel like an outcast in your own time." (Mark Fisher, Ghosts Of My Life, Zero Books 2014, p. 24) In Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures', the author Mark Fisher outlines - to put it in a big way - a resistant melancholy. This stands in contrast to leftist melancholy resignation', as well as something which Fisher does not talk about: its common masculine counterpart, habitual post-left cynicism - as in seen it all before'. Fisher calls this hauntological melancholy. Haunting, spooks, ghosts and apparitions are an almost constant presence on I Started Wearing Black', the second album by the Cologne-based artist Sonae (pronounced so-nah'). The term hauntology shares a fate with retro-futurism when it comes to inflationary overuse and abuse. It's a conceptual container that looks good and can hold a lot, indeed, too much. Furthermore, hauntology has its peak season behind it, a term on the threshold of its expiration date. Nevertheless, I would like to rehabilitate hauntology and use it properly to characterize I Started Wearing Black', because the term is rarely as compelling to describe music as is the case here. The most recent other example could be Asiatisch' by Fatma Al Qadiri, but with a completely different frame of reference. What are the ghosts of this music It rustles, crackles, ruffles, crunches, rattles, scrapes, sometimes a beat emerges from the constant noise, sometimes an obscure voice mumbles incomprehensibly, sometimes a melancholy piano figure is prevented by this noise from coming too much to the foreground. It definitely is eerie - to bring into play another term used by Fisher in the title of his latest book, The Weird and the Eerie'. In British pop-jargon, eerie first occurred to me more often when referring to particularly leftfield, spooky and... well... ghostly dub, a bass-heavy, echoing noise, from Augustus Pablo to Creation Rebel to Burial. Unlike the Wald & Wagner records by Wolfgang Voigt, Sonae is not a kind of neo-romantic veiling with a tendency for escapist nebula. It is more a noise of latency. The noise signals a latent - not necessarily acute - threat, a latent uneasiness about... yes... about what About a System Immanent Value Defect' That's the name of a track on I Started Wearing Black' where something that sounds like a French Horn (or a foghorn) battles for attention through or against the background noise. An email from Sonae: The piece 'System Immanent Value Defect' should actually be called 'I See Turkey'. I wrote it for my fellow student Elif - she is a pianist and Gezi Park activist from Istanbul. Through her I witnessed the inner conflict and agitation that political circumstances can create: her feelings of guilt when there was an attack, with her safe in Germany as a student, watching the events from afar. It was horrible. When her mother begged her not to come home because she feared for her safety, I felt a cold shiver run down my spine. I started with the piece from this mood, beginning with the piano, then the noise (modulated sinusoidal curves), which reminded me of waves and the then heatedly discussed Mediterranean sea: atmospheric, melancholy motifs. In contrast is the anger, the pressure, represented in corresponding sounds - hopefully audible! - During this time I started to think about world views as they can be found around the globe, in how far they held by societies and their political representation. I realized that I know of no political system that is actually about the people and what would do them good. It's always about positions, power, money. I thought that was a lot more frightening on a global scale than merely viewing Turkey in isolation. That's why the piece is called "System Immanent Value Defect", because our world suffers from precisely that. Everywhere, it's all about the wrong things.' Between the wrong things there are happy moments. In the title track, after 184 seconds of rattling and hissing, a beat is unleashed, like an arrow released from a spanned bow, a beatific relief, if there is such a thing. White Trash Rouge Noir' first meanders along spookily, then after 144 seconds it transforms itself into a distant cousin of Einstu¨rzende Neubauten's Yu¨ Gung', but there is no Big Male Ego to be fed here, and the black in the album title is a completely different type of black from that of the Neubauten. Furthermore, I Started Wearing Black' was finished long before the black dresses were worn at the Golden Globes as a sign of protest against sexual violence. Sonae writes that she herself started wearing black some time ago. Her reasons are so-called personal ones: ... resulting from an individual situation (lovesickness), I started to wear black (gaining weight and feeling ugly).' The political dimension of gaining weight, feeling ugly and therefore dressing in black in I Started Wearing Black' lurks within the noise and never becomes explicit and only rarely manifest - or a manifesto. Sonae writes about the track We Are Here': A piece for minorities... in this case, considering the current pop-feminist discourse, explicitly for women. Female artists have long been saying loud and clear that 'we are here' and 'electronic music is not a boys club!' But this pop-feminist moment should only be seen as one part of the dedication of the piece. It is for minorities, for the oppressed, who didn't belong enough.'

Klaus Walter

Emotional Response starts 2017 with a mini-album of ambient-equatorial enlightenment by Australia's mysterious Tropical Hi-Fi. The final record from an artist appearing on the label's first SchleiBen series, this also points to the future.
Based somewhere in the far flung Northern Territories, the music of Hi-Fi's pre-incarnation Electric Egypt was first discovered via the note-worthy airwaves of L.A's outstanding Dublab radio station.As the wonderfully diverse internet shows and project's dense, hip-hop inspired collages came to fruition with 2012's Exotica release, a dual awareness and sporadic contact was maintained whenever a signal could be established with Hi-Fi base camp. As the SchleiBen series was formed, the studio-DJ-cut-up-mix of Oceanic Mythology was warmly received as an inspired counterpoint to the dense offering from Don't DJ.
These first real solo recordings from the Hi-Fi crew - whoever he/she/they maybe - moves on from the cut'n'paste of Electric Egypt to seek a meditative vision. Ambient, drone and field recordings are all part of a drifting tropical flavour that encompasses the listener. Music truly inspired by it's surroundings, this is not some music journal, flying in to sample a life and it's sounds, but the real, living entity and it can be heard deep across the 8 short pieces. None is more typified than Tahiti Blue, where fellow traveler Mike Cooper layers his ubiquitous steel blues over simple, lilting drums. Mixed by Leaving Record's Matthewdavid (with whom more to come on the label in 2017), photography by Native Finger and the ever-present encouragement of friend and neighbour, Ariel Kalma, this is conceptual album to lay back, drift off on undulating swells and simply, let go to.

The multi talented Zarkoff and his mates bring you the darkness of subterranean Croatia. 'The sound of rats gnawing on your toenails.

Boli Group is a new ensemble spearheaded by Copenhagen based composer and producer Asger Hartvig. Responsible for some of the most fearless and intriguing works to come from the city in recent years, Hartvig is as imposing as he is mysterious, and his debut release for Posh Isolation makes no concessions. Hartvig is perhaps best known for his work with the group Synd Og Skam. And though less known, Brynje 1&2 is just as exceptional. Taking both technology and classicism as allegories, each group charts routes in and out of pop music, somehow arriving at an observer's distance to the distinct stylistic choices in the process. The label Visage has published the best of this, and the logic has certainly been carried into 'Boli Group LP,' the latest offering from Hartvig and his distinguished ensemble of Nina Cristante, Holger Hartvig, Thea Thorborg, and Cæcilie Trier. There is a nearly unendurable fragility to 'Boli Group LP.' It's as if Hartvig has let the complexities of his themes stand in mourning; his narrator taking a moment to themselves behind sunglasses, exhausted for the rose-tinted lens of the prepared script. The album is willingly dramatic, though it never plateaus into melancholia. Hartvig pirouettes at the edge with the sorrowful string arrangements and the pristine timbre of the piano, the immediacy of the acoustics always binding the listener tightly to the risk. Pastoral and meditative, the electronics don't tamper with the delicate fabric being woven. They always register as supportive and understated. The synthetic hum, occasionally yielding a doleful melody as it does, manages to imbue a naiveté to this contemporary and subtly idiosyncratic chamber music. Though the track titles lead us on, in time the examination the album provokes is that of the tension in transparency. The album's secret, barely kept through the minimalism, is its distinct folk noir quality in holding it. "boli group creating new chamber folklore embracing the playing of instruments, not the played, but that which is playing for the sake of future focus and edit into the very minerals of instrument, intuition, emotion, fragility underlying, the warning, always pulsating acts of drama, wet leaves, asphalt, pan to right, agriculture and electricity poles a container ship, lonely in horizon hoping for a clear thought, but everything existing as conspiracy the sound of a search, uncertain and always asking, for certainty is false, showing sceneries changing permanently and forever narrating, like a panorama of grey clouds, keeping humidity levels high, heating up before the release of water and lightning investigation for folk instruments. What are their songs and where will they go, over time, woven together like a piece of fabric created to stand against the lethal winds'

Putting the foot to the floor French duo Haydee's "No Gouvernance" revs and rumbles like a cantankerous, clapped out engine. Rust breaks clean in huge chunks as screams and shouts punch through the thick drum fumes. Industrial legends Hunting Lodge follow in a similarly smog spitting motor, the drunken mechanical tirade that is "De Omnibus Dubitandum." Bass and beats crack and leak in this scarred proto-acid work from 1983. Newcomer Catriel drowns "nbdymksmefeellow" in a sludge of static, indecipherable words gurgle as percussion attempts to save this doomed victim. Giant Swan (Timedance) then take a piece of pipe to "Dare", pounding it with heavy blows, forcing confessions through verbal assault before leaving it more bloody pulp than track. Finally Gotshell (Blueprint) closes with a rumbling double brewed remix of "De Omnibus Dubitandum. A 12" that'll leave speakers blown and listeners in need of a tetanus shot.

* Hydro returns to Commercial Suicide with some of his best work after a long stint in the world of professional wrestling. Following his departure from WWF, Hydro teamed up with fellow heavyweight War for a season of the popular television show Gladiators before finally closing the book on their muscle bound dreams and turning their collective hand to deep and techy Drum & Bass.

* Collectively Hydro and his best mate War have released on labels as diverse as Warm Communications, Critical, Symmetry, CIA, Dispatch, Horizons as well as Commercial Suicide of course.

* Watch out for the forthcoming Hydro album on Utopia in 2018.

* Cained on plate by the best.

* In come the first of three releases celebrating a decade of pioneering label Kapsize. Fronted by leading light of Bristol dance music, Joker showcases one of his most iconic sounds to date.

* Suave sophistication not out of place in a Bond or Bourne film, backed with dancefloor aggression, 'Anamorphic' oozes the hi tech international espionage Purple sound Joker has carved out for himself. Opening with plush synth and horn washes, leading into unmistakable arpeggiators and guitar riffs, 'Anamorphic' manages to combine Joker's signature sexy RnB vibes into perfectly engineered system smashing bass lines with ease and style.

* 'Forever' explores the same theme with soundscapes and synth washes that Vangelis would be proud of. A textural flight over the landscape Joker painted with 'Anamorphic', 'Forever' gives listeners a chance to take in the sights and sounds of the neon cities and skylines that Joker made his name on.

* Joker continues the exploration and continuation of the sounds that made his name, elements of 'Snake Eater', 'Tron' and 'Neon City' can be found here with a new slant. A showcase of a unique pioneer at the top of his game.

Wisdom Teeth label head K-LONE revives his Wych imprint for an essential two-tracker of bleeping, melodic halfstep. Following on from the critically acclaimed 'Old Fashioned' EP - released last year on DJ Parris's Soundman Chronicles imprint - WYCH002 sees the young Londoner exploring his formative roots in dubstep and grime - albeit from a startlingly fresh, forward-facing perspective. The tracks loosely recall the off-kilter rhythms of early James Blake and Joe, but their psychedelic melodies have as much in common with the contemporary experiments of Leif, Peverelist and Duckett. Hotly tipped by dubstep heads Commodo, V.I.V.E.K, Boofy & Kursk.

10"

This one shouts for itself: OG grime producer/engineer Boylan runs amok with a Devil mix of Logos' Glass.
Given a side to itself 'cos basically nothing else can withstand its heat, Boylan reduces and amplifies Glass' original shards of jungle breaks and scything mentasms with pensile application of drop forge bass and super wide, vaulted sound design, in the process turning it into some kind of petrified rave fulgurite.
It's quite possibly the most ferocious turn-up from the grime X hardcore X weightless nexus which has emerged in recent years, largely due to the efforts of Different Circles.
One might call it a Different Circles anthem, but whatever you want to call it; this one's massive.

Beautiful collection of location and field recordings incorporating music made by Stephen O'Malley and others for a sublime, highly evocative collage-based audio journal designed for deep
mmersion...
Pali Meursault engrossingly plays with conventions in this abstracted collage of location recordings making great use of the Échos festival's unique alpine environment and acoustics as
well as performances captured from varying vantage points around and outside the valley site. It forms a collaged survey of music made by Stephen O'Malley, Clara De Asís & Laura Vasquez, and Bear Bones, Lay Low, among many others, seamlessly incorporating traces of natural sound sphere knit with and around the artists' gestures.
Despite being impressionistic in nature, the recordings create a duet with the landscape and its uniquely reverberant dimensions of mountain sides and steep valleys, where sounds leave the
players only to return mutated, taking on a life of their own.
The result is at times a gentle, at others steeply psychedelic journey; a sonic topographical reading where wildlife bleeds into the same soundfield as the artists, adding into a variegated space of reception and perception in flux between earthly and unearthly delights, conjuring an illlusive metaphysical matrix that's a total pleasure to wander and become enmeshed in and enchanted by.

Timedance's first releases of 2018 sees the label embark on a new journey. Here we have a sampler for the forthcoming Patina Echoes compilation, a collection of tracks from a new exciting breed of young producers worldwide. The sampler gives a taste of the forward thinking, synthetic yet natural style the compilation covers. Don't Be Afraid regular rRoxymore debuts her first track on Timedance, Bruce returns to the label for the first time in two years with a stunning sound design exploration and newcomer Chekov's widely played 'Stasis 113' finally sees a release.

Schmeichel represents a new generation of producers from Leipzig who like to tell personal stories with their music. He is processing and synthesizing elusive moments into sonic expansions that are unrivaled. Influenced by bass music of all kinds, footwork and juke from Chicago and breakbeat tracks from UK artist*s*, the former rock drummer became a live musician and explorer of deep electronica. From Defrostatica Records he received unconditional support for his dope tracks and found his unmistakably explorative and irresistible voice on his label debut Alteration EP.
'Evidence' is the suave overture of the 80/160 beats per minute EP. It evolves around a deep and grounded kick, filtered and vibrating pads into straying hi-hats and female vocals that breathe soul and are cheering at the same.
'IKillWantU' is a seven minute beast, with many hidden and interfering layers and elements like the dissected vocals, a distorted distant bass line and steady rimshot that guides through an intense trip.
With 'Talkin' we reach the spiritual center of the EP, a wonky beat among a reminiscent and unshackling choir of male chants over a heavy sub bass.
'Uhhhwheeee' is optimistic and melancholic at the same time, only driven by Chicago bass kicks, hi-hats and rims accompanied by vocals that are woven into synths like only Schmeichel can do.
'DoInIt' marks the end of the EP with a determined message in the midst of another eerie slow shuffling beat. When the synth pad comes in the sun seem to rise again after a long night in the club.

Precision dubsteppin' drum & bass collides with tweaked IDM-techno and zero-gravity ambient.

Repress

A duo to watch closely throughout 2011 and beyond drop 2 minimal punchy blinders on Dispatch. Skeptical and Dub Phizix come more than correct with 'Silo' and 'The Enemy' and it appears we're not the only ones that love these 2 tracks as they are getting a rather heavy dose of support from the likes of Skream, D-Bridge, Ant TC1, Octane & DLR, Survival, Loxy, Nymfo, Teebee, VC and Ulterior Motive! Watch out for more from these 2 on the label real soon!

Steve Roach's 1988 ethno-ambient release Dreamtime Return hits the thirty-year mark and gets the anniversary remaster treatment! Steve Roach's 1988 double-disc is back in production! Dreamtime Return was inspired by multiple visits to the Australian Outback, the concept behind Dreamtime has secured the album as one of the pivotal works in ambient music today. Dreamtime refers to a state if being where past, present, and future are all experienced simultaneously. The tales told over two LPs touch on the earth's origins, and the role humans have to play in it. Inspired by the Aboriginal stories of Australia's first people, Steve Roach used a combination of synthesizers and ancient instruments to create the albums signature sound, most notably the dumbek & the didgeridoo. Dreamtime Return travels through unexpected pathways, with slow moving textures, as tones scatter into brilliant arrays, and evolves them into a mystic long-distance journey. Remastered from the original tapes, this is the first vinyl reissue of the album since it's initial release in 1988. Dreamtime Return will be released on double gatefold LP.

- Ihr letztes Studioalbum - Love Death Immortality (2014) verkaufte sich in Deutschland lt. GfK über 1.550 mal
- Seit ihren ersten Veröffentlichungen 2010 konnte die Band bisher insgesamt über 65.100 digitale
Trackdownloads in Deutschland (GfK) verbuchen
- Musik von GLITCH MOB dient immer wieder als musikalische Untermalung in der Werbung (Spots von Amazon, GoPro, Audi), in Videospielen (Battlefield 1, The Crew) und diversen TV-Sendungen (u.a. Galileo/Pro 7, Person of Interest)
- Der GLITCH MOB-Track - Skytoucher war Titlemelodie des Frankfurter Tatort - Hinter dem Spiegel (Ausstrahlung am 13.09.15)
- Durch aufsehenerregende und energiegeladene Auftritte auf einschlägigen Electronic-Festivals weltweit wächst der Fankreis stetig weiter

Die 2006 in Los Angeles von Justin Boreta, Ed Ma und Joshua Mayer gegründete Band kombiniert unterschiedliche Fähigkeiten & Einflüsse und wurde dank aufsehenerregender und energiegeladener Auftritte schnell zu einem der beliebtesten elektronischen Acts der heutigen Zeit.

Re-issue with new sleeve, photographed by photo editor of Thrasher magazine Bryce Kanights when Tommy was 13 years old

97 debut album from renowned skateboard rider Guerrero takes off on a fusionistic ride of acid jazz, trip hop, rock and downtempo groove.

This is one of the lesser known titles by Tommy Guerrero, instead of the more indie Rock or Post/Experimental-Rock sounds that made "A little Bit of Something" or "Hoy Yen Ass'n", such accomplished albums have largely been abandoned, in favour of something a little more subtle, studied and more akin to his Puerto Rican roots.
This is, by and large, a vastly stripped back affair compared to his later albums, with the acoustic guitar featuring prominently in virtually all the songs, with subtlety, and refinement, this feels like a improvised session between him and his group of musician friends that has been beautifully recorded and keep for prosperity. This is (apart from a couple of vocal tracks) a most instrumental album, with a super-laid back feel, that mixes simply devised melodies with hints of Blues/Funk, yet the prominence of a strong Cuban/Latin artistic approach run strong throughout the album.

Highly recommended.

Wahever Records presents 'Morning Cartoon', a new venture combining drum machines and wind instrument harmonies, interspersed with percussion in wood and metal - humans breathing with an electronic heart.Recorded in London dreaming of faraway continents, sunny islands and banana trees.Paying respect to the Joy of Sound, a charity promoting social inclusion through music - a luminous organisation that provided the space for the artists on this record to meet. Their work reminds us that music is a way of sharing feelings and elevating ourselves.Morning Cartoon is a series of collaborations by London-based artist Matteo Boyero. The first track 'Homerton Air' features Robert Goldsmith on tenor sax. Tim Wall is on clarinet for 'Oool' and 'Simple Analog Pleasures'. 'Sampling the Joy Of Sound Redmond Files' is co-produced with Rodolphe d'Audiffret, with Nick Onley on tenor sax and flute; this track was previously released for the Joy of Sound and has been remastered for this release. As the title suggests, it contains samples from a concert by the Joy Of Sound. The artwork was created by Basile Carel and the special edition prints by Anonym Zelig.

Following on from his Livity Sound 12' released last year, Via Maris swings back into action with 3 tracks of low slung shellers for Beneath's Mistry label. The EP shows a focussed yet varied range in Via Maris' production. Shelley hits hard with wigged out stomping drums, Toys shows a more sultry, introspective side and Miasma rolls with impeccable pacing. All three tracks are designed, refined and engineered for the dark, hazy basements - you can almost taste that Plastic People vibe.

Singular avant garde voice Ashley Paul commits a bewitching début to Slip with Lost In Shadows; a tender yet discordant suite inspired by her new role as mother to a young child. Few would call Ashley's music 'easy', but it is also heavily rewarding in its own, uncompromising way and now finds its audience on the acclaimed Slip imprint amid a roster of boundary-morphing composers including Chaines, Mica Levi & Oliver Coates, Yeah You, and Laurie Tompkins.

Recorded over three weeks at FUGA in Zaragoza, Spain and premiered at Counterflows 2017, on Lost In Shadows the multi-instrumentalist plays guitar, sax, clarinet, voice and percussion. In a mark of distance travelled since her last album, however, she draws on recent collaborations and work with pre-eminent composers such as Rashad Becker, Lucy Railton and Rhys Chatham to also delegate roles to a new ensemble of players on tuba, baritone sax, cello and percussion, who serve to render the dynamics of her music with stronger attention to bass rhythms and intricate, iridescent dissonance.
The expanded personnel lend new flesh to Ashley's work, hingeing around her tremulous vocals and bringing her ideas to life in 11 parts that hold to a perceptive knife edge between lullaby-like and restlessly tooth-achy: mixing the off-key filigree of her vocals at asymmetric tonal angles to the instrumentals - a solution of jazz, chamber music, modern composition and folk craft expressing a complexity of ideas that may well have fallen apart if handled by composers unable to hold their nerve quite as well as Ashley.
As with all her works, a sense of intuitive, instinctive alchemy is at the core of Lost In Shadows, as Ashley's jarring tonal juxtapositions and her own elusive vocals act out a metaphor for the challenge of nurturing new relationships in testing circumstances, an experience she describes as 'many hours spent awake at night in a dream like state of half consciousness, darkness and solitude; an overwhelming feeling of loneliness and exhaustion made light by a profound new love.'
Ultimately, the results are cranky as much as delirious, uncannily relaying a state of mind and sensations which will only ever be felt by some of its potential listeners, yet offers myriad possibilities for interpretation to all.

Time Exercises is a complex study in amorphous polymetric rhythms by UK artist Cam Deas for The Death of Rave. His first LP composed solely for modular synths and computer, Cam's follow-up to the acclaimed String Studies (2014) marks a headlong tilt from acoustic to electronic spheres with a staggering effect resulting from meticulous research and process. It sounds as advanced as Xenakis or Roland Kayn superstructures, with the rhythmic displacement of FIS or Autechre, and with a grasp of slippery, mind-bending timbral dissonance comparable to Coil and Rashad Becker records.
Cam's six Time Exercises form both a bold break with - and an extension of - the avant, folk, blues and outernational traditions that he's worked to deconstruct and fluidly syncretise over the past decade. In the past four years he's stepped away from the guitar as a compositional tool, turning to electronic hardware in a focussed effort to consolidate myriad tunings and meters with a
precision that had previously eluded him in the acoustic sphere.
Severed from the tactility and sentimentality of instrumental inflection, Cam's disembodied music plays out a thrilling dramaturgy and syntax of alien dissonance and disorienting rhythmic resolution. Harmonic shapes as densely widescreen as those in Roland Kayn's Cybernetic Music roil in unfathomable fever dream space, where massed batteries of synthetic percussion swarm like an orchestra of Cut Hands in viscous formation, and where polychromatic mentasm figures converge like cenobites laying siege to Rashad Becker's utopia.
On Time Exercises Cam articulates a synthetic musical language that speaks to the listener in myriad, quantum tongues awaiting to be deciphered by keen ears everywhere. It's an outstanding
record for lovers of forward-looking but deeply rooted electronic music.

First time on white vinyl for David Sylvian's album from 1999. Now expanded with the addition of 4 non-album tracks, "The Scent of Magnolia

Mutant troubadour Laurent Gérard a.k.a. Èlg makes an ideal addition to the misfits at Editions Gravats with Vu Du Dôme, a patently strange record resembling a sort of cryptic opera or the
dramaturgy of a waking dream. Leading listeners up the garden path after the Mauve Zone (Nashazphone, 2016) album, the French-Belgian artist's latest album feels like a stroll around a
topiary maze at twilight on a warm night, with Èlg acting as a spectral protagonist narrating/ranting in first person while a supporting cast including Catherine Hershey, Borja Flames and
Ernest Bergez only make the trip more unfathomable.
Forming a bridge between improbable dimensions of musique concrète and chanson, or electro-acoustic and literary spheres, on Vu Du Dôme Èlg riddles his music to life with literal and metaphorical take on sound poetry; blending French language vocals with glossolalic babble against quietly enigmatic backdrops whose low, shifting lighting and mid-fi resolution lends them to comparison with illusive theatre stage designs as much as the overgrown niches of the imagination explored by Luc Ferrari or Èlg's Reines D'Angleterre bandmate Ghédalia Tazartès
before him.
A dusty revenant, an epileptic bard, a peaceful messenger: Èlg plays all those roles simultaneously.
Combining pointedly purposed production and cryptic incantation, he acts as a souterrain psychopomp relaying energies from one reality to another, taking care not to stray too far
explicitly in either direction and hold his ground ambiguously with the nous of an ancient Greek play or the kind of pathos and logic likely to baffle a computer. Taken in context of Roope Eronen's
artwork - a naif illustration of smiling cone faces on a bouncy castle - each listener's perception of Vu Du Dôme is bound to differ from the next in an all too rare and precious way that's testament to the genius avant-garde vision of its mercurial creator.

Der aus Oxford (UK) stammende Emseatee ist ein wenig besonders. Wie ein Forscher, in einem versteckten Labor, beginnt er mit der aufziehenden Nacht, Atmosphären, Stile und Rhythmen zu kombinieren. Er ist immer auf der Suche nach einer neuen Formel und bindet auch natürliche Sounds in seinen organischen Mix. Emseatees Experimente brauchen Zeit und gehen zurück auf den 21.06.2014. An diesem Tag bekam er Besuch von Minerva und zusammen legten sie den Grundstein für dieses Release. Die Veröffentlichung via Modularfield erfolgt am 27. April als 12'' weißes Vinyl und Digital.

Argentinian producer Sebastian Lopez a.k.a. Flug has just finished his work on his first full-length album.
The longplayer will be entitled 'In Safe Hiding' and will be released on the German techno imprint Nachtstrom Schallplatten on limited coloured double-vinyl, digipack-cd and digital format.
On 'In Safe Hiding' Flug, who already released on respected labels such as Soma, CLR, Sleaze and various others in the past, is showing a new and much more experimental side of himself. The album is a highly diverse journey through minimalistic soundscapes, in which warm, melancholic synth leads meet well balanced, minimalistic techno and ambient grooves.

Some of the tunes are aimed for the dancefloor, but in its entirety 'In Safe Hiding' is the perfect piece of music to put in your home sound system, sit back on your easy chair and simply enjoy the beauty of its composition.
The album is already played and supported by artists such as Len Faki, Alan Fitzpatrick, DVS1, Pfirter, Oscar Mulero, Answer Code Request, Alex Bau, Xhin, Keith Carnal, Alex Do, Tom Hades, Damon Wild, Drumcomplex, Björn Torwellen, Klaudia Gawlas, Bodyscrub, Heron, Lag, Krenzlin and various others.

Collapsing Market host this captivating set of quixotic ambient scenes realised by Ssaliva, a Belgian electronic musician with sterling form for Leaving Records, Ekster, Vlek and Purple Tape
Pedigree, among others. Pulling together blink-and-miss material from his Bandcamp along with previously unheard works, WYIN coherently highlights a broader period of work than any of Ssaliva's other releases, framing a probing and adventurous spirit at work in its element; modern digital ambient composition.
Coming off the back of Collapsing Market's reissue of Tschashm-e-Del, an archival radio play
of Persian Classical music conducted by the label's grandfather, Morteza Hannaneh, their first Ssaliva entry keeps the label outlook as mutable as ever with a natural focus on atmosphere and feelings connoting existential angst and solitary psychedelia. It's a product of its contemporary environment, which, more than ever, is bleakly electronic and at the mercy of rabid socio-
economics, as symbolised in sleeve's illustration of a financial trader's open palm, contrasting with the front cover's zoomed in image of blood-spattered textures.
In six parts he just about keeps his head above the waves and acres of negative space, firstly buoyed by choral voices in Danger Came Smiling, then against the discordant fulgurite of Hell/
Home, which both make the sublime timbral relief of a that much more effective, in the same way that the hyperreal, acrid sensation of For All I Care, the crystalline dimensions of 2drown and the spiralling, elusive complexity of b reflect and express the modern world with an intangible accuracy perhaps best compared to Arca.

180 heavy black vinyl. Polylined innersleeve and amazing full color artwork.

We are very pleased to finally unleash ZamZam 62, a power-plate from New Zealanders LQ & Headland. We've been running both of these tunes on acetate for some time now, and the results are consistently devastating. Gene Warriner, better known in the sound system world as Headland, is a prolific producer of dark, multi-faceted bass music whose star has been rising via singles and EPs on Innamind, Unity Through Sound, and Well Rounded Dubs. Ben LQ AKA Low Quality is an accomplished producer and runs Echo Chamber Sound, the Dub/Steppas/Jungle vinyl label based in Melbourne Australia, dropping 10's and 12's since 2010. The collaborative 'Fat Neck' (a cheeky working title that we insisted on keeping) is all about space - dubbed, dusty samples flex and breathe, creating a tense, cinematic space laced with sparse, chopped reggae snares and metronomic hi hats. The lurching riddim is bonded by a web of Space Echo, spring reverb, and the saturation of LQ's vintage soundtracs desk for a minimal yet powerfully immersive tune.
Headland's solo 'Mineral Run' is a 140 workout that manages to weld 4/4 dub techno and half-time dubstep swagger into a rare, gleaming hybrid machine that causes mayhem every time it's dropped. 'Mineral Run' was also put through LQ's desk, unifying the sound of these two epics. The magic in both of these tunes is how deceptively simple they are, how easy LQ & Headland make it sound... but as every fan of sound system music knows, the proof is in the dance.

For This Great 1971 Soundtrack Of Enzo Castellari's gli Occhi Freddi Della Paura' Morricone Called On The
Services The Gruppo D'improvvisazione Nuova Consonanza, The Legendary Avant-garde And Improvisational
Combo Of Which He Was A Founding Member. Not Only A Classy Soundtrack But Also A Classic Of The Experimental
And Free Jazz Genre.

Sowohl die heute noch zum festen DJ-Koffer-Inventar zählende Debüt-Maxi "Soopertrack" (2005) auf Border Community als auch die "Titelheld EP" (2006) und das Album "Schöne Neue Extrawelt" aus dem Jahr 2008 (Album des Jahres Groove, Raveline etc.) welche zu den meistverkauften Veröffentlichungen auf Cocoon Recordings zählen, katapultierten die beiden für ihre exzessiven Live-Auftritte bekannten Hamburger Arne Schaffhausen und Wayan Raabe auch endgültig in die Riege der Stil prägendsten Techno-Protagonisten der 2000er Jahre only 500 copies worldwide - no repress. be fast to secure your copy!

Kid Lib lets rip a double-A of heavy, atmostphere laden jungle for new label Foxy Jangle, from the good folk at Rua Sound.

A - Blue Dreamers:

Post apocalyptic peak time SoundSystem pressure is cut deep on this side with expert & infectious drum edits backed up by a pummeling bassline and amen assaults set against a sci-fi backdrop. Fans of SciWax style drum workouts and mid 90s Source Direct style atmospherics take note.


AA - That Special WayLush vocal sampling, drifting pads and soothing breaks give way to tightly chopped but smooth, rolling Amens on a solid foundation of bouncing 808s. The spirit of 94/95 is channeled strong here by the Green Bay Wax don, dancefloors melting into the night as the lights go down.

Support from Equinox, Om Unit, Double O, Mantra, DJinn, Sully, Ricky Force, Tim Reaper

REPRESSED !!
McDonald's long-standing relationship with Firecracker boss Lindsay Todd - dating back a decade to their joint residency in Edinburgh - has seen Lord Of The Isles records appear on both UNTHANK and Shevchenko, whilst he also contributed to the Scotch and field recording shenanigans of last year's Mac-talla Nan Creag album. Now, McDonald will now graduate to the main Firecracker label for a full Lord Of The Isles debut due in December under the name Parabolas Of Neon. Taking shape as a six-track 12'', the record features glacial techno and downtempo, cinematic melancholia, a fitting tribute to peaks conquered, whisky-drenched travelogues, warehouse parties, long drives and fried afters.

- Lord Of The Isles 12" EP
- Strictly limited vinyl
- Silkscreened artwork by House Of Traps and Al White

This man is well known as one of the pioneers of electronic music in the late 60s and some may have heard of his contributions to quite a few pop hits back in the day when he wrote and conducted orchestral arrangements for the one or another really popular artist. During the second half of the 1960s Mort Garson and his sidekicks Paul Beaver and Jacques Wilson among others discovered the newly invented synthesizer courtesy of Robert Moog and made it an integral part of the future pop music even before Walter (now Wendy) Carlos released his famous and fabulous Switched on Bach' album in 1968. All this is for sure another story, so we concentrate on an album by Mort Garson recorded and released a few years past his monumental works The Zodiac - Cosmic Sounds' (1967), The Wozard Of Iz' (1968) and Lucifer - Black Mass' (1971). Every fan of unique psychedelic (The Zodiac) and mind-bending electronic music (the two others) should certainly lend an ear to these three masterpieces but there was more to come. Plantasia', originally released in 1976, has been labeled warm earth music for plants and the people who love them'. So you as the listener can imagine that what you get to listen to here is rather a bright affair far from the dark and seething atmosphere of the earlier electronic pieces. A shining diversity of stylistic devices have been used as fundament for the dreamy and colorful compositions that work like a soundtrack for a non existing movie actually. The warm yet haunting moog melodies can still create a rather sinister vibe in their most playful and surreal moments you would expect to experience while watching some early to mid seventies horror flicks from Italy. It is a feeling that despite everything seems peaceful and relaxed on the surface something utterly dire is about to rise up. These are certainly just a few passages and when Mort Garson and his mates move on from lush orchestral soul arrangements to something white men always consider to be tribal music of the North American natives, you will drift with them from one scene of your inner mind movie to the next. At this point in the seventies the technical requirements have already been a bit better with new inventions such as electronic percussion which gets used here and there conjuring memories of records by German electronic pioneers from the same era such as Cluster, Kraftwerk and Tangerine Dream. And despite the twinkle-toed harmonies and big arrangements which point at the big band music and orchestral pop Mort Garson originated from, the whole work is futuristic and intriguing. So it rather feels like an old science fiction movie and not a horror film, but we leave the interpretation to you alone. The best way to enjoy this masterpiece of synthesizer music is to lay back and close your eyes while drifting away into a territory still unknown to man.

Red Brut is the moniker of Marijn Verbiesen (part of Sweat Tongue and JSCA). As Red Brut she is isolated, displaying a highly talented ear for day-to-day sounds, musique concréte composition and spontaneous sound collage.

The KRAAK record series — documenting off-stream's currents — presents her self-titled debut, recorded at home and re-arranged in the come-down of an immersive tour in Japan. The 7 chapters document an intuitive and reflective journey through sensitive amateurism and hi-end musique concréte. The main instruments are cassettes, but unlike the continuous strain of post-noise releases, Verbiesen's music is highly personal, subtile and displays an ever curious and astonished mind. Sounds of gaming interwave with brutal synth oscillations, melancholic melodies and sensual-absent poetry from the aether. Although rooted in the sinister absurdism of early 2000 experimentalism, her music embraces and redefines the concept of 'music of the universe', coined by John Cage, Daphne Oram and a-likes.

This stand-out record is a sketchbook documenting a wide array of obscured emotions, unveiling the inner soul of a highly talented and unique voice in avant-garde tape music.

Response & Pliskin set fire to the rulebook and used it to cook up these two absolute masterclasses in far out Jungle Teknoism . At fifteen and thirteen minutes respectively, journey is an understatement, I've been playing Plastic Face almost in it's entirety at gigs and this track is seriously turning heads and moving bodies. These guys are gonna take things to another level in 2018, don't sleep on this one. - Eveson/DMC

This release sees Roska dropping some new, serious fun, with the pad-tinged menace of Windbreaker Riddim and the Carnival flavoured Warming, both of which are made for the dancefloor. This release is available exclusively on vinyl, and limited to a 500 pressing.

"There are few locations more emblematic of contemplative modern aesthetic than Philip Johnson's 1949 residence, a transparent box stripped of much beyond its focused proportions and structure. And that seems a fitting location for the exposed materials of Ryuichi Sakamoto and Alva Noto." CDM

GLASS is a recording of an inspired live improvisation by Ryuichi Sakamoto and Alva Noto at the architect Philip Johnson's hallowed Glass House, in the bucolic setting of New Canaan, Connecticut. The structure's transparency and seamless continuity with nature was given another dimension by the addition of this performance, whereby the building, location and audio coalesced into one perfect, harmonious whole.

Stylish, stunning and elegantly minimal, the duo's architectural sound design evokes and synergizes with the space creatively, acoustically and literally - by using the building's fabric as an instrument. This is the sound of glass and of glistening condensation. Pristinely fresh audio stratus float amorphously by, unfurling from a meditative calm into an evocation of sparkling wonder, like a baby observing raindrops on a nocturnal window for the first time.

Although the work is largely tonal, textural and spatial, fleeting moments of melody appear towards the end, which despite their scarceness, achieve a profoundly moving effect.

Built between 1949 and 1995 by feted architect Philip Johnson and exemplifying modern architecture and the International Style, The Glass House hosted this site-specific event. It was commissioned by Curator and Collections Manager Irene Shum, who recalls the experience:

"The emotional drama of the forty-five minute performance was echoed in the natural environment. A sudden rain storm forced the evening's guests into The Glass House at the start. During the performance, the storm cleared into a dramatic red and pink sunset and concluded in nightfall."

This intimate evening brought Ryuichi and Carsten back together for their first live collaboration since Sakamoto's cancer diagnosis and treatment in 2014. Prior to that, Nicolai and Sakamoto had worked together on and off since 2002, releasing 6 albums as a duo.

Whities 014 is by Londoner and master digger, Jules Venturini. It's a 3 track 12" of discordant choral euphoria with artwork designed by Alex McCullough.

"Melbourne Industrial/EBM scene representative, master mind behind Power Station/Power Cuts Kris Baha, contributes to Berlin based imprint Cocktail d'Amore with Autora.
Intensely disturbed, sleazy and dirty, the title track follows the lead of the most traditional EBM beats. Autora barks with distorted oddities perfectly mashed to an involving balance.
A factory ambiance out in the forest under a starry sky is Brink Reality. A slower paced gem for cosmic, stomping dance floors. While the beat-less A3 Happiness Disaster could open a scene of Twin Peaks 2999.
10Ways settles with a thundering bolt of crushing steel, bouncing percussions and a vocal worth of Front 242's legacy.
Closing the EP on a romantic and sweet note, Start Over is an italo/wave hybrid ballad tinged with hope and brightness.
Arp2600, Dave Smith Poly Evolver/Pro 2, Oberheim Obxa are few of Kris's partners responsible for this outstanding expression of contemporary music.

FORMA DI COMUNICAZIONE ALTERNATIVA E PARADOSSALMENTE ANTIMEDIATICA

The seventh EP on Frits Wentinks Bobby Donny label brings together some known and unknown producers. The original production is by Low End Activist, someone who has spent the last 15 years in Berlin, Bristol and Brighton, no doubt picking up parts of the musical styles of those cities as he goes.

It features London Grime MC Trim, an original member of Roll Deep and an artist signed to James Blake's 1-800 label. The remixes comes from Frits himself as well as Cassius Select, who has recently released on UTTU and Herbert's Accidental.

Park End is a naughty tune with garage tinged drums slipping and sliding beneath menacing rhymes from Trim.

Paranoid synth sounds and an oscillating low end speak of late night urban mischief and it's the sort of characterful tune to stand out in any set.

Cassius Select reconfigures the tune as a much more dark and experimental number with a heavy bottom end and huge sub bass that totally envelops you.
Frits then goes for a more mellow and melodic version, with lazy drums and wilting chords as rainy keys fall from above. It glows like street lights at night and closes out an EP with real attitude.

It's been a while since the deadly Russian twins Gancher & Ruin released on PRSPCT but they are back on board. And his 6 track monster EP is filled with everything we love about these guys. Its heavy, raving and 110% awesome. All Hail Gancher & Ruin!

Including DL code.

* The Russian maestro strikes again. Following his widely praised debut EP, this second outing on Knitebreed should really cement Ant To Bes reputation as a man who can, and a man who does. Adding distinct jungle and dub elements to his already diverse sound, this EP once again runs through various styles of hardcore. Each track is beautifully crafted, sounding deceptively simple when, on closer examination, they are far from it. Any of these 4 tracks could have been the lead on the EP, as all 4 are perfectly balanced slices of true hardcore style.

b / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

Insurmountable heat sliding through the cracks - no doubt, UK's Sentry imprint is at it again. DJ Youngsta's vinyl label is continuing its high-pressure output on dangerous 12' records. Routinely adding some of the worlds finest bass music artists to its roster, now welcoming none other than Gramz to its venerable discography. The notorious alter ego of Sleeper, highly respected producer and label operator (Crucial Rec.), takes a turn for the more aggressive & experimental side in Dubstep territory - firing up dance floors with its in-your-face attitude and Hip Hop inclined slack. Unadulterated gangster business, stirring the melting pot of forward-minded sound system music.

Setting the needle upon the grooves, we're met with the experimental bass onslaught anthem 'Dip Dip Potato Chip', immediately recognisable as the sought- after tune that it is, having lit up dance floors all over through the support of some of the most vital tastemakers in the scene. Detuned and distorted pulses scatter on a path paved with nothing but sinister intentions - pulling the trigger on its low frequency foundation and its corresponding loose drums. The sparse and effective instrumentation coupling its essence to a profoundly effective arrangement - taking the cake once again with the second drop. Swords and clanging armour rustle in the background as the characteristic vocal sample mayhem of 'Illa' locks keen listeners in a state of flow, being flung around from one unequivocally well-crafted break to another. Beats so dangerous, they ought to be classified - rewinds are to be expected.

Boutique Portsmouth-based label Hotplates Recordings unleashes its first vinyl, a two-track dubstep excursion from Hamburg producer OTZ.

Label manager of the noted Subaltern Records, OTZ has been crafting his sound since 2011 - combining detailed instrumentation with a dub-heavy backbone.

Side A, 'Tabloid', has received support from respected independent London station NTS, receiving airplay on NSX' Roll Thru show. The track is a guaranteed rig-shaker with a wonky, off-kilter structure.

Side B sees OTZ team up with fellow German heavyweights Causa and Conzi on the sub-filled 'Coin Dub' - a track that has been sought after by fans of the genre for a number of years.

Hotplates Recordings places its emphasis on the roots of UK electronic music culture, having grown out of a regular show on Portsmouth pirate and online station Lush FM. With this release the label aims to give fans a fresh take on the original dubstep sound, while also shedding light on the significant talent to have come out of the German scene in recent years.

Restless Breed 3.0 is the next issue of the various artists compilation on STONEDWAVE providing you with a new bunch of material showcasing the labels 2 sides.
This package brings you :
A1
We start with SANE - The Hangover. This tune is made for quirkier techno sets. It is a funky wonky techno tune mocking around with a whistling lead synth on top of a tripped out Beat.

A2
Next one is Chordata - Silent Singer. Electrobeats mark the rhythm for this progressive adventure into space. Electro in the good old Detroit or dutch fashion.

A3
Jochen Heym is also featured twice on it. After his ep "Sononaut" this time he brings a mellow braindance electro tune: Floating Soul

B1
In Addition B1 contains a remix of the cling clang ambient tune of the Stonedwave005 => Chip Tronic transforms the ambient piece into a hectical electro tune.

B2
B2 is the final tune. Chip Tronic - Frequency modulated metallic wide hypnotic screaming leads are being carved into the listeners brain while being distrted and modulated by any means available. The number 18 implies => dark techno rhythms for wonky minds who love it more distorted.

New VA EP on our Invisible imprint featuring the return of Skynet & newcomer Arclight.

Here Appear is an invocation, a salutation, and a celebration — of past and perfect lives, forgotten and remembered, exchanged and borrowed. Eve Essex's solo debut is a multi-instrumental fea(s)t combining synthesizer, drum machine, alto saxophone, piccolo, electric organ/harpsichord, harmonica, slide whistle, bells, guitar pedals, and voice— composed, arranged, and performed by Essex herself. What began as an improv set at Berlin's Harlekin bar, developed over the past two years into a complete body of work evoking multiple time periods, genres, characters, and sonic landscapes. The seven tracks that make up Here Appear harness elements of classical, drone, avant-jazz, and distorted pop, coupled with an ambitious vocal delivery that draws on the phrasing and articulations of Essex's own woodwind playing, to create a quasi-narrative me´lange retaining the vulnerability of live performance. On the opening track Grind Away,' otherworldly harmonica strains set the stage for lyrics citing Chinese sci-fi novel The Third Body Problem as source material. Saxophone and piccolo interludes Immediate Communicator' and Colorless Stone' move between medieval-tinged melodic inventions and textural noise, recalling a Pharoah Sanders-influenced fever dream, while the linguistic abstractions of Russian conceptual poet Lev Rubinstein guide the looped, layered, and textured vocals of title track Here Appear.' The album closes with a languid take on Jacqueline Humbert & David Rosenboom's 1978 composition Clear Light' from My New Music, recently reissued by Unseen Worlds. Here Appear owes its minimal production to the conditions of its genesis, evidencing the restrained process of the solo artist, instrumentation is confined to what can be played simultaneously. True to the album's avant-garde roots, each song involves an element of improvisation, often taking the form of prompts or variations on a melody rather than explicit compositions. Even its most structured pieces make use of live-sampled loops, which inject a spirited unpredictability into the songwriting process and subsequent performance. Classically trained in bassoon at New England Conservatory before receiving a BFA in sculpture from RISD, Eve Essex has performed as a solo artist at Artists Space, Commend, Safe Gallery, Signal, Trans Pecos, and U.S. Blues, in New York, Harlekin/Mathew Gallery and StudioAcht in Berlin, and the PUFFERSS Festival in Providence, RI. In addition to her solo practice, Essex regularly performs as one half of Das Audit (with Craig Kalpakjian), as well as in trios Hesper (with James K and Via App) and HEVM (with MV Carbon and Hunter Hunt-Hendrix), and has collaborated extensively with Juan Antonio Olivares as installation/performance-art duo Essex Olivares. Prior to the LP release on Sky Walking (April, 20), Here Appear arrives via New York City-based label Soap Library on March 9, 2018 in both cassette and digital format, mastered by Helmut Erler at Dubplates & Mastering, Berlin and recorded by Al Carlson at Gary's Electric, Brooklyn.

Berlin based Japanese industrial synth duo group A make their debut on Mannequin Records with a killer 3-tracks self titled EP.
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Tommi Tokyo (synth, drum machine, vocals) and Sayaka Botanic (violin, tapes and sampler) released 2 studio albums and 1 live album in Tokyo, before to move in Berlin in 2016. With their mixture of dark minimal synth, avant-noise, striking visuals and performance art, the duo still carries on the very breath of early industrial pioneers such as Throbbing Gristle, Die Form, Klinik, Cabaret Voltaire.

The EP was recorded in Tommi's bedroom and later mixed together with Mannequin Records head Alessandro Adriani in his own studio in Berlin. The first two tracks of the EP, 'T.O.P.' and 'Ketabali' represents the duo personal reaction against the current economy, an up yours to capitalism, news and politics, all permeated by industrial rhytmic-noises and words with no meaning.
The B2 'Alibi' instead was inspired by an autobiography of Hi-Red Centre(Japanese avant-grade art group in the 60-70's) written by one of the members, Genpei Akasegawa. Tommi found the word "Alibi" in the book and she just started singing about the group. As she never wrote lyrics for that, during their live performances they are always improvised, so changing and mutating every time.

From deep within the UK underground special things can emanate without warning.
This is exactly what happened here, a special one-off white label remix of one of Disco's biggest stars by one of the founding members of possibly the most influential electronic music crews in the land Yep. For the uninitiated Loleatta Holloway is part of dance music's DNA, one of the most recognisable voices in Disco. Her tones have graced numerous club classics, she's been sampled 1000's of times, her vocal fingerprints are all over classic House music and are instantly recognisable. Remixer Pangaea aka Kevin McAuley is one of the main members of the formidable Hessle Audio crew alongside Ben UFO and Ramadanman. Rising out of the post-dubstep terrain of modern day England McAuley is a truly open minded DJ and producer pushing sonic boundaries and him and his Hessle co-conspirators have long been garnering respect from all corners since their inception as a collective. 'Stand Up' is a truly potent combination of two very different talents, fusing Pangaea's sparse, stripped back, minimalistic approach and Holloway's roof-raising diva vocals with the end result being a futuristic club classic in the making that gives an understanding, respectful nod to what has come before while gazing forth into the unknown.
Originally released as a promo-only white label, this remix has been wreaking havoc on dancefloors over the course of the summer and has featured heavily in the Hessle Audio crew's DJ sets. Gaining rave reviews on sites such as RA and with people literally passing out with excitement over this very special remix / re-edit it felt only right to give it a reissue on the label that serves as Loleatta Holloway's spiritual home - Salsoul Records. The hype is real on this one, do not sleep!

Lore's debut on Kokeshi comes in the form of a 3-track EP featured on 180g heavyweight vinyl, with hand stamped Kokeshi logo. Lore's influences range from early dubstep, grime and garage, including artists like El-B, Burial, SP:MC, Blawan, Skream, Wiley and Mount Kimbie. The 'Down The Well' EP features tracks in the 120-135 bpm range, with dark chunky beats, heavy bass and haunting vocal samples. Be sure to check out his production tutorials on Youtube.

Mastered by Sam at Precise

Dominick Fernow Meets Patrick O'neal (skin Crime) In Hanged Mans Orgasm Mode For A Vocal Companion To The Epic 7lp Prurient Opus, Rainbow Mirror. Fernow Shares Vocal Narration With Dc Comics Story-writer Scott Bryan Wilson (who's Also Credited With Writing On Frozen Niagara Falls) Set To Bleak Backdrops Of Atomic Radiation Textures And Field Recordings Of Hanged Man's Orgasm, The Début '90s Project Of Patrick O'neal From Cult Death Electronics Unit Skin Crime.
The Label Compare Unknowns With 'the American Counterpart To Nurse With Wound Set In The Decaying Rural Fields Of New England' And, For Us, The Combination Of Low Key Vocals And Textural Attrition Could Also Be Compared With John Duncan's Efforts In That Arena, As The Density Of Atmospheric Pressure Inside Better Recalls Duncan's Esoteric Experiments With Shortwave Radio On Riot, But, In The Case Of This A-side, Mixed With The Kind Of Vocal Delivery Heard On Duncan's
Surreal Bitter Earth Songbook.
The Notorious Kris Lapke A.k.a. Alberich Lends His Haggard Touch In Production To Bring Both Sides To Life With Unflinchingly Stoic And Visceral Force, Most Powerfully In The B-side's Burial By Rubble In A Shallow Grave.

Reso — the alias of London-based producer Alex Melia — returned to the dance music world in late 2017 with the inaugural release of his new RX0 label, Kodama, a four-track EP of spirited dance music. For the second release on the label, Reso has chosen two productions that act as a counterpoint of sorts to the first EP. Where RX001 was a broad mission statement, RX002 is a laser-focused burst of breaks, moods, and programming finesse.

Banoffee Pies Black Label Series 02.1 lands exploring more deep minimal bumpers for the floor. BPBL02.1 offers another Unknown sample heavy edit, an insert from Bristol local and label friend Crump, and tracks from their newest label affiliates, Jase and Pablo Marco.Groovy business from the Banoffee camp. Heat!

Repress

Boomkat Editions are dead happy to present a (slightly reshuffled) vinyl version for one of our favourite Mika Vainio (Pan Sonic) albums; originally recorded between 1999-2004 and issued on CD only under his revered Ø alias for Finland's Sähkö Recordings in 2005. Kantamoinen is perhaps the most intimately beautiful yet little known LP in the Ø canon, bridging the gap between his classic '90s minimal techno productions - compiled in the vital Metri and Olento collections - and the project's subsequent turn to more ambient, kosmic and dub wise dimensions in the coolly brilliant Oleva and Konstellaatio albums.
Upon original release it was an immediate favourite of ours - a go-to disc for hazy daydreaming and post-club head salvage alike, drifting between iced out instrumental rhythms and chasmic spaces interspersed with moments of indelibly heart-rending
melody that have clearly lodged in the memory ever since.
Taking in 16 tracks in just under 50 minutes, it's notable for including a number of exquisitely succinct - or tantalisingly short - glimpses of Vainio at his sweetest,
even sentimental, especially with the breathtaking Tuulessa / In Wind and the frosted harmonies of Talven Henki / Winter Spirit, as well as the rare appearance of vocals (the voice of Oskar Sala recorded by Hans Ulrich Obrist) in the armchair transportation of
Äänikuva / Sound Picture.
Vacillating poignant emotive clarity with forlorn abstraction, this expansion and contraction between deep, wide and relatively longer-form pieces, and a high frequency of shorter, starry-eyed passages, lends the album a more broken, strangely resolved flow
than many other Mika Vainio records, and with a twinkling lustre that refocuses the ear with an ancient yet timeless sort of depth perception and atemporal appeal.
It's an often sublime and necessary addition to any collection of classic ambient electronica and a firm reminder of Mika Vainio's full spectrum electronic dominance and purity.

After a short break from releasing music's finest format, Total Science's CIA imprint is back with four tracks from arguably drum and bass' premier producer.
It's always an exciting moment when new Calibre music becomes available to us all, and we're delighted to be able to bring you four of his newest creations not just digitally, but also beautifully mastered, packaged up in a brand new CIA label sleeve, and pressed onto pristine black 140g vinyl.
Calibre showcases not only his versatility on the Dream Dubz EP, but also that sound that he's known and loved for.
'Another' conveys his trademark sound albeit with a 2015 twist, whilst 'Posh Boy' sounds like it was made in anger, bringing forth a harder edged feel. 'Dreamz Dub' is one for the soundsystem crew, deep as you like but with serious weight to it. And rounding up the package is 'Believe It', which Calibre does in his truly inimitable style, a sublime roller packed with musicality and depth, everything he is known and loved for.
We're extremely proud to release four tracks from a producer of his quality and reputation, and whether you decide to add this beautiful record to your collection, or the digital files to your hard drive, this music will stand the test of time regardless.

Clap! Clap!'s outernational bass music gets an overhaul from US electronic beatmaker, Photay and a sophisticated discotechno version from the great Daniele Baldelli!

Current Value debutes on Invisible with the heavy 'Cotton Punch'. Survey returns to Invisible with 'The Hunter'. Quality.

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

Brand new EP on Noisia's Invisible Recordings. Their record label for new experimental bass music. Tunes by Fre4knc and Survey

New VA EP on our Invisible imprint featuring newcomer Disprove and a new track by Survey, together with Tephra and Arkoze.

Lockjaw makes his debut on Invisible with this deep roller called 'Obsidian', Subtension returns to Invisible with Midnight Flush.

Last year Mikal presented his album on Metalheadz, so he is an artist we have kept an eye on for a long time! An awesome sound technician, we are happy to release Mikal's debut 12' on Horizons Music. Pulling no punches, this isn't for the lightweights. A mix of old school and new school sensibilities, the a side 'From Creation' is a call to arms..and destroys the dance.

* 'The Night' is a more stripped approach, a casual stepper but with the same hard hitting metallic textures which is prominent in Mikal's music.

* 'Scattered' is more offkey,and offers an alternative view, and completes the compass of a wide ranging project.

Brand new EP on Noisia's Invisible Recordings. Their record label for new experimental bass music. Tunes by NickBee & Abstract Elements,

Brand new EP on Noisia's Invisible Recordings. Their record label for new experimental bass music. Tunes by NickBee & Cursa.

After the last years widely appreciated 12 with two extraterrestrial dancefloor cuts on Jon Rust's Levels imprint and a handful of now hard-to-find 7 releases, the estonian musician/producer Ruutu Poiss returns to his minimal funk and leftfield synth-pop roots releasing a debut EP on International Major Label. The six selected homerecordings from 2011-2016 reflect almost a chronological and kaleidoscopic journey through the authors musical explorations, instrumental storytelling and unique sound design, imaginatively non-locking to existing genres. From subtle vocals to vicious toms; celestial soundscapes over restless rubbery bass; shimmering synths over polyrhythmic structures - an environment of romantic futurism and organic transformation appears, surrounded by a warm psychedelic sound palette. Previous releases played and supported by Secretsundaze, Benji B, James Blake, Mary-Anne Hobbs, Call Super, Omar-S and many others.

FireScope Records, the scion of B12 Records, releases its first album from none other than its chief commander, Steven Rutter. The second credited solo release from Rutter, it signals another step away from B12 as he steadily builds on a singular vision of work under his own name. With previous releases on labels such as Warp, Soma, Delsin, ART, Buzz and De:Tuned, one of the original founders of UK techno is guided inward for this collection of 12 brand new tracks. Developed over 2 years, these tracks have previously appeared in his numerous solo live shows but are presented here for the first time as one complete narrative. The album, titled 'BrainFog', is the creative and spiritual catharsis of a journey beginning circa 2010, which saw the producer on a hospital bed, hours away from an ascent to the heavens and subsequently depressed and anxious while seeking liberation and escape through music. The daily battle with darkness continues today and this album is his emotions laid bare. Hauntingly beautiful in its fog-filled melancholy; it's our pilot's only solace on the lone flight to recovery. The opening track, 'Sleep Gives Freedom' is a slow, risky start for an album but pays tribute to that safe place which one can escape from everything that surrounds. Put this on to escape and be lulled into a walk through the fog. The following track 'Statuesque' stands tall as a classic techno tune — a stomper with lush strings, tough beats and a bassline that shouts loud and proud. Emotional and heartfelt with a smattering of percussion, 'Memories of You' is written for a best friend, an orbiting soul who is now light years from earth.
Throughout the album, the clouds of despair and decay are never far away, interspersed with bright but fleeting moments of lightness and hope. 'Cracked Reality' slightly disturbs with its sparse and pounding construction, before the decaying beauty of 'Degenerator' and its mirroring track, 'Oracle Unleashed', offer two perspectives to the same theme. 'Squad Free Force' throws back to early hip hop with its old school drums topped with an eerie spin and warmly wrapped in heaven- sent pads. The album's two quirkier compositions come in the form of 'Infinity Engine' and 'Takedown'. With a pure 909 techno sound, 'Infinity Engine''s incredible pads offer a path from sadness to elation and happiness. A different live version may be released later in the year. 'Takedown''s chuggy sideways groove further breaks it down — no matter who or where you are; there is always someone somewhere that wants to bring you down, sometimes it's yourself.
The album's last track, 'Hand in Hand' is probably the most upbeat of the album, and a call to take the hand of the one that is there for you, whether in physical or spirit form. The drums and pads start the track off, before a disjointed sliding bassline sets the scene for a top-line string. Euphoric and uplifting, it is a reminder to respectfully embrace all that which remains good in the world. As a punctuation mark, the final note of the track is a full stop that puts an end to the journey from brain fog to clear heart. Finished in two different coloured vinyl a/b and c/d in a wonderful gatefold featuring the artwork of Sarah Sparkes

Faze Mag 9/10 review

* The Strike Team EP is the second in the trilogy of releases introducing the world to the sound of the STRIPPER.
The title track is a rare hybrid of modern day production and timeless influences transformed through the prism of 1990's hardcore, jungle, and broken beat. You and your favorite DJ like to close your sets with classic jungle tracks Well, the STRIPPER is here with a monster for the middle of your set, pacing at a cool 128 BPM. Following it is the hidden gem of the record, Culture Vulture: an impossible to pinpoint breakbeat laced melodic odyssey. Similar to "Consciousness Proliferation" (Back 2 93 Mix) from SLEEVE-01, Culture Vulture takes you on a journey inspired by the irresistible grit and beauty of the early 1990's sound from the city of Coventry and producers like Skanna and Essence of Aura. Flipping the record to Side 2, the STRIPPER gives you an absolute burner of a techno track intended for the heaviest and sweatiest of social settings. The atmospheric pads are pointing to the producer's undeniable rave influences and love for illegal parties around the world. The final track of the record is the STRIPPER tying back the European influences with his unquestionable debt to the American Midwest: melodic, deep, and irresistible.

Following the success of last year's Kunta Kinte 2017 riddim, Brooklyn-based label and collective Dub-Stuy add a new instalment to their popular dancehall inspired series with a fresh riddim from in-house producer DJ Madd, featuring international vocalists from Jamaica, Spain and Bermuda. Jitta Riddim is a brand new production from DJ Madd; a sturdy yet spacious riddim carried forward by a lilting melody and guitar stabs that are anchored by slapping snares, dub flourishes and a rolling bassline. This is a weighty but energetic riddim with the dancefloor in mind. Bringing the riddim to life are a trio of vocalists representing the roots and global expansion of dancehall and sound system music. Spain's Sr. Wilson delivers an anthem in the making with 'Zapatillas', a song dedicated to all the sneaker heads worldwide who like to sport fresh kicks when they hit the dancefloor. Singing in his native Spanish and English, Sr. Wilson shares tales of daily shoe addiction around a catchy refrain that name checks the best known brands. His blend of reggaeton-flavoured autotune and kicks geek outs is sure to resound loudly around clubs worldwide. Backing him is Jamaican veteran deejay Cutty Ranks , a man who's been lending his distinct flow to productions for over 30 years. On 'Double Trouble' Cutty speaks to the daily realities of life on the streets and the ills keeping people down, warning of the trouble that awaits those in charge. Wrapping up the release is Bermuda's Troy Berkley who aims his vocal rifle straight to the orange-skinned resident of the White House, spitting rapid fire lyrics about the deteriorating state of things in 2018 America. Lace up your sneakers and get ready to move and chant with Dub-Stuy's new riddim.

Villem & McLeod return to Samurai Red Seal for another outing to follow their successful pairing on 'Hush' for the label in 2012 which was part of one of the labels biggest 12"s ever. This time both sides of the record are collaborative pieces and both tunes are overflowing with glistening summer vibrations. 'Another Star' has been heavily supported by the likes of Marcus Intalex (who debuted it on his Soul:ution Radio Show), London Elektricity, and of course Friction who has been hammering the tune on his BBC Radio 1 show, as well as picking it up for inclusion on his forthcoming Fabriclive CD. 'Keeper Of The Sun' continues the theme with every element honed to perfection, a tune that transports you smiling into the sunset. Further DJ support already in from Hype, Spectrasoul, Nu Tone, Die, Bryan G, Kasra, Tokyo Prose, Hybrid Minds & more to come. Limited Edition Sunshine Vinyl with free download card & 2 track digital release.

2x12"

The remix collection, inviting international and french remixers... close to be a complete High Tone story (a voulme 2 with the missing one i hope some time in the future) And what a selecta of tunes !! Bloody heavy stepper, Bass Music, or kind-of-a-House... and even a drum & bass Mix !! Long Time no ear that on Jarrieng !! ... Also to noytice the Singer invitations who brings another dimension. So, of course Shanti D is here, but recognise Pupajim on the Mahom remix, Martin Campbell on the Alpag Steppa's remix... A masterpiece !! Don't miss !

Person of Interest returns to L.I.E.S. with a sleazy three tracker weaving in and out of the edges of house and techno. Lines are blurred in only the best way as P.O.I. expands on the sounds of his last eps, refining his style with broken beats and darkside tribal leaning driving techno pressure. Top shelf stuff from the Brooklyn producer.