Beats Novedades

Inspired by a longstanding respect for the pioneering sounds of Cluster, Neu!, Harmonia & John Foxx, the legendary K. Leimer fuses tape loops, Moog tones and a variety of real and imagined instruments into an immersive journey brimming with electronic emotion throughout this homage, 'Mitteltöner.'

A key figure in America's musical avant garde, Leimer's experiments with tape manipulation, fractal loops and textured ambience have been well documented in recent times, with RVNG and VOD both offering excellent and exhaustive retrospectives of the artist's seventies and eighties output. Tracing Leimer's discography from 1979's 'Translucent: / Memory' to 1983's 'Installation View', via the dislocated rhythms of the Savant project, these archival releases detail a move from the pastoral synthesis of kosmische into more angular, experimental territories. Simultaneously looking to the past and the future, this Origin Peoples release is both a return to Leimer's earliest stylistic explorations, and his first vinyl release of original work in twenty five years.

Oddly for such a sonic outlier, 'Mitteltöner' (midrange to non teutophones) takes its conceptual cues from the idea that the midrange contains all the core information. Over ten tracks, Leimer employs subtlety and skill to navigate the emotional depth of the kosmische genre while maintaining the focus and detail which has remained constant in his work.

Opener 'Dunne Luft' owes as much to post rock as krautrock, evolving from chiming harmonics and understated rhythms into an optimistic roar of motorik percussion and towering guitars. From there, 'Webermelodie' dives into crystalline calm, tracing delicate arps around a processed groove before 'Anode' sends us skywards, drifting through glistening piano refrains and hypnotic sequences. Te dramatic 'As Long Ago As This' glides through a deserted city of metal and glass leaving the measured ambience of 'Entferntemusik ' to close out the side in a swell of static.

Leimer shifts tone as we move onto the flip, segueing the stomping, cybernetic Sturm Und Drang of 'German Defaults' into the propulsive electronics of 'London Interiors', a dynamic sample-topped suite in the tradition of Bill Nelson. The addition of graceful piano motifs and swathes of hazy synthesis lends a tranquillity to the pulsating bass of 'Auf Einem Fahrrad', while 'SHM' marries soothing melody and crunching rhythm into a thoroughly medicated experience. Finally, 'Café Florian' pays homage to Schneider or Fricke with a euphoric fusion of metallic percussion and esoteric energies.

Far from a simple homage to the electronic idols of his youth, 'Mitteltöner' finds K. Leimer reimagining their nuanced sonic framework through a lifetime of musical experience and experimentation.

Clocking in at 11 minutes, this is a radical deconstruction of the track 'Bint El Khandaq' that appears on the Mashrou' Leila album 'Ibn El Leil'. Lost Souls Of Saturn tease out the underlying emotion and yearning present in the original and take the listener on a beguiling, symphonic ambient journey that calls to mind Wolfgang Voigt's much loved Gas project, or the shimmering imaginary landscapes of Brian Eno. Renowned for their rousing, sensual electro-pop Mashrou' Leila's songs touch on political freedom, LGBT rights, race, religion and modern Arabic identity.
Lost Souls Of Saturn were approached by the band to reinterpret the original track and the stunning results fit perfectly as their debut release on R&S. This is the next step in the evolution of Seth Troxler and Phil Moffa's Lost Souls Of Saturn project. Look out for an album on R&S in 2018.

Like Gerardo Iacoucci (already celebrated twice by Intervallo with Simbolismo Psichedelico and the new Industria N.1), Narassa - real name Sandro Brugnolini - is back in our catalogue with another gem: his second release on the legendary Rome-based label Rotary, which came out after the amazing Tensione dinamica. Guerra e angoscia was born as the fifth installment of seven and, like the previous album (which was recorded with the collaboration of label boss Amedeo Tommasi, the mind behind every release on Rotary), moves away from the experimental and mechanical drift of the first chapter, to dive headfirst in a dark and heavy mood - as the title suggests ( War And Distress'). Guerra e angoscia is truly faithful to the topic of its title - with tracks like Rommel, Minaccia di guerra, Campo di sterminio, Commandos, Battaglia tragica, Beat bellico, Eruzione, and Linea calda there's little room for misunderstanding - and it does a brilliant job offering library music to evoke tragedies, dark times and the madness of human kind. This is done with wonderful beats, sharp and powerful percussions, grievous rhythms and dramatic string sections. No more dynamism, to quote Narassa's other release on Rotary: here the tension is just the effect of explosions and wrecked nerves.

A new album of piano driven ambient music from British composer Robert Haigh. Following in the path of his albums for the Japanese Siren label, Creatures of the Deep is an underground vantage of a meeting between the musical worlds of Harold Budd and Erik Satie. With a storied musical career that has ranged widely in style — from his industrial-avant-garde works on Nurse With Wound's United Diaries label as SEMA to his legendary ambient drum and bass records as Omni Trio on Moving Shadow — Robert Haigh's work occupies a space between music and mystery. With Creatures of the Deep, Haigh is at the peak of his powers. Among noir, minimal, neo-classical landscapes are robust scatterings of bright reflection and a musical expression that is subtle and elusive yet uniquely Haigh's in its voice and masterful execution. The closer we examine, the more is revealed, and the less is defined.

- New album from Robert Haigh (aka Omni Trio, legendary Ambient-Drum-and-Bass artist)

- Download card included

Air Lows is the debut solo album by Silvia Kastel. The Italian artist has been a fixture of the underground since her precocious teens, clocking up many miles in Control Unit with Ninni Morgia ('It's like Catherine Deneuve dumped two cases of post-Repulsion psychiatric notes over Pere Ubu's Dub Housing, lit the fuse and, ahem, stood well back" - Julian Cope), including collaborations with the likes of Smegma, Factrix, Gary Smith, Aki Onda and Gate (Michael Morley of The Dead C). Both solo and in her work with others, Kastel has explored the outer limits and inner workings of no wave, industrial, dub, extreme electronics, free rock and improvisation. Air Lows is both her fullest and most refined offering to date, a work of vivid, isolationist electronics which draws deeply on her past experience but assuredly breaks new ground. Prompted by a late-flowering interest in techno and club music, Kastel sought to create something which combines a steady rhythmic pulse with the otherworldly sonorities of musique concrete, and avant-garde synth sounds inspired by Japanese minimalism and techno-pop (Haruomi Hosono's Philharmony being a particular favourite). The formal artifice of muzak / elevator music, the intros and outros of generic popular songs, the extreme light-heavy contrasts of jungle, the creative sampling of hardcore, and the very 'human' synths in the jazz of Herbie Hancock's Sextant and Sun Ra: all were touchstones for Air Lows' conception and composition, and all strains of music addressing - or complicating - the relationship between the human and the technological. By extension, visual inspirations also proved important: anime, and the avant-garde fashion of Rei Kawakubo. What does that shirt or dress sound like Though used sparingly, Kastel's voice remains her key instrument, whether subject to dissociative digital manipulations as on 'Bruell', delivering matter-of-fact spoken monologues, or providing splashes of pure tonal colour. Recorded between her expansive Italy studio and a more compact, ersatz set-up in Berlin, Air Lows gradually takes on some of the character of the German capital: you can hear the wide streets and uninhabited spaces, the seepage of never-ending nightlife, the loneliness. Air Lows is The Wizard of Oz in reverse: the glorious technicolour J-pop deconstructions of its first half leading inexorably to the icy noir of 'Spiderwebs' and 'Concrete Void'. These later tracks are reminiscent of 2015's magnificent 39 12', Kastel in the role of numbed, nihilistic chanteuse stalking dank, murky tunnels of reverb and sub-bass. But in fact there is contradiction and emotional ambiguity to Air Lows from the outset, and throughout - a sense of both infinite space and acute claustrophobia; energy and inertia; fluency and restraint.

Eitan Reiter is proud to announce the release of his latest album, Give It Life, on Guy J's Armadillo Records. With a dedicated and ever-growing fan base who have been captivated by his ever evolving sound across the years, Reiter has a varied and vital discography. As Eitan Ratier, he puts out techno on labels like Minus, Traum and Praxxiz, and has released an excellent house and techno album on Mule Musiq with Sebastian Mullaert, as well as solo effort Place I Miss That I Haven't Been To released on Aleph Zero in 2010. As such, he producers everything from minimal to psychedelic chill out to downtempo, also works as part of groups like Loud, and makes music for film and TV. This standout new album brings techno together with dark avant pop, proper songwriting and inventive studio trickery. It was made partly on the road between gigs around the globe, as well as in four different studios and various other places like a farm in South Africa, a bench in New York, or just a hotel room in Tokyo or Mexico.It is a coherent album that is not bound by any self imposed rules and has come together naturally and organically. It features a number of collaborations, singers and instrumentalists and and even finds the artist letting himself sing and play guitar. It also comes with some great videos for the tracks and has spawned a brand new live show with Nimrod Gorovich and Barak Rosen. Kicking off with 'Choices', a tender mood is set with carefully treated vocals and slow, sombre drums and chords. From there, the melancholic 'All That I Know' has more pained chords laid over bustling, broken kick drums and 'Fade Away' is an ethereal downtempo number coated in echo and reverb that makes it a hugely resonant track. The likes of 'Other Kind of Illusion' are brilliantly original tracks with gorgeous chords and guitars over pressurised thudding kicks, 'Avoid' is a modern day love song without the cheese with sweeping emotions and intimate whispered vocals and big splashes of drums, then things play out through the fractured keys and pixelated synths of electronic masterpiece 'Let It Out' and tripped out beats of 'The Black White Read' before ending on the lonely and insular chords and heavy hearted drums of 'You Are (The One)'. This is another essential album from a talented artist who has many different musical tricks up his sleeve and more than enough skills to carry them off. It is artistic, original and thoroughly absorbing from start to finish.

LTD / Translucent Red

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'Subclubsciously' takes you on a trip through She's Drunk's subconscious mind which pushes him to elevate production accidents into obsessive club gimmicks and delusional rhythms. Coming back from a Europe Tour with 'Zebra Katz' he finished his debut EP for Through My Speakers where he is opening up to new musical horizons, letting melodies and emotions flow into his produc-tions. Particularly noteworthy is the collaboration with the highly talented South African artist Sho Madjozi on 'Amadoda", where she's spitting fire in Tsonga. - already played by Sarah Farina, Neana (Night Slugs), Addison Groove, Skinny Macho (Boiler Room), Strip Steve - airplay on Radar Radio, NTS Radio

- Team Dreams' is the collaborative album of Sin Fang, Sóley and Örvar Smárason of múm and FM Belfast. It combines the individual strengths of three acclaimed musicians, blends folk sensibilities with futuristic pop beats. It's an emotive ocean of sound, melodies and miniature stories that gently washes over you. And it's easily one of the best albums the three Reykjavík artists have been involved in.

East Man is a new project from Anthoney Hart and its material predates his previous work as Basic Rhythm. His unique take on grime reduces the sound to its steely fundamentals, bringing in influences from dancehall, drum and bass and techno to gird the voices of the MCs he works with. His own name for this hardcore continuum mongrel is 'Hi Tek'.Anthoney struck a friendship with the academic and theorist Paul Gilroy, who wrote the album introduction.

After releasing Nils Frahm's two-track solo synthesiser EP 'Juno' in a highly sought after 7' edition, Erased Tapes now re-release ...

Respuesta Alternativa or the Alternative Response was the project of Spanish musician Jesus Mª Catalan, created with the help of Julián C. Pérez.
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As the title implies the music was generated in response to traditional music notions of the time, and reflects how Jesus Mª Catalan would challenge these traditional ideals using a fusion of styles and his unique vision. Jesus laid out his synths and drum machines, while other musicians played traditional instruments over the top. This unique approach worked to create atmospheric tracks capturing simple themes, with each influence being carefully thought of in the joint result. As he explains each instrument weaves independently throughout a passage in a curious game where the listener's attention goes from focusing on a keyboard, guitar to bass or percussion. Previously only released on a cassette album in Spain, Left Ear have polished 5 choice cuts for a 2018 12'.

*The No Man Is An Island EP is a single cut from the debut album of the same name by Aalko, a new project by Kebko Music founder Akiko Kiyama. Renowned for her minimal techno track featured in Richie Hawtin's seminal DE9 Transitions album, the Japanese producer reveals her another side under this new alias. The project has already created a stir as Aalko has garnered support from Gilles Peterson on his BBC 6 Music radio show and premiered a live performance at MUTEK's Tokyo launch, where she drew the audience into an inspiring frenzy.

Aalko is a culmination of Kiyama's recent practices in a wider musical spectrum that go beyond the confines of her minimalistic techno characteristics. It conjures her distinctive soundscape where a variety of styles coexists: she demonstrates her knack for breaks, ambient and irregular time signatures, her acute ears for unadulterated tone and texture of sounds standing out in sharp relief.

Taking a floor-oriented side out of the No Man Is An Island cassette album, this single cut features three tracks that work wonders in a DJ context. "Body & Soul" is an erratic rhythm experiment jumping between several beat styles. "Mixture" offers Kiyama's unique interpretation on syncopated dynamics of breaks. Wrapping up the EP is 'B.I.C', a long-awaited exclusive track that ranked among Gilles Peterson's top 20 tracks of 2017. Its dubby functionality makes it a powerful tool that can work at various stages of the night.

These tracks give the nod to Kiyama's peculiar self full of sonic idiosyncrasies, showing no fear of breaking accepted conventions.

* Fully embracing its penchant for explorative music, DAC Records invites Alex Augier.
* His work offers a cross-cutting musical perspective, allowing hybrid aesthetics that includes sound and visual components. These components interact within the stage area, taking the form of singular audiovisual performances.
* This time, Germination, his first solo EP, is purely musical work composed of organic, visceral, living sounds, both fragile and mighty. The electronic music is free of constraints imposed by the dedicated instruments. Embodied by large dynamic ranges and a constantly moving temporality, Germination tells an evolving process, in full bloom, with its share of mutations and strange directions.
* Germination is composed of four tracks, including one remix by Roly Porter. In the same vein as Alex Augier, the co-founder of Subtext Recordings explores the experimental music boundaries, both electronically and instrumentally

Proudly presenting the new 'Nighthawks' EP from the label founder, Alix Perez. Each track is vastly different from the next. Javeon's vocals are a stunning addition, and 'Blips' is a nod to the harder, technical and more industrial side side of Alix's musical character. Lucky Charm and the title track bear Alix's signature style and sound, and provide progression, dynamic and movement.

Jungle/Breakcore legends Deformer are back with another horror infused release: 'The Living Dead Deformed'. Deformer is known for putting the shock into electronic music and pushing the horror experience to another level. During their shows they cut off limbs and intestines are thrown into the audience while the extreme music turns the crowd into raging freaks. 'The Living Dead Deformed' pays hommage to one of the biggest horrorfilm classics of all time: 'Night of the living dead' (1968) and its creators.

The record was produced before the unfortunate passing of George A. Romero. Out of respect, Deformer chose put out the record as a non-profit, limited edition, numbered by hand, green coloured vinyl release. The amazing cover art is created by legendary visual artist Graham Humphreys (A Nightmare on Elm Street, The Evil Dead, Poltergeist).

'The Living Dead Deformed' is dark, menacing and will again turn parties into moshpits.
They won't stay deaf!

Bloody free Ragga jungle vibe, peacefull and full of energy !

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Since bursting onto the drum & bass scene back in 2008, the uber-talented young Russian upstart Alexey Egorchenkov has become
one of the hottest properties in electronic bass music. Better known as Enei, his brand of forward thinking musical muscle has
featured heavily ever since in the sets of Kasra. Friction, Andy C and many more, and in 2011 Kasra snapped him up to become
Critical's first ever exclusive signing. A name on the tip of most tongues, Enei's debut album has been the talk of the D&B town and is
now finally ready to unveil as we head towards the close of 2012. 'Machines' is set to catapult Enei to new heights, a long player of
devastating proportions full of incredible bass-wayed angst, vocal masterpieces and production that's second to none. Get ready for
the sound of the 'Machines', the most anticipated drum & bass album of 2012 and you're about to find out why.

Amen Breaks massive jungle, all massive baby !

Aus großen Melodien und strapazierfähigen elektronischen Teppichen gestrickt, ist "Love What Survives" gewissermaßen die Essenz ihres bisherigen Schaffens, indem verschiedene Gesangsgäste und Musikerpersönlichkeiten (James Blake, Micachu, King Krule) hinzukommen, um gemeinsam zu experimentieren, Formen neu zu denken, Dinge auszuradieren, mit Pop-Überlieferungen zu spielen, alles zusammen wachsen zu lassen. Die neuen Tracks enstanden größtenteils auf zwei Vintage-Synthesizern (Korg MS-20, Korg Delta), die beide, so die Band, diese "punkige, schloddrige Qualität hätten, die an Robert Wyatt erinnert", die mit ihrem Industrial-Einschlag und dem unverkennbar direkten Sound Mount Kimbie zu ihrem neuesten Sound-Update bewegen sollten. Der pulsierende Motorik-Beat der Single "Blue Train Lines" zum Beispiel schickt King Krule direkt auf die Überholspur, von wo aus er seine zerklüfteten Vokalsalven abgeben kann. Die offene, ausladende Aura der Platte ist ferner der Tatsache geschuldet, dass sie zwischen London und Los Angeles entstanden ist, zwei Standorten, zwischen denen das Duo pendelte, um gemeinsame Sessions zu veranstalten und Ideen zu verfeinern.

To celebrate the upcoming 20th Birthday of Virus Recordings we bring you two classic old-school tracks from our catalog!!

* ''What's the Difference' Optical Taken from the 20YearsOfOptical LP release from 2016...the long awaited single release of an old school hidden gem from the DnB pioneer.

* 'Medicine Remix' Widely regarded as a seminal development in the Neurofunk genre, Matrix brings you a slice of super cool drum and bass future funk with his classic remix of Ed Rush & Optical's first Virus single from 1998

This is a vinyl release of the debut album from 2007 (Ubiquity Records) celebrating a 10 year anniversary
I'm kinda like a blond (less good looking) Vincent Gallo, but with self-irony.

Never underestimate a quiet guy. Soft spoken and well-mannered Alexander Pletnev moved 3 years ago from the Russian city of St. Petersburg to the Lithuanian capital of Vilnius. That has been more than enough time for him to make the city his own. A co-founder of a hip barber's shop that also hosts an improvised Vinyl second hand corner, not to mention a cozy little bar where he can be found serving a quirky selection of beers, Alex soon embraced influences filtered through the local nightlife institution 'Opium Club'. His production powerhouse Pletnev explores darker territories and far-out music lands untouched by his bright and melodic creative alter ego - Ponty Mython. The St. Bones EP follows his well received and strongly selling offerings on Meda Fury and Bahnsteig23. The EP's two tracks, of contrasting mood and tempo, are accompanied by two top drawer remixes from the Japanese tailor of sound and taste RYOTA OPP and on-the-rise fellow St. Petersburg producer and selector, Inga Mauer.

The brand new parisian imprint Opaq Records delivers his first EP Signal'.
4 tracks composed by the label's members Mare, Charlou, Steve Marie & Stephen. This 4 tracker is strongly influenced by the ravy mood of the 90's, it's a mixture between techno, acid, breakbeat and trance which will destroy many dancefloors for sure.

The crew behind A Strangely Isolated Place firmly believes that this collection is Christian Kleine's strongest album since 2001 set Beyond Repair, and we tend to agree. It's made up of material recorded in the same period - between 1998 and 2001, to be exact - and showcases a range of impressive electronica tracks that pit the crunchy, computer controlled bottom-end of Skam-style IDM with warm chords, rich basslines, subtle jazz influences and some life-affirming electronic melodies. The German producer has always excelled at finding the right balance between forthright experimentalism and atmospheric musicality, and Electronic Music From The Lost World is a particularly fine example.

Recorded in Miami in 1985 by a school teacher and originally released as a self-published single for educational purposes, copies of 'Do You Know Black History' did not circulate much further than Florida's public school libraries and the record has been shrouded in mystery up until now.

Dr Mary Sullivan Bain recorded the song to be used as an educational and motivational tool in the Miami-Dade public school system she taught in.

Produced with no label constraints, this cross-genre grail sits comfortably in many boxes... 808's, bass synths, deep chords, live percussion and effects dubbed into the mix. The production leans towards the electronic diy framework that informed the local sound on the Miami south side. Whilst the categories are blurred what's clear is that Bain was thinking outside of the box. Official 12' reissue from Backatcha Records.

Mark's back with three seething cuts at the state of Berlin affairs. A restless message to the hands of capital. Killer steppers coming off last year's cult classic Here Comes A Fucking Startup Campus and outings on Bristol's NoCorner. Post-modern d'n'b with shades of latter-day Source Direct and the rattle of golden-era Skull Disco. - Supported by the likes of Ben UFO, Lee Gamble, Ramzi and Trevor Jackson - Premiered by Phile, Nerve and Mos Howieson

All tracks written & produced by Solune in a sonic hut nestled
underneath the intense flow of a grey western european city.

Following the release of Synkro AKA Joe McBride collection of his formative early works earlier this year, Apollo Recordings is proud to present a brand new EP that draws on the rich heritage of library music. Despite having come up during the dubstep era McBride's music has always resisted easy classification - 'Hand In Hand' sees him shift his musical focus in a yet more cinematic direction. McBride explains : "The record was inspired and influenced by my love of electronic 80's UK library records like the Chappell AV series, Bruton, Soundstage & De Wolfe Music library. There's a lot of synth work that carries on from my album using my trusted Juno-6 / SH101 / JX8P combo with the addition of drum samples via an old akai S2800 I purchased recently. Most sounds I've made from scratch on hardware based on sounds used in the library records I mentioned above along with a few cheeky samples." Synkro's signature expansive atmospherics are still very much present, but now they have been burnished by soaring synth pads and pulsing drum tracks that call to mind the haunted melancholy of John Carpenter or contemporary such as Legowelt or Andy Stott. Rhythmically 'Hand In Hand' sees McBride moving somewhat away from his usual off kilter programming inspired by 2-step and garage, embracing the steady pulse of 4:4 which turns out to be an effortless fit.

15 years of PRSPCT is nothing to be taken lightly... 12 tracks by 29 PRSPCT artists. For sure THE Drum & Bass/Hardcore/Breakcore album of 2017!

Baad John Cross's New Revolution is a Afro-electro-funk-boogie-disco banger that could only come from 1980s Nigeria. Bright, optimistic, with an unrelenting eye on the dance floor, it is regarded by many as a prototype of the electro rhythms that would become the signature sound of Nigerian boogie. A Cameroonian by birth, Cross arrived in Lagos a cheeky smile, a pair of white dungarees and a bag full of songs. After proving his chops with uncredited session work, he signed with the legendary Coconut label, hooked up with producer Modjo Isidore and created a stone cold boogie classic in New Revolution. 'Gimme Some Lovin' and 'Get Up And Dance Salsa' (briefly a dance craze in Lagos, apparently) are dance floor classics, 'Jeanie My Love' the obligatory love ballad and 'We Need Freedom' a Marleyesque call for peace across the continent. The real surprise is 'Rock n Roll Birthday', a rockabilly number straight out of 80's London. (The cover photo has a similar vibe.) Sadly, New Revolution was to be Baad John Cross's only album. He was soon back in Cameroon, eking out a career as a session musician, but not before creating one of the freshest Nigerian boogie albums ever made.

- Peter Moore

Returning with his first album in 13 years, Errorsmith's 'Superlative Fatigue' long-awaited release on PAN arrives as his perhaps most optimistic record yet.
Placing a strong emphasis on spectral exploration, the tracks tell an inherent story and span a musical arc with his recognisable synthesised tones, computerised vocal effects and timbral changes in motion.
In comparison to his previous productions, Errorsmith (Erik Wiegand) sees the release as less abstract, harsh or aggressive: 'I would say it is rather accessible and cheerful; at times ridiculously cheerful but still very sincere and emotional.' He suggests. 'I find it touching when this little android raises its pitch at the end of 'Lightspeed' or the android catching its breath in 'My Party' for instance.'
The album title, 'Superlative Fatigue' reflects this tension between an over-the-top, hysterical emotion, against more deeply felt expressions or realness. Besides collaborating with the likes of Mark Fell, to Berghain resident Fiedel as MMM, and Soundstream as Smith N Hack, Wiegand has released a string of seminal dancefloor tracks. Building his own instruments using modular software synthesizers is a large part of his work. Where almost all the sounds in the LP were created with his synth, 'Razor', (a synthesizer plug-in he developed for Native instruments, released in 2011) or slightly modified versions of it.
Premiered at Unsound Festival last year, this new material he has developed since has finally taken form in this epic full-length.
The album is mastered by Rashad Becker, featuring artwork by James Hoff and layout by Bill Kouligas.

FJAAK relaunch their label with their remix and remaster of Missing Channel's Onslaught (Robert Hood & Claude Young).

SPANDAU X DETROIT! The German trio take on a tune from Hood and Young's '90s collaboration, backed up with a 2018 remaster of the original.

* Released for the first time on vinyl
* The ultimate collection of rare early materials by this electronic music pioneer
* Comes as a deluxe double LP set with insert and extensive liner notes . Limited black vinyl pressing (700 copies) with obi strip.

Klaus Schulze is a German electronic music pioneer, composer and musician that needs very little introduction. In the late sixties & early seventies he was a member of several iconic bands such as 'Tangerine Dream', 'The Cosmic Jokers' & 'Ash Ra Tempel' before launching a solo career consisting of more than 60 albums released across five decades. Collaborations were numerous and highlights include working with Steve Winwood, Brian Eno & Alphaville... just to name a few.

Klaus Schulze's proto moog-synthesizer work is regarded as a milestone in electronic music & during the decades he released landmark albums in genres catalogued as 'Ambient', 'Electronic', 'New Age', 'Berlin School', 'Experimental', 'Kosmische Musik' & 'Krautrock'. Mr. Schulze had a more organic sound than most electronic artists of the time, often he would throw in decidedly non-electronic sounds such as acoustic guitar and a male operatic voice. Schulze is also known for developing a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert.

On occasions he would also compose film scores such as Body Love (1977), Barracuda (1978), Next of Kin (1982), & Angst (1983). His best known song 'Freeze' has been used in films like Manhunter (1986) and more recently in Sofia Coppola's 'The Bling Ring' from 2013.

In 2009, producer Klaus D. Mueller and Schulze began releasing La Vie Electronique ( The Electronic Life'), a series of sets that collected rare sought-after early works & unreleased tracks put in chronological sequence. These sets contain some of the best music Klaus ever created and are early 70's masterworks that will appeal to both fans and collectors.

Now available for the first time on vinyl, One Way Static Records presents the first volume in our new archival series 'La Vie Electronique'. This volume (1.0) focuses on the years 1968-1971 and is spread over two glorious LP's containing +78 minutes of Klaus Shulze rarities. This deluxe vinyl set also comes with an insert containing extensive liner notes.

MAGNETIK NORTH is 'live drum electronics'. Drum performances are fed through processors, samplers and sequencers to produce layers of rhythmic patterns that interact with each other. Other instruments are melted into different textures so that only the harmonic content remains. This is a new project from Ian Tregoning, engineer and producer for artists as diverse as Yello and Fela Kuti.Now working with Jaki Liebezeit, the legendary drummer from CAN, to add his endless evolving rhythms. Jaki's in a world of his own as he balances technical brilliance with subtle restraint. Recording started in the Summer 2006 in an old jazz studio in the south of Ko¨ln. Jaki arrived with a minimal drum kit including customised cymbals, a snare and a huge Gretsch floor-tom from the CAN days. All of Jaki's performances are 'complete takes' with no drop-ins, loops or edits.The backing tracks for 'evolver' were recorded without using key changes. Each song features one key which is held continuously while other instruments and effects are blended with the key. Drums (also tuned to the same key) were added last which is another unusual technique. As Jaki says 'they're often overlooked as tuned instruments in their own right'. The finished results are a minimal blend of industrial and classical. Like listening to a 'raga in an earthquake'.Guest musicians include :
KUMO shaker ^ ARP 2600
LEE HARRIS (fromTALKTALK) djembe ^c hinesepercussion
ANDY BAXTER bass
MICHAEL POLLITT wash guitar
TIM HUTTON trumpet
JOE HOLLICK guitar

Necessary first vinyl edition of Hollywood Medieval, the debut album of psychogeographic dramaturgy by Manchester-born soundtrack composer, Maxwell Sterling. It was initially issued
as a digital release on LA-based Memory No.36 Recordings in 2016 to a round of acclaim from Fact Magazine and The Wire and has now been re-mastered by Matt Colton for this vinyl edition.
It sounds as plasticky sensuous as it should, and arguably looks worthy of a wall or pedestal in a Bel-Air or Moss Side pad thanks to its striking bespoke cover art collage by radical feminist and
Manchester punk legend, Linder (Sterling), aka Maxwell's mum.
Hollywood Medieval is an album about the glaring disparities and elaborate, underlying convolutions the composer observed and felt while working as a nanny for wealthy parents during his film composition studies at UCLA in the early part of the 2010s. Using an augmented palette of classic DX7 and Juno 60 synths along with a severely warped bank of library samples and iPhone recordings, it spells out a queasily evocative simulacra of the city in flux, animating a sort of Ballardian tableaux that's hyper-descriptive in its rendering of the hazy, dosed-up, and often
delirious transitions between Hollywood's glamour and grime, using LA's gurning facades and ostentatious wealth as prompts for a richly visual side of sawn-off emotive signposts and jazz-
taut turns of phrase that vividly etch on the memory in neon freehand.
From the dizzying sugar rush of the opening sequence, Hollywood Medieval I, to its spiralling counterpoint in Hollywood Medieval II, the album is an inception-like concerto, with Maxwell smartly subverting the film score composer's role by placing the music centre stage and allowing the narration to be carried by virtuosic flourishes owing to the artist's classical and jazz music
schooling,
In a sense, Hollywood Medieval resonates with the way Sam Kidel subverted the nature of ambient music on Disruptive Muzak (RAVE014), and offers an alternative, lucid view of the hazy LA offered by Delroy Edwards' Teenage Tapes (RAVE005), and likewise, works like a present diagnosis of the dystopian future worlds dreamed up in The Sprawl's dystopian, widescreen visions on EP1
(RAVE013), effectively broadening and illuminating The Death of Rave's own sonic hauntology.

The night is what makes a big city come to life. Right after sundown, the hectic buzzing of downtown makes way for adventure playgrounds, bathed in neon light, revealing their countless chances and opportunities. It's when you'll find the subway spitting out it's purpose seeking passengers by the minute. A coming and going of restless people passing through. All it takes is a few hours, before the sunrise makes it all disappear. Mental Bend captures the magic of that very moment in their dreamy soundtracks. If you close your eyes, you can see blurry pictures passing in slow motion, accompanied by their atmospheric songs. Grainy black and white snapshots, fragments of memories lighting up somewhere in the farthest corner of the cortex. 'One Step' is the Berlin-based indietronica duo's visually vivid debut album, released on Enfant Fenou. Mental Bend are all about letting go. Sissip (voc/synth/bass) and Hendrik Havekost (beats/production) know how to trust their instincts, crafting their hypnotic signature sound, somewhere in between electronica, ambient and dream pop. Before founding the band in 2013, the two were already shaping their skills in all kinds of different formations and styles of music. As soon as they got together, they had a viral mini hit with their song 'Take My Hand', praised on various tastemaker blogs and generating over 100.000 likes on Soundcloud in no time. The band's first long play record 'One Step' is all about important experiences and decisions, small as well as big steps, all a part of making progress, which in the end can even be life changing. It was a step, that recently got Mental Bend their record deal on Mo's Ferry's sub label 'Enfant Fenou'.

Marking 20 years of Prurient and Hospital Productions' concurrent paths, the epic 3 hr 20 minutes of Rainbow Mirror inarguably ranks among Prurient's most compelling statements. While still the blood child of Dominick Fernow, the album's massive scope demanded more hands on board, with Jim Mroz (Lussuria) and Matt Folden (Dual Action) lending their expertise before post-production by Shifted and mastering by Paul Corley cemented this towering work of Doom Electronics for the ages.

Offered up as 'a portrait in perpetual tension', and housed in cover art created as the first collage in the pre-recording era of Prurient, Rainbow Mirror draws on the project's roots in order to locate itself in the modern day. What it finds in the process is that little has changed since Prurient and Hospital Productions' conception in '97 - the world is still a torrid, evil mess beyond control, and one that needs notions like Prurient to try and define its heaving mass more than ever.

Like Frozen Niagara Falls before it, echoes of the old world riddle the long, stark corridors of Rainbow Mirror, too. But here those echoes are more fragmented, distant and entropically obfuscated, emulating the effect of trying to find your own image in a hall of mirrors, or locating yourself drowning amid the clamour of more than 3 billion other people online, all saying the same, mundane shit at the same time.

With a length and intensity proportionately reflective of the world's increasing socio-political tension and rate of homogeneity, Rainbow Mirror holds firm as a space to immolate the senses in preparation for the ever nearing eschaton.

'Travelog' was the third EP released by Mat Steel and Mark Fell as SND, arriving in 1999 just before the release of their influential debut album 'Makesnd Cassette' on the Mille Plateaux label. Of the three EP reissues in the series, 'Travelog' contains the most developed and satisfying work from the pair, edging their reduced production palette into more fully-realised dimensions, colouring-in those instantly recognisable bass notes and isolated percussive elements with a slow, sublime trickle of melody.The 6 extra tracks included are indispensable - extending the original EP into an hour of mesmerising, slowly immersive rhythmic pulses that still sound pretty much unlike anything you'll have heard before - a perfect bridge between House, Techno and UKG re-imagined within a stripped structure that should act as a masterclass for a new school of producers trying to balance-out rhythmic complexity with space.The opening 'A1' encapsulates this asymmetry brilliantly, bare swing and shuffle riding chiming chords that add warmth and space to an already intoxicating blueprint, while A3 takes those same elements and sharpens them into a slow, undulating alignment bolstered by that immaculate mastering treatment from Rashad Becker. 'B3' takes things deeper - a slow percussive edit slowly drowned-out by a growling analogue drone, while the closing side joins the dots between this EP series and that trio of albums for Mille Plateaux that would soon establish SND as the most forward-thinking and still resolutely original producers from an otherwise largely-forgotten musical era.

Son Lux reemerge with their forthcoming fifth full-length LP, Brighter Wounds, finding the trio in command of a daring, multidirectional sound, expressing naturally the proclivity for surprise and contrast that characterize the project's output. The new release explores the violence of love, the beauty of sacrifice, and the specter of impermanence.Anchored by its cinematic heart, All Directions,' the album ranges from the thunderous charge of Dream State' to the sputtering, soulful lilt of Slowly.' Ryan Lott's devastating vocal on "Aquatic," guitarist Rafiq Bhatia's blooming flower melismas on "Labor," and drummer Ian Chang's nearly inhuman rhythmic calculus on "The Fool You Need" illuminate a curious and delicate balance of precision and pain.Since 2015's Bones, the band's profile has grown in the worlds of music, dance, and film. Each member now charts their respective solo paths, and their individual adventures find a home within the purview of Son Lux. On Brighter Wounds, collaborators range from longtime cohorts Rob Moose (Y Music, Bon Iver, The National) and DM Stith (Sufjan Stevens), to new friends trumpeter Dave Douglas and reedist/instrument builder Arrington de Dionyso.Son Lux has made invention its hallmark through continued exploration and experimentation. With Brighter Wounds, the triad NPR proclaimed the world's most lethal band" now grips exhilaration and heartache in full embrace. In the words of the album's closing refrain, "is this what the resurrection feels like"

Initially the music by The Knob, The Finger & The It was conceived as some sort of ritual background ambient during extensive electroacoustic picnics by the river or in the fields. In the course of these sessions, The Knob, The Finger & The It make use of battery powered miniature electronics, DIY synths and acoustic bricolage, which mingle with the sounds of the open space: some wind, a crackling campfire, a train passing by over a bridge nearby...
However, local weather conditions as well as annually recurring festivities made The Knob, The Finger & The It escape to their inside homes now and again, where they started to explore the miraculous possibilities of modern studio technique.
Two tracks on this album - F. F. Erde and Grasebene 3, were taped live outside, and no posterior changes were made. All other pieces were recorded in the studio.
Astro Camping is based on recordings from 2012-2016. The first 50 copies come with an interstellar gimmick. The Knob, The Finger & The It are: Tobias Grewenig, Andreas Oskar Hirsch, Volker Hennes.
Cover photographs by Andreas Oskar Hirsch.

Re-issue eines Meilensteins aus den 80ern. Remastered inklusive eines 24-seitigen Booklets mit Archivmaterial und Anmerkungen von David Tool.
Im Original auf dem Quartz Label veröffentlicht findet - Whirled Music nach 38 Jahren den Weg zum Black Truffle Label von Oren Ambarchi.

- Whirled Music" beinhaltet eine außergewöhnliche Serie von Aufführungen von Max Eastley, Steve Beresford, Paul Burwell und David Toop und ist somit ein Schlüsseldokument der erfindungsreichen und energetischen Impro-Szene der späten 70er und frühen 80er Jahre.

Quick run of remixes for Addison Groove's recently released 'Changa' — The white-label style series from Tony aka Headhunter aka Addison Grooove is now here, in it's fourth edition, coming with a series of Shango remixes from Ejeca, O'Flynn, Nan Kole, Amit and Subp Yao. You know the deal.....

It feels like a long time since the last Contort Yourself, addiction will make time drag. Fear not, the peddlers of filth are back with a quintet of past profanity and new nastiness. Unknown Precept's Eindkrak serves up a grease dripping, ball bearing filled dish of Shawarma. After the entre comes a 90s treat. Kirlian Camera's Angelo Bergamini's side project with Celestino Pes under the name Andromeda Complex. Here the partnership offer the drums flailing beast that is The Servant (Extract), tongue lolling, eyes bulging techno brutalism from 1994. 4 sees GDL collide claps and low level bass line abuse as a thick haze gathers. On the flip. L.I.E.S. and Secret Studio scavengers, Circling Vultures are savagely Feasting on the Caucus of the Fallen Divine King before Bunker back row bully Klankman twists his knife into The Servant. Your latest dose of mean musical medicine has been served.

Faitiche announces the launch of its new Acoustic Surveillance Series. Each 7" vinyl single in the series presents a historical system for acoustic surveillance, beginning with uguisubari by G.E.S.. The pieces on the record feature recordings of uguisubari - special floors in Japanese temples and castles.

Mefjus & Emperor return with the second instalment of their Hello World series. Sanity Check EP (Hello World 2). As with the first edition the duo provide 2 blistering slices of dance floor funk as well as taking on a remix of each others original material. Precision engineering.

Robert Rental was the stage name of Robert Donnachie (1952-2000), a British pioneer of post-punk, DIY, and industrial music. Originally from Port Glasgow, Scotland, he moved to the south of England with Thomas Leer in the late 1970s where he met Glenn Michael Wallis. Glenn was recording music with the group Heute and leaving to start his solo projects NKVD and Konstruktivists. Both were heavily involved with Throbbing Gristle and the Industrial Records crew.In the Summer of 1979, Robert invited Glenn to his studio in Battersea to jam. Robert on guitar and Glenn on an EDP Wasp synthesizer. For each session that summer they would play for about 40 minutes, maybe longer, stoned. Robert suggested they record it, many times erasing and over recording one session for the next. The music had no titles, as they were never intended to be released. On these recordings, Robert enjoyed playing like Robert Fripp of King Crimson, while Glenn channeled Wolfgang Flur of Kraftwerk. Influenced by Krautrock bands like Can, NEU!, Cluster/Harmonia, as well as Terry Riley and Brian Eno the duo forged a unqiue brand of Industrial music. Tape loops and synthesizer sounds played backward conjure dark ambient moods. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The LP is housed in a jacket that features a drawing by Robert Rental from Glenn's archives as well as a handwritten note from Robert to Glenn. Each copy includes 2 photo postcards featuring a transcription of Robert's letter and liner notes from Glenn Wallis.

REPRESS ALERT! Spearheaded by Stuart Leath, Emotional Rescue is a label committed to unearthing forgotten gems and giving them the exposure they richly deserve, with all releases officially licensed by the artist and remastered in full. This 12" sees two classic tracks by the world music collective Suns of Arqa take pride of place. Incorporating elements of raga and dub, "Brujo Magic" is a much more straightforward dancefloor number than its description would suggest, with its rolling bassline and vocoder effects fusing irresistibly with its psyche-rock styles. On the B-Side, "Ananta Snake Dance" combines traditional Indian percussion and harmonium with conventional drumming to create something completely unique. A strong start to what will no doubt be an indispensable label.

Clear & Solid Purple Mixed Vinyl
Five different moods from five different minds. The first various artist compilation features five gems that will provide pleasure infinitely!

* 2017 year marks TEN YEARS OF INTEGRAL RECORDS and looking back upon the label's incredible back catalogue, what a decade it has been for drum & bass music that we hold so close.

* Initially set up as a passion project and a platform for showcasing future talent, the label has been consistently releasing cutting edge drum and bass since 2007. The ethos of the label has always been about quality control and finding those special vibes that no question capture heart and soul. Honing their unique musical language, selections are carefully handpicked by head honchos Artificial Intelligence and more recently in collaboration with label manager Emma G that fit with the forward thinking, original spirit we know as Integral.

* Now 40-odd releases deep and renowned for breaking some of the most exciting artists on the roster today, the label also boasts signature classics from some of the scenes most prolific residents. Names include the likes of Lenzman, Lomax (one half of Loadstar), Alix Perez, Calibre, System, Zero T, Technicolour & Komatic (Technimatic), LSB, Steo, Dawn Wall, Mohican Sun, Phil Tangent, Satl and just recently, A.I. themselves.

* Celebrating the seminal journey thus far, a double album will mark this very special occasion. Part One will showcase a selection of the finest from over the years in a chronological journey of the label's sound (for digitial release.) A second curation will simultaneously launch across all formats of entirely new and most exclusive material to date, from residents A.I., Lenzman, Mohican Sun, Satl, Phil:osophy, Scar, Zero T, DRS and more.

* Following a stellar Album Sampler, the full release will drop December 8th. Bag your limited edition vinyl art copy now.



**Confirmed PR so far includes UKF who are doing a big front page feature plus artist interviews talking about the past, present and future of the platform. Data Transmission will be releasing an exclusive promo A.I. mix leading up to the official album launch which sees Integral team up with Innersoul featuring one of the biggest liquid drum & bass line-ups of the year. Not to mention, a new line of Integral merch (T-shirts) to celebrate the landmark release. So far there have been multiple Radio 1 plays and with plenty more in the pipeline, this highly-anticipated album sees an exciting step in the label's history with an exciting schedule to follow on next year.

After Un Reve, second of the trilogy of LPs recorded at studios Davout during the heyday of punk: 'a guided tour through the ruins of a civilisation'; and an evilous, innovative prophesy of electro, industrial, post-rock and noise.

Subapical is pleased to present Dutch producer Albert Van Abbe's The Pulse Projects - Black Catalogue Rituals (2004-2005)
The Pulse Projects Black Catalogue Rituals (2004-2005) show Albert Van Abbe's grittier electro/industrial focused work all recorded in the mid noughties. Here he serves up 4 tracks from the archives.

Kalakuta Soul Records joins forces with waf80music to proudly present Kai Niggemann's solo debut, an all original album of outrageous poetically abstract music created live and without overdubs on a Buchla 200e Electric Music Box, one of the rarest and most sought after electronic music instruments. Working on the platform since 2013, Kai Niggemann has become one of Germany's leading artists who perform live with a Buchla 200e. His style is an electro-acoustic storytelling, a clubby dreamscape and a poetically-abstract kraut-infused energetic mix of new Elektronische Musik with contemporary club culture. Nerds love the technology and clubbers love the throbbing drive of the basslines. It's all improvised and recorded live in Berlin — yet it sounds meticulously crafted in a dark basement studio throughout the entire last winters. Kai is a member of the 30-piece kraut-noise-jazz collective "The Dorf" and the electronics duo "The Last Books" (with Achim Zepezauer), performs and records with Mia Zabelka (Vienna) as "Redshift Orchestra", cofounded the internet-computermusic "European Bridges Ensemble" (EBE, e-b-e.eu) and the electroacoustic duo "Resonator". His most recent releases were the CD/vinyl "Lux" (feat. the noise drone artist N), "EviL/EvyL" and the cassette "Made in Österreich" with The Dorf (feat. Caspar Brötzmann & FM Einheit (Ex-Einstürzende Neubauten) or "Thinking Light" by Redshift Orchestra (duo with Mia Zabelka). He performed concerts with Mia Zabelka (Wien), Yoshio Machida (JP), Trap & Zoid (BE), Stian Westerhus or Shahzad Ismaily (with The Dorf) among many others.

Paradox Music kicks off 2018 with it's first 12'' in a brand new Die-cut jacket.

The Bolide see's Paradox the label owner return to his early Certificate 18 days with it's cymbal-laden breaks twisting amongst sci-fi bells and eeiry samples.

On the flipside Paradox takes a leaf from his Dollis Hill handbook and delivers the head-nodding Dioxan with it's b-boy flavours and hypnotic drum loops for the Reinforced fans.

PARALLAX 06 by PRZ.

Finally here we are with the fourth release on Last Drop Records, signed by the london-based Stavrogin. 'Collectors' takes a more subdued approach from his debut on Australian label 3BS, focusing on ampdriven ambient textures and digital experimentation. 'Sixty Acres' is a juddering mass of static textures and penetrative low-end, forcing itself to a crumbled close. Title track 'Collectors' is something like the afterglow. Weary and destitute, the track stumbles through heatwave-soaked atmospheres, fragmented voices stuttering like a malfunctioning android. 'Are These Actual Miles' is perhaps the most direct, with its tremors of noise punctuated by a rhythmic pulse. This is a feature Italian duo Ichinen have capitalised on in their closing remix, reducing the track to a warbling, dead-eyed drum workout.

Originally released by label owner Monita in 1993, two brand new VIP mixes have been done by Ricky Force and Threshold & Jedi Hi-Fi especially for this vinyl release.
Both mixes have been getting noticed and played a lot in clubs and radio.
Limited edition press.
Pressed on a transparent smoke effect 12" vinyl.

The fifth album, from 1976, originally out on Cobra. 'Intense, violent, bitter, abrasive, uncompromising prefigurations of Industrial and post-rock. It is easy to understand why Merzbow, Wolf Eyes and Oren Ambarchi all wanted to collaborate. Whilst run-of-the-mill comparisons between Heldon/Pinhas and King Crimson/Fripp are hitherto sustainable, Un Rêve Sans Conséquence Spéciale explosively busts open new ground.'

Advance 12" of the upcoming Oscar Mulero album 'Perfect Peace', SEMANTICA 70 with some deep electronix!

Returning to Metalheadz for the first time since 2010 we're delighted to have Seba grace the label with his 'Node 46' EP. The magical combo of Seba & Robert Manos head up the release with the Swedish producer also providing us with the dark and relentless title track on the other side. Two further digital bonus tracks complete an EP typical of Seba's incredibly unique style, one that he's so consistently built his reputation around.

Just like his 'Secrets' EP of last year, this latest instalment in Detboi's catalogue, entitled 'Ice Cold', merges elements of drum and bass, jungle, bass music, techno and more in exquisite fashion, quite simply like nobody else has done before.

The 5 track EP, 3 of which make it to the vinyl release, consists of pure breakbeat pleasure, with 'Blood Drops' leading the charge, a classy piece that elegantly rolls and seamlessly interchanges through various phases.

It's without doubt some of Detboi's most distinguished work yet, and we're delighted that it's opening the Metalheadz account for 2018.

MEDi close 2017 with Gantz's Dying on Acid EP.
Following collaborations with El Mahdy Jnr on the Spry Sinister 12, Commodo & Kahn on the Volume 1 LP & Commmodo for Buckwild / Free Focus......his latest EP sees Gantz working with Elif Dikeç, Dedw8 & spoken word artist Rider Shafique to deliver yet another unique and intersting record.

"Bring Back is Back! With the brand new vinyl only release.
Here's limited single sided record with two jungle bangers.
""Luv This Music"" have combines mystical sound and vibes of the darkness. It's seems like we are back in time, in 93-94. Classic breaks and hardcore stabs are able to bewitch anyone.
""Sweet Murda"" opposite, more light with nice pads, filled with the sound of the oldskool jungle music. "

'Fist & Shout' is the debut release from Glasgow band Leatherette - currently now known as Total Leatherette - and the first to be released on Domestic Exile.

Recorded at the now infamous Green Door Studios, the album is a raw, visceral interpretation of instrumental post-punk, no wave, drone and industrial, complete with a fully immersive and foreboding gothic atmosphere.

Traces of minimal electronics and manipulated effects / vocals are present throughout, engulfing ones entire body with a sudden cold adrenaline rush - teeth rattling, muscles contracting, nails nervously scratching at walls, shivering - a combination of detached, minimalist drum machines, rhythmic noise and dense processed mutations mechanically dislocating as if oil is needed to stop the rust from corroding the engine. Chilling feedback loops, effects pedals and brutal yet infectious bass guitar grooves leave us stunned, shackled, agitated, weary and submissive.

Thematically channelling a hidden narrative of societal repression, queer sexual frustration and sleazy hedonism, the record conveys a twisted and alienating distorted version of reality.

During live performances the duo are shrouded in darkness, venues left pitch black with nothing but strobe lights to disturb ones eye sight. The intense and thought provoking suspense that is experienced at a Leatherette show uniquely translates to the duos recorded material.

Musically, influences can be traced back to radical counter-culture movements and their pioneers, most notably D.A.F., Malaria and Geile Teire during Berlins NDW period through to the 'Ambulance Station' nexus - Bourbonese Qualk and Zahgurim in London or Ike Yard, Nitzer Ebb and R.L. Crutchfield's Dark Day during New York's No Wave period to Minimal Man, however it is important to note that while comparisons can be drawn the music of Leatherette is never derivative or emulating in its approach.

Pro dubbed c50 cassette with risographed card sleeve.

New from the FDX camp comes an undercover project, back to basics, no frills, white label hard amen destroyers. Artist and track titles can be worked out if you keep your ear close to the underground.... a mix of back catalogue and brand new beats for the street but nothing that's been previously committed to vinyl. These white labels are seriously ltd business.....

Currently undertaking a residency at the prestigious EMS Stockholm, Egyptian producer Ahmed El Ghazoly makes a stunning 2nd mark on Lee Gamble's UIQ label with Numbers, a ruggedly chopped but spatially hypersensitive suite of encrypted electronic rhythms and entrancing, mirage-like geometries.
Boldly committed to his own niche between the folds of grime, techno and electro-acoustic dimensions, Zuli's follow-up to the Bionic Ahmed EP pushes it's loping designs into stranger, spaces within the sound field, finding an idiosyncratic ecology of frequency that finds room for dense, physical subbass, smeared vocals and iridescent motifs amid its morphing dimensions.
The six tracks exemplify Zuli's playfully paradoxical approach to club music, experimenting with tessellating dry and fluid textures in the dusty, humid London-via-Cairo swerve of Bow which cranks opens the EP, to the metastable techno momentum in the buckling rolige of CommProto, while She's Hearing Voices feels like a smoking area between rooms, heard in a queasy but spangled state.
That all feels like preparation for the second wind of the B-side, which convulses into action with the chromatic trance warp of What You Do and its grubbing Autechrian inversion, Tongue Chomper, only to slide off the page in Foam Home's future primordial glob of melted dancehall.
The hooks may be less explicit or tangible here than on his debut EP, but Numbers is proof, if it were needed, of a restless mind which is only just coming into its own.

* BEAK> return with a fantastic new single, 'Sex Music'. This is the first taste of new BEAK> music since 2015's BEAK>/ * 'Sex Music' sets the mood with its four minutes of slinking grooves, with tense, blaring synths and driving drums. A murky and experimental dealing of electronica which morphs into its own identity.
* The 7' is pressed on coloured vinyl. The B-side is a remix of 'Sex Music' by Win Butler of Arcade Fire.

Blue Vinyl
Molecule returns with a new odyssey both physical and musical. Following the success of 60°43' Nord, his concept debut played, recorded and mixed on a fishing boat during a 34-day journey in the Atlantic Ocean, the French producer decided this time to take the process further up North and embarked on a voyage to Greenland. Isolated for five weeks in the small Inuit village of Tiniteqilaaq, Romain Delahaye used his 'survival electrokit' to find new sounds in the fjords, the icefields and the hostile yet dazzling landscapes surrounding him. Entirely recorded and mixed in this remoted place, the tracks of -22,7°C range from contemplative ambient atmospheres to more upbeat techno blizzards and accurately translate this epic self-reflective adventure across a land of contrast, its abyssal silences, its immaculate glaciers and its blinding whiteness. With ten previously unheard tracks and very enthusiastic early feedbacks from medias internationally, -22,7°C is set to confirm Molecule's status as a one-of-a-kind producer in today's electro scene.

New and unknown Sent In Sound gets into the trendy spirit of selecting choice tracks and committing them to a 12" piece of wax.
The tracks take on a sky ward direction on newly christened Point Loma (US).

If you're one of the extinct deejays who play 8 hour plus sets, start your journey before spreading your wings on the next booking with Doving on side A by Benaji Lattu. Settle into the booth, hit the loo and sequence the next movement while the lengthy and heavenly track serves its purpose, a convocation for the ceremony ahead, while blessing the entering congregation.

You'll have the perfect tune to bring the room back down gently to reality at night's end with Skylover Tea by Tinopiras on side B.
It's the fragrant sandalwood for the glowing sangha as it exits the guru temple also known as your party.

Originally released on Brainfeeder in 2011, Tokimonsta's own Young Art Records is proud to reissue Creature Dreams on blue vinyl. Tokimonsta is not content with standard 4/4 time signatures and verse- chorus-verse-style track construction — her instrumental compositions are a mind-melting mix of intricately layered samples, exotic percussion, and live instrumentation. Her songs take a strange approach to mellow both cosmic and off-kilter. The seven tracks on Creature Dreams are all distinct, but still work well together, from the breezy vocals of Little Pleasures' (with Gavin Turek), to the freaky, panned sound effects of Stigmatizing Sex,' to the neck-breaking stomp of the closer Day Job.' Akin to artists like Daedelus and Flying Lotus this is modern-day head music for listeners bored with simple genres.' - Apple Music

You're Me's 2016 album, Plant Cell Division, sees its reissue on vinyl for the first time on the Knowing Something label. Newly mastered and presented across two 12"s, Plant Cell Division demonstrates attention and care to texture, melody, and rhythm.

The duo, consisting of Yu Su and Scott Gailey, delivers a recording warm and inviting, one that engages with the listener along multiple dimensions. With repeated listening, each piece reveals something new about itself, continually suggesting new ways to approach You're Me's imaginative and organic sound.

The 2xLP version arrives in a gatefold sleeve designed by Maggie Chok and retains the photo from the original cassette by Evan Mason.

Limited quantities ! / 1x per customer
The fifth entry in the chronicles of Slyngshot's Yappin label is a four track EP, projecting his trademark hybrid style, popping on a low-bit train ride somewhere between the Bronx and Detroit.
New Era: Slyng's in-house style, dirty percussion, with ailing watery Rhodes. OF XTC (Action mix): A swift take-off, with fazed out keys over a romping kick, swashbuckling high-hat, and an insistent synth bass playing hide and seek, building the tension.
OF XTC (Understatement Mix): Low end synth lines bop between singing drums, tribal chant and ethereal piano loop.
Stop Playin' Part I: B-boy vocal sample with pitched up / back down again beats lending the tune a subtle drum and bass feel.

Sam Kidel from Young Echo opens proceedings with a beautifully rolling, pastoral re-arrangement of the melodies of South East Of The Mountain, keeping a watchful eye on the original, dread b-line. Then some chilled ragga from O$VMV$M, versioning Skeletal. Finally Helm takes the helm, with a startling re-animation of Bloom, brilliantly tipping the registers of Music For Airports on their side.

Andrei Orlov pushes alive sounds from modern electronica spectrum through avantgarde, krautrock or ambient. It is totally new even if you would quote Tangerine Dream or John Carpenter to assimilate ... It includes a track reinterpretation by Le Chocolat Noir.

Based in Moscow (Russia), Andrei Orlov pushes alive sounds from modern electronica spectrum through avantgarde, krautrock or ambient. It is totally new even if you would quote Tangerine Dream or John Carpenter to assimilate ... This space world full of lights crossing the city late at night, boarding with them all kind of styles ... Cosmic disco,psychedelic pop, synth music. Linking past to modernity is something conscient in Andrei's sound, permitting him to play live at local places involved into technological process where conferences also take place, at the 2016 Synthposium Festival for example.

First album from the french emotional techno producer, voiski presents a collection of tracks made on airplanes. A special edition including a photography book made of his analog "tour pictures".

10 post-trance tracks made on airplanes with a track for each flight and comes along with a booklet showing a series of analog photography taken by Voiski between two gigs. An album behind the scenes of the dj world.

Floppy disc versions of the infamous TTW005 - floppy and proper bendy!

Comes as a pair of dope floppiness!

Weighing in at minimal gms.

Please note: The way floppy discs are manufactured, the center hole for the spindle is usually quite tight. You may need to adjust the hole to suit.

A generation younger than the founders of the Teklife crew, DJ Rashad and DJ Spinn, DJ Taye was originally a rapper and beat maker before hooking up with the collective and jumping into the world of footwork production and DJing.
However, it was Rashad's untimely passing in 2014 that was the unlikely catalyst for developing the sounds and ideas for this album. He says, "When Rashad passed away I felt inspired to continue evolving the music that I loved so much coming up in this world. So, I had to do something...make something brand new."

100% committed to pushing further the potential of the footwork template, Still Trippin' is ambitious in its range and scope. Taking two years to formulate, the record broadens the possibilities of the sound, forcing it to adapt to songwriting, and also revives Taye's talent for MCing and producing beats to which he can rap and sing. Furthermore Taye definitely ups the ante with his complex and precise drum programming, never losing sight of footwork's ability to confound. The album features a range of guests that span contemporary music, the eccentric, instructive rapping of Chuck Inglish of Detroit duo the Cool Kids is featured on 'Get It Jukin', Odile Myrtil, a young vocalist from Montreal, lends her smokey soul to 'Same Sound', Fabi Reyna, the editor of the celebrated women's guitar magazine She Shreds, sings and plays bass and rhythm guitar on 'I Don't Know' and Jersey club queen UNIIQU3 offers production and rapping on 'Gimme Some Mo'.Also, Teklife members DJ PayPal and DJ Manny assist on production, and DJ Lucky is a guest MC on 'Smokeout'. Taye is ambitious in his hopes for the album, "I took this as an opportunity to not have boundaries with footwork. Different approaches to our 'underground' sound to make it broader. It's only underground until it crosses that visible threshold.' This album brings all of this to the forefront.

Inspired by an evening spent in a restaurant next to a car demolition site, Eindkrak's long player debut echoes the distant sound of steel being crushed and cars pressed into cubes. All this noise, in combination with the taste of good Italian food, lead to the eleven tracks making up for the aptly titled Brullend Staal — loosely translated to weeping steel. A leisurely stroll on crumpled metal sheets, the acidic hints of oxidized metal and the smell of gasoline. Inaudible and distorted vocals as if smothered by the clatter and smokestacks of steel factories. Eindkrak's first full-length is all about this disquietude made of melted and straightened metal. A resounding and tumultuous din. Try to eat some nice gnocchi while listening to this album, and you'll see what it is all about

I think the earliest recording of the group that would then go on to become the Robins and then the Coasters. One side is a Jump Blues 'court room' themed killer with a mesmerizing and solid group record on the flip. Originally issued in '49 as a 78rpm release only.

The urgency and viscera - both live and on record - that led Yorkshire-based five-piece Hookworms to prominence across two blistering full length albums, 2013's 'Pearl Mystic' and 2014 follow-up 'The Hum', remains. However, as they return with
their much-anticipated third record 'Microshift', the band deliver a seismic shift in their sound, dynamic, songwriting and production.
Radiant, immersive and teeming with light but still heavy and forceful, the music on 'Microshift' acts as a very deliberate counter to some of the difficult topics the album's lyrics address - ranging from death, disease, heartbreak, body image and even natural disaster.
Hookworms have pulled off a triumph against adversity, a comeback with what they may see as a 'Microshift' but is in fact a massive advancement.
CD in spined mini LP wallet and printed inner sleeve. LP pressed on 180g heavyweight black vinyl, with printed inner sleeve and digital download code.

Horoscope leaves another festering welt following his excellent 'Misogyny Stone' slab for Wharf Cat, which, like this one, recalls a fetid fusion of vibes associated with Prurient, aTelecine, Pharmakon.
No poseur, Horoscope trades in grim films of textured noise, field recordings and synthesis that strongly warrant those comparisons, serving to render a unique, low lying and abstract perspective on life as a rat gnawing the big apple.
Nature Will Keep Growing Even After You Have Lost Everything is Horoswcope's tenth release and is an ode to New York City. Using a mix of loops, treated field recordings of the city and modularsynthesis, Recorded at 278 Broadway apt 4r in Brooklyn and this is the third HOROSCOPE release by Ascetic House.'

Limited quantities, 1x per customer !


Originally release back in 2010 this much sought after plate is finally repressed and available again for 2018 in the brand new Paradox Music house bag.

Wriggling away from any clear classification, as 80s Italian new music was wont to do, yet clearly drawing on a number of traditions and procedures, Andreoni and Paladino's AEOLYCA project stands on its own as it intersects the two musicians' already well established partnership in A.T.R.O.X. and The Doubling Riders among other settings with the sounds generated by Mario Ciccioli's aeolian sculptures. Neither aiming for the organic purity of Harry Bertoia's Sonambient recordings or the complex constructions of Mario Bertoncini's works with aeolian harps, AEOLYCA walks a line of resistance in refusing to get with any program. The music that was produced in Andreoni and Paladino's interaction with the recordings extracted by Emiliano Licastro from Ciccioli's sculptures is one that breaks the boundaries between the sound and musical sources.

The work is divided between the quick pop timings of the Rain on the Bells', Sunday Clothes for Brass Bands' and The Peruvian Club' and the longer eponymous structured compositions that bookend the record each track characterized by a dominant sonority inspired by specific iterations of globalized musics. Ultimately, though, notwithstanding their individual structural and sound diversities, the project is indebted to the sampler, the ultimate absorber, the sound source that takes up the most musical space and the possibilities of eroding sources and styles that it imposes.

Further, to indicatively attest the historical context from which it emerges, the 1980s as they came to a close, AEOLYCA was originally released on cassette, that decade's foremost format, agile, immediate, economical and for a US label (Violet Glass Oracle).

This is music that has digested many of the period's instinctive gestures. It exists as a satellite, incapable and unwilling to articulate antecedents and to nurture descendants. This is a unique work in Andreoni and Paladino's well documented activity, individually, in duo, and in their eclectic collaborations with the likes of Roger Eno and Riccardo Sinigaglia. Like the Time Zones Festival from which this project got its start AEOLYCA is what you find on the 'path of possible musics'.

- Peter Sarram

And so, steadily, Roberto Musci's works are being made available for our listening pleasure. Soave's edition of 'the complete sessions' of The Loa of Music, Musci's debut album from 1984, is now flanked by Urban and Tribal Portraits, another milestone from 1988, a key collaboration with fellow sidereal world traveler Giovanni Venosta, whose essential and amazing debut album Olympic Signals was also recently repressed. While a number of the recordings that comprise this particular work have been (relatively) available --through a ReR anthology that also included tracks from the other Musci/Venosta collaboration, Water Messages on Desert Sand as well as some integrated in the Music From Memory compilation, Tower of Silence, released under Musci's name only—this is indeed the first time one can listen to this fundamental work as it was meant to be heard. Not a minor detail for a work that was obviously conceptually and narratively rigorously conceived by Musci and Venosta.

And what a listen it is.


Urban and Tribal Portraits reaffirms the idea of postmodern pastiche as a multimedia multisensory experience and sound as an ecosystem that is both aleatory and concrete, ephemeral and durable. In these binary paradoxes, a radical notion of the nature of collaboration, that is both chance induced and conversely conceptually worked out, is also established. The result is a work that exposes the fixed assumptions about the constructed boundaries and flows between musical traditions and practices. On its own this is the ultimately problematic place where many of the so-called musics concerned with the world reach an impasse, incapable as they are of questioning their own basic assumptions and ultimately end up strengthening those very same boundaries and flows that they had apparently set out to challenge. Musci and Venosta go further, principally and more fundamentally, by picking away at the margins of pure sonorous events and musical material, noise and sonance. In doing so,Urban and Tribal Portraits repoliticizes the notion of pastiche, engaging as it does in a kind of ecopractice, turning the process rather than the musical object into the poetic focus of the work. Fixed categories are rendered ephemeral, temporal and spatial categories including the margins, so hard to overcome, between composition, improvisation, authorship, recordedness and live performance are deconstructed. In the end, where one would expect seriousness there is levity and where one might see some postmodern appropriative ironic juxtaposition there is intensity and respect of the magical organicness of the material sources.


Like much Italian experimental music from that magical decade of the 80s this is not your dad's fourth world music, with all of its ambiguous aestheticism of 'unifying' some not so well defined primitivism of 'world ethnic styles' with the futuristic sounds of whatever 'advanced electronic techniques' were the platter du jour. In this sound the 8-bits of the E-Mu Emax is as primitive as the Jews Harp while the electronically treated Pygmy chants turn out to be as futuristic as the multi-timbral capacities of the OB-8.


From the funk ostinatos of El Lamento de Los Ayatollah' where Venosta showcases his straight piano playing to the rarefied queer guitar arpeggios in Tamatave', the peaceful ripples in Dialogue Between a Dreamer and Others', the playfulness of Starfish & Kangaroos' or the post-punkish This Heat/Cabaret Voltaire aggression in The Fear of a Soldier' this is destabilization as praxis, a shifting of the ground. The new cover image, that replaces the ethno patchwork of the original sleeve (beautiful as it was) is indeed more to the point: Sven Hedkin's photograph of early 20th century Tibetan death masks is at once urban and tribal, surrealist in its uncanniness. Just like in surrealist praxis these sounds offer some kind of redemption: sounds used in alternative ways, distinct from their usual connections, deconstructed. A DIY bricolage: a destructuring of everyday sound objects towards new uses fed by local ecosituated experiences, transformative of performance and listening. Surrealist 'musicking' indeed.

-Peter Sarram

Eccentric, polymetric polyphonics from inquisitive Australian sound artist Ross Manning, returning to Lawrence English's Room40 with a scattershot batch of pots 'n pans rhythms and noise.
In august this year, Manning opened his first major survey exhibition, dissonant rhythms, at brisbane's institute of modern art. As part of the exhibition, a monograph and LP edition, titled reflex in waves, were prepared to celebrate this milestone.
This LP brings together a series of sonic approaches Manning has been developing for over a decade. specifically concerned with waves and the impacts of their resulting vibration. quietly producing audio works out of his studio in Yeronga, on the south side of brisbane city,Manning's works are based on a series of deeply personal instrument designs, tape manipulation and other exploratory approaches. his instruments, which are often percussive, use harmonically related materials that are activated by motor-driven strings. the resulting sound is a chaotic but pulse-like cluster of harmony. developing sets of uniquely pitched materials. His instruments each maintain a distinct quality; no two instruments sound alike and although the way in which they
are 'performed' may be similar, the resulting sound is anything but familiar."

Savage Grounds return to Lux Rec for the third time, with their third record. Atrocities comes after Unpleasant Music for Unpleasant People, released in 2015, and Over Fences, 2014. It is, as much as the previous 2, the result of investigations in music, live, composed with a minimum amount of instruments. The duo, comprised of CCO and Daniele Cosmo, worked with a Roland 606, a Roland 909 and a modular synthesiser. Experimenting with FM modulation and loose sequences. The result is concrete noise, anger, ghostly voices, and above all, the sheer conscience of human failures.

Sole release by this Colombian band that surfaces briefly after the Speakers, Young Beats, Ampex and Time Machine era comes to an end. The band boasts an Italian jazz-rock drummer Roberto Fiorilli and legendary Genesis Bassist Humberto Monroy. The record consists of one theme divided into two long experimental progressive ventures (Viaje I and Viaje II) of fierce, fluid and free collective improvisation with spacey feels and a rich texture of Hammond organ, guitar, bass, tenor sax, percussion and drums that takes the listener on a trippy psychedelic krautrock-sounding out there' voyage.. First performed live at the Festival de la vida' in Bogotá in 1970 with an audience of close to ten thousand, Siglo Cero's concert was then recorded in the legendary Ingeson studio with the same musicians and same production as the live gig. This concert became a pivotal and highly influential experience for an entire generation of soon to be Colombian rockers who tuned-in to the irreverent breaking of boundaries that this music showcased. Comes with liner notes From Zodiaco co-founder Álvaro Díaz Manrique.

This fully licensed album is released in high quality heavy paste-on gatefold cover, limited to 500 copies in black vinyl

We are glad to announce the official repress in Limited Edition in Colored Vinyl + free CD and insert of Scorie, Tiziano Popoli and Marco Dalpane's minimal wonder from 1985. Long coveted and hunted by collectors, Scorie falls among the strange and definition resistant artifacts of Italy's remarkable avant-garde music scene of the 70's and 80's. An emblem of sonic diversity rendered through electronic sound, distilling a daunting number of traditions and ideas, while sculpting its own world of creative singularity, standing apart from the rest.

While a great many of Italy's avant-garde and experimental music practitioners began within the spectrums of popular music, slowly pushing into more explicitly ambitious and challenging realms as the years wore on, Tiziano Popoli and Marco Dalpane represent a change in the directional tide. Scorie is a part of movement toward, and the incorporation of, popular forms, within avant-garde music which swept across the globe during the 1980's. As challenging and uncomfortable as it is seductive and inviting, Scorie weaves a world without boundary, of collision and harmony. A vision of possible futures, rendered in its present day. A melodic realm, almost entirely constructed through the use of synthesizers, with subtle interventions of electronic rhythm generators, bridging the metronomic territories explored by Terry Riley and Steve Reich and the drifting harmonics of New Age, with the moodiness of New Wave and the adventurous spirit of the avant-garde.