Beats News

Phonica Records is extremely proud to unveil the next release on its Special Editions imprint; the stunning debut album 'Vuduwave' by Niños Indigo.Niños Indigo is the alias of audiovisual artist Valeria Hernandez. Developed over the course of a month, the album was recorded in Hernandez's home country of Chile and recorded in a single week, resulting in a flowing, organic yet otherwordly listening experience. Valeria explains; 'This record is a compilation of influences that have been inside me a long time... they keep coming back; Afro drums, Hindu instruments, Candombe, Psychedelia in South America. The rhythm of what surrounds me; the lake, the forest near where I live, the calm that surrounds it, the love of my friends and daughter. All of these feelings are what I like to put in my songs, a reminder to value the simple, to seize the resources that I have and to try and free myself of what's on my mind.'Originally released on digital and cassette label Discos Cetaceos in 2014, it's a recording that truly deserves to be given a new lease of life on vinyl.

The visionary Turkish percussionist and the great South African bassist were introduced by Don Cherry in 1969, when Dyani moved to Sweden after the break-up of The Blue Notes. They worked together regularly over the next decade, starting out with Cherry in the Eternal Ethnic Music trio.'Another world,' recalls Temiz. 'At that time I was trying to learn as a big band jazz drummer, and when I met Don Cherry, I said, forget it. We played another kind of music. Indian music, Turkish music, Bulgarian, Chinese, you know... All kinds of music.' 'Every musician,' Dyani said later, 'should realize and acknowledge that folk music is the backbone of every music.'Recorded in Istanbul in 1976; originally released in an edition of one thousand copies only, on the Turkish label Yonca. The first side features Turkish material arranged by Temiz; the second, SA-oriented music put together by Dyani, opening with a stunning interpretation of Cherry's Marimba (Goddess Of Music).In a handsome gatefold sleeve, with excellent notes and previously unpublished photos.

With a career that spans over two decades Manchester DJ Andy Carthy aka Mr. Scruff needs little introduction. He is regularly cited as a source of inspiration for many of the world's up and coming artists through his eclectic approach to both DJing and creating music. We are proud to say Andy has always been a keen supporter of the output on Gondwana Records, so when we re-issued one of his favourite records The Swimmer by Phil France it seemed an appropriate time to ask for a couple of remixes. The results of which are two wonderfully unique dance floor friendly takes on the track, Joy of Brass.

As one-third of Yellow Magic Orchestra and an Academy Award-winning composer for his work on the soundtrack for The Last Emperor, synth pop innovator Ryuichi Sakamoto is among the most groundbreaking artists to have emerged since the late 70s. A musician's musician, Ryuichi Sakamoto has created intriguing musical unions with artists such as David Sylvian, Iggy Pop, Tony Williams, Bootsy Collins, Jaques Morelenbaum and many others.

Following the massively successful release of the electronic masterpiece async in 2017, Ryuichi Sakamoto's first studio album in eight years, Milan is proud to announce the remix compilation async remodels: a dozen remixes of async's tracks by a who's-who of experimental giants - everyone from Icelandic composer Jóhann Jóhannsson (Arrival, Sicario) to Oneohtrix Point Never (composer of Good Time) to Arca (producer of Björk's numerous releases) have gotten their hands dirty remixing Sakamoto's work. Even reworks by the Canadian synthpop duo Electric Youth and Austin-based synthwave legends S U R V I V E are included. With such a well of talent reinterpreting such a personal album, this is one release Sakamoto fans can't afford to miss.

Another compilation on SVS Records. This time, Cosmos #1.

"This release is individually 200 hand-numbered limited edition CASSETTE (100 PINK and 100 SMOKE TRANSPARENT) with a sort of 'greatest hits' of (almost) all Archeo releases (AR001-AR011) + an unreleased bonus track from Roberto Aglieri (Ticino parte 4 - Il merlo), celebrating 3 years of the label, from 2014 to 2017 - selected with love by Manu- Archeo (AR001C).

Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of predominantly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls."

On its return to the Kerridge's Contort label, Emanuele Porcinai's WSR project renders a dense, gut-wrenching session combining self-built string instruments and field recordings in a sort of shoegazing noise-techno stress test.
Chambers was written over the course of the last three years between Manchester, Florence and Berlin, and pursues the themes of structural decay and melancholic ambience from his Stainless debut into a more coruscating, haunting zone of hypnagogic sound design and textural expression.
Porcinai's self-built string instruments, guitar and field recordings are processed and layered with additional cello and double bass by Thomas Griffiths in a seamless movement of eight parts cleft
over two sides, giving ample room for the sometime techno artist to thoroughly, systematically draw out and exasperate his instrument's character in a way that recalls Colin Stetson beasting his sax as much as some sore as f*ck JK Flesh recording or his label mates, SØS Gunver Ryberg or Sam Kerridge, for that matter.
It feels like music purpose built for the transition of seasons and darker, longer nights where there's nowt to do but get your head stuck right in the jaws of a slab like this.

Belgium's Yves De Mey strikes clean and sharp with four modular rave prongs for Entr'acte leading a jagged dance after his recent 2nd album, Drawn With Shadow Pens for Spectrum Spools.
In De Mey's own words: 'Late-Night Patching is the result of a short test phase with modular software, mimicking traditional synth modules. A very basic 8-step sequencer setup was patched
and used to its full extent for all these tracks. There's something nostalgic about this EP, and not only in its recreation of vintage instruments. All four tracks allude to a rave past, a history of
repetitive and nervous patterns brought together in simple structures. And for some of us, it's the sound of staying home while others roam the streets at night.'
It stalks a fine line down the alleys of your mind, extruding gritted monotone rhythms until they evaporate fizzing metallic contrails, or knotting sticky electro patterns into recursive calligraphy
on the A-side, and running the dancehall/living room red with hunched, bogling grooves in the B-side pair of atonal stings.

For her third outing on the German label Jahmoni, Marcelle is as inventive and unpredictable as ever. The four tracks on the wittily titled 'PSALM TREE' EP go from wild techno to abstract dub, and all bear that undefinable 'Marcelle' touch of freedom and imagination, which sets the DJ/producer so apart from almost all of her younger peers. The ever-travelling Dutch lady, who was one of the highlights of this year's 'Nyege Nyege Music Festival' in Uganda, toys with musical styles and expectations, both live and in the studio, she has always deejayed more or less like a musician. This was amongst others recognised by Faust founder member Hans-Joachim Irmler, who between 2008 and 2014 released 4 Marcelle albums on his Klangbad label.

Opener 'TO EVACUATE IS DIFFICULT AND INFREQUENT' is a deranged techno stomper, bristling with crazy, desperate sounds. Only halfway during the track these voices make 'sense': the track deals with the problem of constipation, and offers near the end a possible solution. As a dubplate this track is heavily tested on the dancefloor and, eh, 'dropped' very well.

'TO REVEAL THE SECRET', an abstract dub work-out with an eerie feeling, samples the voice of one of her favourite actors, the late Philip Seymour Hoffman.

'WALKING AROUND AIMLESSLY', the longest track on the EP, is just as swinging as it is weird. The relaxed whistling over the treated sounds that drop in and out, make for a both happy and strange stroll into unknown territory.

'TO SING ALONG' combines heavy bass with an addictive synth melody and is a short, energetic closer of the EP, which once again shows Marcelle's instinct for both the dancefloor and the avant garde.

The record's curious title 'PSALM TREE' hints at Marcelle's love for palm trees, hot weather and reading books (although not necessarily religious texts, contradictions and odd combinations are never far away in Marcelle's work!) The artwork of the record is as colourful as on all her releases. On stage and on her records Marcelle transcends a sense of openness and a feeling of freedom, which has her described as 'totally enriching', 'a true ear opener', a real 'pioneer'.

collecting orders for repress ... !

First official vinyl reissue of original cassette 'Fondation - Le Vaisseau Blanc'.

Fantastic cosmic, space, ambient and experimental music from mysterious French duo Annanka Raghel and Ivan Coaquette (formerly of Spacecraft and Musica Elettronica Viva). Originally released in 1983 as a limited edition cassette of only 500 copies on Camouflage label; this ranks up there with anything by Ash Ra Tempel, Agitation Free, Heldon or Richard Pinhas. Incredibly evocative and highly recommended.
Historic moment - a lost piece of the puzzle of the wondrous french avant-garde. This official reissue comes in a double album gatefold sleeve with archives from Ivan Coaquette collages. Limited to 500 copies.

Bonus : comes also with an insert with trippy photo by France Annanka Raghel herself and brief description of Fondation band.

"EOD/CN forwarded this super fresh release to WeMe records in 2016 from meggablockx, a long-time friend of his based in miami. A side fresh timeless "IDM", B side electro synth jams" Limited Supplies!!

Alec Storey aka Second Storey präsentiert mit seinem zweiten Houndstooth-Album "Lucid Locations" eine erhabene Kollektion 10 bassgetriebener und akribischer Tracks, perfekt ausbalanciert zwischen Filigranität und Wildheit, irgendwo zwischen Bass, Electro, Techno, Ambient, D&B und psychedelischer IDM. CD und farbiges 180g Doppelvinyl (einmal gelbes, einmal schwarzes Vinyl).

Originally released on Pinch's Tectonic label in 2010, Jack Sparrow's Circadian' was regarded as one of Dubstep's more experimental albums. With acclaimed reviews from Mixmag (4/5) and Resident Advisor (4.5/5).
Navy Cut releases Shoal' & Dune' from Circadian via Tectonic for the first time on vinyl. The tracks have been remastered and treated to full sleeve artwork.
Navy Cut LTD001 is limited to 300 copies and introduces a new branch to the label offering limited vinyl releases from Jack Sparrow and Author.

Thank you for the support in 2017 and looking forward to a stacked schedule for Navy Cut in 2018!

Lyrics and vocals by artist and poet Leslie Winer, production by Bokeh Versions staple Jay Glass Dubs.

Rounding out a busy year, Livity Sound are proud to present a brand new four track EP of deadly club ready rhythms from Paris' finest, Simo Cell.

The industrial project of Oliver Ho and Tommy Gillard at its most subversive and evocative, with two preoccupations threaded throughout: Middle-Eastern percussion, most vivid in the chimes of Casting and the driving doumbek rhythms of Burning and The Sands; and the structural iteration of chaos, underlying a collage of wild left-turns, scornful of repetitive hooks and other musical routines. Early birds bag a 7' by Ho's Desert Burials, evoking classic punk/funk hybrids like Cabaret Voltaire.

The seventh EP on FireScope Records, the new sub label of the legendary B12 Records, welcomes Bauri (Martin Abrahamsson) a producer based in Malmö, Sweden. Bauri has been releasing tracks on labels such as Drumcode, Neo Ouija, Sloboda, Random Island and is known to cross various styles of electronic music. The EP entitled Vinkelvolten showcases Bauri's form of techno on a platform that; as promised; will diversify and show consistency. This EP takes us on a journey built around gorgeous sounds and crisp abstract beats to a place calmness and peace. Originally part of Bauri's 2nd album that never got released due to the slow down in the IDM scene; these tracks have matured like a fine wine for 12 years; and now are on a 12' released by B12.
'Warm Fuzzy Feeling' A stunning baseline wraps the listener up into a hypnotic loving hug while strings and beats take us on a journey of peace and calm.'Kirmumxyl' Abstract beats and voice like accompaniments conjure up images of a place of loneliness but calm; inspired by Swedish ambient artist Tupilaq.
'Vinkelvolten I' The title track - its again built around abstract sounding beats with a wonderful every present top line; disjointed in nature but creates a sense of calm that is ever present in this EP.'Amethyst' filled with shimmering melodies, again a soothing track that that creates a sense of green to this dynamic producer.
Finished in glorious green and grey marble vinyl with exclusive full colour artwork by the wonderful Catherine Prendergast AKA Cellar Door,

I received a phone call from BP Fallon the day before Henry McCullough's funeral. He was heart broken having lost his dear friend and asked if he could stay at mine after returning from the funeral.
When I picked him up from the train station he asked me if he returned early enough to record
something. I started working on the music that day, then I had an idea which was to record something
about Henry and their relationship. When BP returned that evening I sat him down in front of the microphone and this happened in one take! We both knew we captured a very special moment that couldn't have been created at any other moment -
magic. David Holmes 2016 To celebrate the 10th anniversary of Record Store Day we've created something very special. We have two fantastic remixes of 'Henry McCullough' by Andrew Weatherall packaged in our prettiest sleeve yet. The white vinyl has a unique gold and black colour splatter along with a Gold screen printed
reflective 'mirrorball' sleev

"Dance" war zum Zeitpunkt der Erstveröffentlichung 1981 Gary Numans fünftes Album. Mit diesem verließ er seine zwar geschätzten, aber künstlerisch dennoch ausgelatschten Synth-Pop-Pfade und öffnete sich für seine Verhältnisse experimentelleren, das heißt dezent jazzigen Einflüssen. Mit von der Partie war bei den Aufnahmen eine prominente Ansammlung internationaler Gaststars: Rob Dean, der Bassist und Saxophonist Mick Karn von Japan, Queen-Drummer Roger Taylor, der Keyboarder Roger Mason von der australischen Band Models sowie Nash the Slash aus Kanada. Ursprünglich erschien "Dance" als einfache Schallplatte, was bei 50 Minuten Laufzeit zu Lasten der Soundqualität ging. Deshalb wurden für die
Wiederveröffentlichung auf violettem Vinyl die neu gemasterten Songs auf zwei LPs verteilt. Abgerundet wird die Gatefold-Edition durch Singles, B-Seiten und noch unveröffentlichte Outtakes.

Humans by Berlin based and Salon des Amateurs long term resident Philipp Otterbach is a deeply cinematic trip, wandering through a realm of voices, mechanic beats and slowly pulsating, desolated synthscapes. Humans is the first release on the new Tour Messier label, exploring the deeper spaces and outer regions of electronics, ambient and electro. Stepping away from the dancefloor Tour Messier is intended for personal listening, being connected to an intangible and endless universe through music.

Two spontaneous recordings made by Mystic Jungle and Rico Milord during an hot midsummer night at West Hill Studio (Camaldoli, Naples). Lo-fi reverbered analog cheap drums, fm synthesizer, electric bass and lazy guitar movements amplified in a vintage space echo.

With a new single just released ("Roadside"), accompanied by a groovy video, and a "Greatest Hits" album in the pipeline, it is time to look at Torpedo Boyz from a new perspective.

After more than 10 years in the business, four acclaimed albums in the discography ("Headache Music", "Cum On Feel The Boyz", "Return Of The Ausländers" and "Don't Cry") a collection of "Greatest Hits" will be released in October 2017 featuring all time classics and never out of fashion tunes like "Gimme A Bassline", "Ich Bin Ausländer (Leider Zum Glück)" or "The Disco Song".

Right in time for this release Légère Recordings asked Boca 45, their favourite 7inch DJ and remix expert, to deliver his versions of the Torpedo Boyz favourites "Any Trash, Professor Abacus" and "Are You Talking To Me". The Boca 45 remixes will now be released on two different 45s, including the original versions on the flipside.

From the depths of the dark net come Telkhin, the latest addition to the Shipwrec roster. Following Earth Being Recycled on Detroit Underground, the Argentine project are debuting on vinyl with five tracks of off-world electronics. The chilling atmospherics of "Body Container" meet the needle before an electro iciness takes hold. Spiking snares and echoed radiowaves orbit the moody "Walk In", that same frosted futurism central to "Level Above Human". Telkhin melts man and machine, giving the computer age a humanoid form. Processors whirr in the bassy bleeps and residues of "Brithomber" before the final statement. Leaving the human world behind "Flight 19" is a fast and future funk driven piece of 2050 music. Forget the past, embrace the next step. Limited run of 150 coloured copies.

Dys Functional Electronic Music is a compilation release from Repitch Recordings, celebrating the label's first five years. Its ambivalent title aims to represent the sonic behaviour of its content, often deviating from norms or distancing itself from common club functionalism. For this release, the 3 REPITCH masterminds Ascion, D. Carbone and Shapednoise are joined by a selection of the artists who contributed shaping the Repitch sound throughout the years, along with guests that inspired them in this adventure. During the past 5 years the main focus of the label was to set up a platform for experimentations across the dancefloor canon, establishing a standout musical identity. A spirit that resonates within each artist's personal approach: from Ascion's dark breakbeats to The Exaltics and AnD's acid frontalism, Shapednoise's brooding noise, Sote's fractured rave, D. Carbone and Gaja's intrusions into melody, Pinch and the Zenker Brothers' dub-infused atmospherics, Skudge's love of gloom and Nuel's IDM-ish minimalism.

Conceived as a kind of sequel to 2012's Sleep Games, there's an epic sensibility to Stasis. The haunted concrete caverns of the earlier album give way here, to vast, awe inspiring spaces. The album has a strong narrative flow that can be read either as the soundtrack for an interplanetary voyage under suspended animation, or the exploration of vast inner realms under some other form of technologically enhanced sleep.

Martin Jenkins' unique production sound is unmistakable: Carpenter-esque slow kosmiche disco and ambience, woozy synth melodies and somnambulistic grooves with soft, rich textures.

Dalmata Daniel continue with their inspired pairing of sonics and personalities on their seventh release (1st part of their split series) to date courtesy of Dutch producer Betonkust and Budapest-based hardware techno fiend Új Bála.As much as both differ in their geographical roots - Holland and Hungary, respectively, at first glance (or listen), their sound also ventures into different sonic territories.1080p and Pinkman-affiliate Betonkust delivers vintage-tinged electronics - most prominently on his 'Ferenc's Escape' - while Új Bála digs deeper into the basement and unravels his analogue acid and badass beats. His 'The Piggy-Bank Deal' even touches upon oriental flavours. On the other hand, the music on this EP is buoyant and joyful, a welcome antidote to the gloom and doom that's not only been prevalent in the world around us, but also in too much music of the last few years.(Palmovka)

Leeds-based post-metal six-piece Hundred Year Old Man follow up their stunning debut single Black Fire with Rei, a three track EP, released via Gizeh Records and Wolves & Vibrancy on January 26th.

Pushing even further into the abyss, this new work opens with Sun & Moon and a monstrous slab of heaving guitars fall out of the atmospheric beginnings. Paul Broughton's vocal erupts and the track explodes into life, destroying everything in its path until the shadows return to close, leading the way into an interlude that corrodes and drifts before joining these two monolithic pieces together. The title track demonstrates the staggering ambition that Hundred Year Old Man posses. Ripping into a cathartic sludge reminiscent of Neurosis at their best, it's a towering, immersive, nine minute journey that refuses to loosen its grip until the dying moments.
Rei is released as a limited 12' vinyl with an etched b-side in an edition of 300. With a debut album due for release in 2018, this EP is the perfect offering to stoke the fires for a full-length whilst comfortably holding its own as a stand-alone piece of work.

Introducing a new label, with a direction, we proudly present Dispatch Blueprints, with the debut release coming from one of our favourite artists; Kid Drama.

Taking a deeper, more old skool inspired route, Blueprints sets itself apart from the other Dispatch labels, with a stronger emphasis on organic progression and building the vibe from scratch, savouring all the intricacies and adjustments along the way.

We've always been lovers of the roots / heritage sound that so many artists and labels have inspired us with until today so we're feeling privileged in being able to showcase this sound via our new imprint.

Reaching out to the discerning listeners, with an ethos all too often lost in the impatient modern day; Kid Drama pays his due respects, opening Dispatch Blueprints in the best possible way, with two classic tracks with all the emotion of the late 90s.

Black vinyl, White Sleeve

Beautiful ambient journeys by S.A.M. Limited Edition.

Sam de la Rosa, best known under the alias Samuel Kklovenhoof of the band Led Er Est and with Karen Sharkey of The Coombe, is back on Mannequin Records for a stunning 4-tracks electro-wave-experimental release.Texas born but strongly connected with the New York cold wave and disco scene from mid 2000, and the Wierd Records family, Sam's music is a clever mix of post punk, electronic hybrids, experimental pop and catchy melodies.Additional mix by Michael Stein from S U R V I V E, already debuting on Mannequin Records back in 2011, before to get worldwide known for the Netflix's 'Stranger Things' soundtrack.

2 tracks from the post-MA sessions. More music for blind observers.. Limited stamped 10"

Breakbeat Paradise Recordings is back with another big vinyl release from the amazing producer due Lack Jemmon, which consists of DJ Clairvo and Kid Panel, who are both well-established producers, DJs and label owners on their own. Together they are an explosive cocktailed of big funky grooves, filthy glitcy basslines and banging beats!

Lack Jemmon has been around for a couple of years and quickly signed up with the successful ghetto funk label Scour Records where they have dropped a few tunes and remixes. When the boys reached out to us and said they had 4 bangers they wanted to drop on vinyl we didn't hesitate to say Hell Yeah!

The self-titled EP showcases their style of heavy breaks and funky basslines perfectly across the 4 bangers that are tried and tested for complete dancefloor destruction.

You can always count on BBP for your doze of party rocking beats - and for keeping the vinyl alive...

Row row row your boat gently up the stream, Nyra back on the oars for Canoe 005, heave-ho.

presents a special collaboration EP from production duo Revaux and solo artist Melinki. While Melinki has been making the rounds on for some time, Revaux are relatively new to fray, and the results of the Totem EP speak volumes.

* Melinki & Revaux 'Totem' Jumping right in, this clever banger has a slick drum arrangement and sputtering synths. Spilling into the second drop, tension builds with funky edits and a shower of percussion.

* Melinki feat. Ozone 'Unorthodox' This MC driven track from Melinki hits hard with a solid kick snare combo and a deathly bass howl with Ozone letting his drum and bass lyricism flow over the beat.

* Revaux "Overpass" For Revaux's solo bit off the EP they mesh the pretty with the dark. With rolling pads, pianos and vibey FX you'll discover a solid roller that offers pure energy alongside musicality.

* Revaux & Melinki 'Swordplay' Closing out the EP, Revaux & Melinki provide a driving and moody scorcher bursting with plucked synths.The track twists and turns, truly capturing those addictive and pure drum & bass vibes.

* Totem EP will be released on a double 12' vinyl on 06.10.17

* Press / Promotion: In house campaign from A R Records. Editorial sought in all UK music and dance titles (Mixmag, DJ Mag, Trap Magazine, RWD Magazine) as well as national and regional daily and weekly press titles for review.
Full P R campaign with Cygnus.

Targeted facebook advertising with graphics to accompany both tracks.

* 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, reinforcing Integral's place at the round table of bass.

* A perfect teaser for what's to follow, the Album Sampler will drop this November featuring two stunning tracks. First up, '1000 Souls' comes courtesty of A.I. - tones of the deep, lush and soulful set the sultriest of grooves. Beautifully moody keys entice, chill and soothe. On the flip, 'Defiance' from Mohican Sun follows suit. With a gritty percussive edge, haunting melodies and a desperately emotional vocal to boot, this music will draw you all into the most mesmerising of dancefloor spells.

* Mark November 24 as the official release of the TEN YEARS OF INTEGRAL Album Sampler across all formats. Bag your limited vinyl copy now.

Hailing from a H Class planet far across the cosmic highways, BÊNNÍ is "hi NRG New Age" music. A pivotal member of bands Wizzard Sleeve/Gary Wrong Group, Heavy Lids, Roman Gabriel Todd's BRUOOTS, 9th Ward Marching Band, and many more, BÊNNÍ was born from his personal need of new music to listen to while driving his spacecraft long distances.

Tired of listening to Van Halen's "5150" and Zebra's self-titled album on his journeys, he began creating sci-fi landscapes and ethereal soundtracks of his own. Often at times primitive, BÊNNÍ's music can go from Vangelis, to John Carpenter, to 80s dungeon electro band into vintage arcade game circuitry with the blink of an eye. With his first LP release, BÊNNÍ will be embarking on a Euro/Scandinavian tour in August.
New Orleans' enigmatic Quintron weighs in:
"The thing to me that has always kinda set the Memphis / New Orleans punk scenes apart from other places is that music and musicianship always outweighs high concept or the typical sneering "fuck you" attitude of other places. BÊNNÍ is a Musician with a capital M and it's no accident that within a year of his coming to New Orleans (from less than an hour up the Gulf), he began to influence the local landscape as much as any of us who had been here and doing it for decades. BÊNNÍ is special, especially for a young dude. He NEVER overplays, he always listens, he's funky as a church lady, and his memory for parts and complicated song structure is unmatched in anyone I have ever worked with....plus he's chill as fuck. There is a reason that he is in almost every good band in the entire city right now. So yea...if any of you Memphis bitches get funny ideas about stealing him away from us, there will be a straight up lazy drunken army riding up the river to forcibly take him back."

Growing up in the bustling port city of Busan and running his own record shop there from the late '70s, Kim Byoung Duk had a front-row seat to the finest in foreign record imports and a taste for the psychedelic that naturally evolved into spiritual, ambient and avant-garde sounds. His growing interest in Tao philosophy and the meditative music that accompanied it provided a fertile environment for his audio imagination. Unhampered by limited access to musical gear, he made use of a wide assortment of self-
sourced pots of various sizes and curvature, cymbals, wooden sculpted flutes and percussion tools—each chosen for its unique harmonic vibration—to create an entirely new and unique body of work.

Experiment No. X retraces the oeuvre of Kim Byoung Duk, assembling tracks from Experiment No. 2, Pot Concerto and New Trilogy, illustrating a meditative journey from the freeness of the Tao sound, in the borders of ambient music and the avant-garde, to later groove-oriented jams which introduce rhythmic elements to the palate.

This fully licensed release is the first collection of Kim Byoung Duk',s music, remastered from the original tapes and including for the first time on vinyl songs from the very scarce CD New Morning. Includes four-page booklet with photographs and an interview from Kim',s personal archives.

All Music by Kim Byoung Duk.
A Meditative Morning, brought by Another Planet Publishing.
Daehan Electronics, 2017

NickBee, or Nikolai Bogomolov to his friends, has been the staple diet of discerning drum & bass fans the world over for some time now. Having already released a steady stream of deep, dark and disturbingly good tracks, this Ukrainian producer is ready to show just why the likes of Ed Rush & Optical, The Upbeats and Invisible label owners Noisia have been jumping on his sound.

REPRESSED !!

Bordello A Parigi has just returned from a fruitful expedition to Russia to secure a four tracker from St Petersburg synthesizer playboy Kito Jempere. Super Sax Sounds is a rich and varied expression from an artist who has explored a spread of sounds during his career. The A-Side is the product of one diverse machine, the Yamaha QY-70. 'Bueller's Dance' gets the show on the road with latin showband flare. The opener brims with cruising notes, crisp claps and smooth bass; a track guaranteed to put a smile on any face. Moods change with the tear stained chords of 'Space Commercial', a superbly subtle work of joy and heartbreak. A colder wind permeates the flip as a cinematic and sinister element enters. Toms and snares support the descending bars of 'Atmosphere', a track where tropical dreams cloud into despair. Those dreams are purged by 'Tomohawk', a dark prowler who stalks with a maniacal glint and menacing intent. An audio feast care of Kito Jempere.

This album has its origins 17 yeas ago in early 2000, before Chain Reaction released the legendary Ship-Scope 12'. Three of the tracks here are taken from an acetate cut at Dubplates & Mastering at that time but which wouldn't see the light of day until now, including another batch of tracks taken from original masters. Only 5 copies of that acetate were ever made so this is the first time any of these tracks are available for public consumption and, for our money, rank among the finest and
most distinctive in either the Chain Reaction or Shinichi Atobe's vaults.

The material is effectively some of the Japanese producer's earliest work, showcasing the sort of tender, feminine pressure that would bubble up on the Ship-Scope EP and later be revealed in his new productions, Butterfly Effect and World yet, for many reasons, they would lay sunk in his archive for the next 17 years.
The tracks taken from that acetate are labelled First Plate 1-3 and really are quite remarkable, having taken on so much character and added weight over the years that the incidental crackle
of surface noise imbues proceedings with an added dimension that's hard to fathom. It basically sounds like a lost transmission making its way from Paul-Lincke-Ufer at the turn of the millennium
to a new, completely changed world all these years later.
The patina of crackle lends a mist-on-bare skin feeling akin to summer garden parties at Berghain in the stepping First Plate 1, and gives a foggier sort of depth perception to the hydraulic,
Maurizian heft of First Plate 2, but it's the submerged euphoria of First Plate 3 that hits the hardest; a heady, bittersweet reminder of days gone by.The other four tracks are crisply transferred from master tapes, relinquishing a sublime, impossible to categorise House variant that recalls everything from DJ Sprinkles to Ron Trent, yet with that weird, timeless production tick that by now has become something of a signature for this most distinctive and hard to categorise producer.

Boomkat Editions is humbled to offer the first ever vinyl edition of Spellwauerynsherde, a masterpiece from LA-based artist Akira Rabelais. It comprises a suite of seven medieval choral pieces which have been sublimated and recomposed via Rabelais' self-built Argeïphontes Lyre software. The results arguably stand as one of the 21st century's greatest musical enigmas and could be said to presage contemporary obsessions with
processed vocals in a deeply uncanny manner, enduring to resonate with up-to-the-moment music as much as the record's distant roots in the seminal works of 12th century German mystic and composer Hildegard von Bingen, and the writings of John Milton, among others.
Spellwauerynsherde has always been crying out for a vinyl issue and Rabelais has done the piece proud with this sensitive new version allowing its seven parts to gently flow in sequence over both sides, with the added shroud of vinyl infidelity lending a beautifully subtle patina of detachment which perhaps only serves to heighten the paradoxical - both temporal, spatial and timbral - nature of the record's ethereal vestibules and elusive,
illusory sonic spectres.
In remodelling these ancient works of art, Rabelais performs a sort of hypermodern animism on ostensibly dead musical material - dead as in hardly anyone knows or plays them in the modern age - imbuing them with a contemporary relevance through the
process of his bespoke software (which is freely available to download) which serves to faithfully render, open-up new dimensions and plasmic aspects from work which is now
nearly a millennia old - so old you can't even call it classical music!
For us at the least, Spellwauerynsherde has pretty much set a benchmark for experiments with ancient composition and computer music - each immersion in this vinyl is akin to floating thru the mists of time and sends shivers down our spine just even thinking or writing about it, never mind listening.
We practically guarantee that Spellwauerynsherde is one of the most magickal, perplexing and strangely life-giving records that you'll ever hear.

Having made his debut on Throne of Blood as a contributor to Moon Rock Volume 4, Cass. returns to the label with a blissed out 12' that builds upon the low-slung atmospheres of his recent output on Emotional Response and International Feel (in collaboration with Jan Schulte) to create a heady and modern sound influenced by both Balearic and 80's pop sonics without every losing sight of the dance. The a-side 'Red Atlantic' pairs a steady 4/4 kick with circular melodies, dreamy pads, and melancholic vocals before Cass. injects a post-punk bassline to beautiful effect. Autarkic (Disco Halal, Golf Channel) emphasizes the disco punk elements, twisting 'Red Atlantic' into a dancefloor bomb with a looping take on the bassline, an insistent horn motif and a much more off-kilter atmosphere. On the flip, 'The Voynich Manuscript' feels much closer to the best moments on Youth Sessions, Cass.'s brilliant full length on Emotional Response, slowing the tempo and pairing another pulsing live bassline with a narcotic melodic line built from woozy, pitch-shifted tones. It's both glisteningly pretty and tripped-out. Longtime friend and label contributor Cosmo Vitelli drags 'The Voynich Manuscript' back into dancefloor territory, upping the tempo and toughening the lushness of the original into an insistent late night chugger that's been doing the business on dancefloors for a couple months now.

Like a message in a bottle, carried round by the ocean streams for decades, Henrik Rylander's album 'Fran En Obestamd Plats I Rummet' has floated around in the space of Swedish underground music. Hoga Nord pulls the cork and unfolds the message that is a piece of music that was ahead of its time, sounding 'now' 20 years after its first release in the late nineties. This album is a well-kept secret even for the most initiated music lovers in Sweden! The music, influenced by Flying Saucer Attack and other reverb/distortion drenched acts from the early nineties, Harmonia and some of Kraftwerks earlier works and minimalism, still sounds fresh!

Rylander, a member of legendary acts such as Union Carbide Productions and The Skull Defekts, has been pushing the envelope for electronic music, varying between ambient and noise. Rylander's solo works could be described as sophisticated music and 'Fran En Obestamd Plats I Rummet' combines the sophisticated sides with his band oriented works that holds another kind of tension.

This record is the first release on the sub label 'Hoga Nord Arkiv' on which releases from the past, that hasn't got as much attention they deserve gets re-released in an appropriate context.

Over two decades past his Source Records 'tubed' appearance, Alex cortex is back at it with a full length portraying electronica range as he knows how. This time trough Malmo based imprint blundar and it's #mutantexture arrays.

Mary Anne Hobbs has been waxing lyrical about this sophomore collaborative set from Arovane and Hior Chronik, and it's easy to see why. The album's genius lies in the duo's atmospheric combination of crackling field recordings, lucid electronic instrumentation, and the melancholic poignancy of classic piano motifs. While they're naturally more at home delivering atmospheric, slowly unfurling ambient pieces - and there are plenty scattered across the album - the production pair's more up-tempo efforts are generally equally as impressive. Tracks such as "Lightbeams", 'Perpetum II" and "Eines Klein Lied", where their beautiful music is underpinned by bustling and bubbly machine percussion, are particularly impressiv

After a first track at the breaknoize frontier comes a Hip Hop instrumental that really brings a solid envy of rap... last tune of the side in more an electronica industrial grinder. B side starts breakbeat electronica : dancefloor distortion ! Next comes The Plongeur and its noisy electro weirdness... The mini album finishes with a dubby electronica irie sound. Killer !

One for the Deejays! After a previous collaboration for FT's Vibe 3 compilation, Dawit Eklund (of the outstanding 1432R crew) and Max D (in Dolo Percussion mode) join forces for a proper 12" and come catchy, concrete, and correct. "Rise" rotates around and around, Dawit flexing on vocals and earworm keys while Dolo locks in, and "Wise" goes more for the jugular, wild organs and swinging perc over hooky vox and presssssure. OOF!

(en) The record will be released in a limited edition of 500 numbered copies. For each 100 copies the silk-screen printed cover will change its colour.
F.S.K. (Freiwillige Selbstkontrolle) is an art school band from Munich that formed in 1980 in the editorial office of the underground magazine Mode & Verzweiflung and issued disturbing slogans of a new dissidence like: Wir sagen Ja zur modernen Welt (we say yes to the modern world) and Heute Disco, morgen Umsturz, u¨bermorgen Landpartie (disco today, coup tomorrow, a country outing the day after). The Italian Futurists' idea to flood Venice was joyfully appealing to them so they made the serious demand to convert theaters into parking garages (Theater zu Parkha¨usern). The futuristic development of so- called noisemakers (a productive modification of the sounds of industrialized cities as well as the completely new war machines of World War I) carried a key moment of deviant pop music into its emerging discourse: clipping, distortion, Bring the Noise.
The hedonistic partisanship of the band F.S.K. particularly affected its eclectic zigzags (from post punk to rhythm & blues, country & western to techno soul) and morphed into yet another new, postmodern shape in the 1980s in England (where John Peel was a prominent promoter of F.S.K.) and in the 1990s in the US, where their music faced the transatlantic feedback of the songs of American occupying forces. Back in Germany their music took on more abstract forms that were described as Cubist with the last album Akt, eine Treppe hinabsteigend (nude descending a staircase): aesthetic lines that move from Luigi Russolo and Iannis Xenakis, Sun Ra and Larry Heard to the glitches of the latest bass music. In the traditional lineup of a rock and roll band, today F.S.K. musically executes all of these threads.
Their piece Ein Haufen Scheiß und ein zertru¨mmertes Klavier (a pile of crap and a shattered piano) developed for Berlin's Haus der Kulturen der Welt (HKW) explores productive axes between destruction and deconstruction (paying tribute to Luigi Russolo).
(de) Die Schallplatte wird in einer limitierten Auflage von 500 nummerierten Exemplaren veröffentlicht. Die Farben des im Siebdruckverfahren hergestellten Covers wechseln alle 100 Exemplare ihre Farbe.
F.S.K. (Freiwillige Selbstkontrolle) ist eine Art School Band aus München, die 1980 in der Redaktion des Underground Magazins Mode & Verzweiflung zusammenkam und verstörende Losungen einer neuen Dissidenz ausgab wie: Wir sagen Ja zur modernen Welt, oder: Heute Disco, morgen Umsturz, übermorgen Landpartie. Die Idee der italienischen Futuristen, Venedig zu fluten, fand bei ihnen fröhlichen Anklang. Und also erhoben sie die seriöse Forderung, Theater zu Parkhäusern umzuwandeln. Die futuristische Entwicklung sogenannter Lärmtöner (in produktiver Abwandlung der Geräusche der industrialisierten Großstädte, aber auch der völlig neuartigen Kriegsmaschinen des Ersten Weltkriegs) trug ein zentrales Moment der abweichenden Popmusik in deren aufkommenden Diskurs: die Übersteuerung, die Verzerrung, Bring the Noise.
Das hedonistische Partisanentum der Band F.S.K. wirkte sich besonders in ihrem eklektischen Hakenschlagen aus (Postpunk to Rhythm & Blues, Country & Western to Techno Soul) und fand in den 1980er Jahren in England ... sowie in den 1990ern in den USA, wo ihre Musik im transatlantischen Feedback der G.I. Songs US-amerikanischer Besatzungssoldaten stand, zu einer abermals neuen, postmodernen Fasson.
Zurück in Deutschland, nahm ihre Musik abstraktere Formen an, die sich mit dem aktuellen Album Akt, eine Treppe hinabsteigend, als kubistisch bezeichnen ließen: Ästhetische Linien, die über Luigi Russolo und Iannis Xenakis, Sun Ra und Larry Heard zu den Glitches aktueller Bass Music führen. In der klassischen Besetzung einer Rock and Roll Band setzen F.S.K. heute all diese Threads musikalisch um.
Die Band besteht nach wie vor aus den vier Gründungsmitgliedern Justin Hoffmann, Thomas Meinecke, Michaela Melián und Wilfried Petzi, Carl Oesterhelt kam 1991 dazu.
Ihr für das Haus der Kulturen der Welt entwickeltes Stück Ein Haufen Scheiß und ein zertrümmertes Klavier lotet dabei (in einer Hommage an Luigi Russolo) produktive Scharniere zwischen Destruktion und Dekonstruktion aus.

Flanger is back! After 10 years, Atom™ and Burnt Friedman have composed and produced their fifth long player:

Noplace is an improvised collaboration between Aidan Baker (Nadja / Caudal / B/B/S/), Simon Goff (Molecular, Bee & Flower) and Thor Harris (Swans, Shearwater, Thor & Friends).
Having known each other for a number of years and previously contributed to one another's recordings this trio finally came together as a whole on May 7th 2017 at Redrum Studios in Berlin. In a short, improvised session of just a few hours they set about laying down as much material as possible which was then subsequently edited and re-worked (without overdubs) to form this album.
The same evening the trio played together as part of a 9-piece Thor & Friends ensemble which also included Christopher Hefner (on musical saw) whose artwork graces the cover of the record and gave it its name.
Noplace is a hypnotic and deep listen. Kinetic rhythms pulsate throughout whilst the guitar and violin jostle and weave around the metronomic beats, creating a cathartic and all-encompassing experience. The very nature of the instrumental repetitions give it an immediate avant/krautrock feel but the whole record is coated in a wonderful psychedelic atmosphere that's both melodic, textured and innovative.
Without doubt a perfect marriage and the sum of its parts. You would be forgiven for thinking Noplace took years to craft but that's testament to three excellent musicians who have produced a real treat of a record. Broken down into seven pieces but very much best enjoyed as a thrilling whole, Noplace is a powerful and highly addictive album.

Brexit Jazz (the never ending story). A full spectrum Compost release from House to Hooligan-Jazz, Downbeat, Disco to Freestyle. Brexit Jazz are Roberto Di Gioia (Marsmobil / Web Web), Jan Krause (Beanfield) and Michael Reinboth (head of Compost).

C.O.W. ist ein Deutsch-Chinesisches elektronisches Produzentenkollektiv und Kunstprojekt. Mit der Vision neu und frisch zu sein haben sich C.O.W. im Dezember 2015 gegründet. Die vier erfahrenen Produzenten aus Deutschland und China entschließen sich dazu ihre Identitäten zu Gunsten der Kunstfigur C.O.W. aufzulösen. Mit der Gründung von C.O.W. verlieren sie sich der multimedialen Welt des Internet. Verschmelzen im Digitalen. Erzeugen eine neue Wirklichkeit.

Sie produzieren und spielen insbesondere instrumental-elektronische Musik, die von jazzigen Interludes bis hin zu no-brainer-beats das volle Repertoire ausschöpft. Die musikalische Verwirklichung von C.O.W. spiegelt sich auch in ihrem prägnanten visuellen Konzept wider. Um ihre Anonymität zu wahren treten die Künstler hinter 8-bit Pixelmasken auf. Ihre selbst-kreierten Visuals untermalen dabei das digitale Konzept des Kollektivs. Die Persona von C.O.W. kommt vor allem durch die Kombination des Optischen und der Musik voll zur Geltung.

Gewagt, extravagant und frech schaffen sich die Künstler somit ein eigenes Genre. C.O.W. sind schwer zu platzieren: Wenn man muss, kann man sie neben Flying Lotus und Hudson Mohawke ins Regal stellen. Wir allerdings empfehlen einen gesonderten Platz für besondere Kunst und geile Musik!
$hanghai Mone¥
Mit - $hanghai Mone¥ veröffentlichen C.O.W. die langerwartete Fortsetzung ihrer ersten erfolgreichen C.O.W. EP. Während sie Ihrem einzigartigen Stil treu bleiben, zeigen die Produzenten mit $hanghai Mone¥ eine funkigere wenngleich dunklere Seite ihrer Kunst. Die Bässe sind betont schwerer und länger und das gesamte Setup theatralischer. Der Hörer wird perfekt auf den Herbst vorbereitet. Mit der neuen EP veröffentlichen Sie auch ihre erste Vinyl, die die beiden EP's beinhaltet und so die Vielseitigkeit von C.O.W. zeigt - von Frontcover zu Frontcover.

Pressestimmen
- Sie sind das größte Musik-Mysterium seit Daft Punk und den Gorillaz: C.O.W. . Wer hinter dem Quartett steckt Offiziell bekannt ist nur, dass sie aus Peking und Berlin kommen sollen. Das ist aber eigentlich auch gar nicht wichtig, denn die Musik spricht für sich: Ein bisschen Trap, ein paar Vocals, die durch den Autotune gejagt wurden und sehr viel Elektro.
Bayrischer Rundfunk/PULS // Mixtape-Rezension (Online)

- Ihr Future-Bass-Trap-Amalgam ist dabei eines der Ausrufezeichen dieses Abends. Beweise für die Verschwörungstheoretiker-Hypothese, dass Daft Punk und Justice sich dahinter verbergen könnten, ließen sich aber auch während dieses selten Liveauftritts des Kollektivs nicht ausfindig machen. Ob es C.O.W. 2017 gehen wird wie Banksy oder Elena Ferrante Um diese Gruppe wird man in den nächsten Monaten jedenfalls nicht herumkommen.'
Süddeutsche Zeitung // Puls Festival 2016 (Print & Online)
- Originally a German-Chinese musical project, the quartet better-known as C.O.W. developed to a holistic artistic persona looking for company in a local Asian grocery store wearing nothing less than a drag-cow-costume. they make energy-infused beats with strong jazzy intros followed by drops that are super attractive to dancers and music-lovers alike'
ixdaily (Kanada)
- Ein neues Musikkollektiv namens C.O.W. macht die Runde. Angeblich eine Beijing-Berlin-Connection, alles ein bisschen ominös. Was man weiß: vier Leute aus verschiedenen Ländern, alles bekannte Beatmacher.
Bayrischer Rundfunk/PULS // Band Der Woche (Online)
- À mi-chemin entre Flying Lotus, et Hudson Mohawke, à mi-chemin entre la la Chine et l'Allemagne, le collectif de producteur et DJs C.O.W. , se présente comme une grosse Weißwürste électronique copieu- sement arrosé de sauce soja et de húqín.'
- Darauf treffen Futurebeats auf Einflüsse aus Jazz und TripHop. Hinter C.O.W. stecken vier Beat- Produzenten aus China und Deutschland, die anonym bleiben wollen. Angeblich haben sie sich auf
einem Opernbalkon kennengelernt.'

The new Carlton Melton album Mind Minerals' will be released on February 2nd 2018.
This will be their first full length release since 2015's widely lauded Out To Sea' double opus, itself a languid drifting of drones and psychedically enhanced riffmongering. Sure, there's been some long EP releases since.. Hidden Lights in 2017 (featuring the immeasurable drone sike float on Rememory') and Aground in 2016 (a companion, the Desert Island weather beaten psych-flow follow up to Out To Sea), now its time to soak up.. Mind Minerals.
Mind Minerals finds Carlton Melton in fine fettle, all the songs were recorded and engineered at El Studio in San Francisco by Phil Manley on September 3rd and 4th 2016 (except 'untimely' - recorded at the Dome by Brian McDougall), the studio setting suits them -- a logical progression from a weekend's recording out at the Dome.
Under Manley's watchful ear/eye, Carlton Melton have created a futurescape soundtrack.., a 3001 Space Odyssey'. The drums are more pounding and direct than before, the constantly re-assuring bass creates a helping hand to propel you through the clouds of static and shards of electrifying guitar dazzling your horizon. Synths help soothe the sharp edges and lull you into some out of body experience whilst and orchestrated calamitous scree pulls you back.... This is a breathless, yet deep breathing album. It demands full immersion..

Searing guitar piercing the drone with relentless power, the core trio of Carlton Melton, Andy Duvall (drums/guitar), Clint Golden (bass guitar), and Rich Millman ( guitar/synth), have some alchemical bond that's helped them create a post -rock / psychedelic / freeform organic slab of American Primitivism / space drift , this is unashamed head-music from the melting pot of Northern California.. 5 decades ago this album would have been released on the ESP Disk Label or even Apple.. there would have been no helter skelter if the desert Hippies had locked onto these vibes, plug in, turn on, tune out..float free.. Carlton Melton can provide your own aural microdose to reset your Mind / Psyche!!

Tadd Mullinix's Charles Manier project returns with a third double-LP, Luxus Steroid Abamita, an edict of nine new amorphous transmissions and clustered, clangorous, hemi-synthetic funk. This is experimental machine music: it's inspired by the fringes of dance, but skirts petrified arpeggios and other stock Wave and Technopop emblems. Its spirit elicits Sheffield Post-Punk and Düsseldorfer NDW desiderata, but exploits are crisp, psychedelic, and expansive. Lyrics come as laconic Dada, sociopolitical impressions—in counterpoint to concrète tape smears, echoing guitar deluges, and entrenched in ever-shifting grime. A wide spectrum of density is proffered. Atmospheric zones are submerged, modulating knells. When tempos increase, sample & hold mutations make synthesizers sputter and writhe. The title track and opus, Yopo (Calcium Tree)' carry this with heavy pulses—storming like locomotives.

First release from mystical new label Hard Fist. Cosmic vibes.

Warehouse find !

first come first serve

This is a THIRTEEN MINUTE track split over two sides and as such will be our VERY FIRST 10" SINGLE and the first time we have deviated from our 7" single format.

One of the pioneers of musique concrète and electronic tape manipulation, 'Prélude Au Sommeil' is Perrey's debut recording but shows a composer already at maturity. Originally released at the end of the fifties, as a private press under the fake institutional name "Institut Dormiphone", it consisted of 2 side-long tracks played on the Ondioline (a vacuum-tube based, spring-loaded electronic instrument). The music contained in this mysterious vinyl is like something between dreamy church organ hymns and the keyboard-based minimalism that Philip Glass and Terry Riley developed a decade later. It was intended as sleep-inducing and tranquilizing for use in mental hospitals. It is unclear if the copies pressed actually had been distributed to mental hospitals or if the whole story was just a fantastical joke on the part of Mr. Perrey. Essential.

Boomkat Product Review:

Entr'acte play host to the return of Michael Anacker's semi-mythical industrial unit Kallabris with this collection of pop' songs riffing on the decadent 19th century poetry of Swinburne, but adapted to avant electronic backdrops and beats.

Comparable in Entr'acte aesthetic to Dale Cornish's warped vocal processing and kerned rhythms, or the fusion of spoken word with jagged electronics in Transistor's The Horde, the results found on Plays and Sings For Money plumb most curious niches of expression, finding a place for Swinburne's transgressive themes in the modern day.

It ultimately sounds like Jhonn Balance and Sleazy in a proper, slippery afterhours Coil session.

Mhysa is in possession of a totally compelling voice and production style, both feeding into a sound that's prone to intuitively explore and reassert the limits of what we know as R&B, electronica or modern soul in 2017.
She makes a big impression with fantasii, her first album proper following dispatches with NON and a lauded mixtape alongside chukwumaa as SCRAAATCH. Think Klein's freeform R&B structures riddled with Rabit-like production tics, and you're in grasping distance of the fractious but idiosyncratically coherent styes inhabited by this highly intriguing addition to the vanguard of new music from the fertile margins of American music.
Against a refreshing general lack of broken glass or gunshot samples, the self-described 'Black queer femme cultural producer, sound designer, womanist + Diva' animates swirling, impossibly balanced structures with a tearaway imagination, keening from vaulted, pitch-shifting gospel in Special Needs Intro to a multi-dimensional, abstract grime cover of Prince in the course of 11 songs.
The Klein comparisons are apt, the pair share a unique perception of R&B and church musics as a gateway to other, dreamlike dimensions. From the way Mhysa appropriates the ecclesiastic psychedelia of physical church spaces in the reverbstorm of Glory be Black to the rugged ambient inversion of R&B's usual warmth in the 6minute highlight Bb, or undermining the conventions of club music in the A-grade anti-bangers Strobe and You Not About That Lyfe, she offers a particular example of the contemporary, young, Black and queer experience.
No doubt, fantasii is a vital addition to the canon of boundary pushing and resetting music and politics also espoused by Elysia Crampton, Rabit, ANGEL-HO or Chino Amobi - we urge you to check this one out if you wanna grasp one of 2017's most rewarding albums.

Following a limited tape release for Ecstatic, Berlin's Nat Fowler renders his meticulous Novoline for its second full-length release, a killer marriage of automated EBM and unexpected midi disruptions, continuing a lifelong quest for esoteric knowledge and a love of archaic computer hardware.
Modelled on re-appropriated software, run on two separate Atari ST's, Movements is the compelling result of obtuse production technique and painstaking trial and error; basically experimentation at the service of discovering a sound that really sounds unlike anything else out there. As he explains:
'I like the idea of using restrictions in order to find and push boundaries, from limiting which octaves I use to how many notes at a time. I use the only PC capable of MIDI that had no
multitasking, so communication is immediate, a direct mechanical communication from my fingers to the sounds is created. I feel lucky because technology has accelerated so fast since the
first digital synthesisers and PCs that nothing since the early 1980s has been really pushed to its limits.
In that sense, he can be placed in a small category of operators - including The Automatics Group, Dave Noyze, Lorenzo Senni and V/Vm among them - who persistently gnaw at the boundary
between dance-pop and avant-electronics, and with all of whom he shares a capacity for hearing the poetry of singular frequencies, unique pitch combinations and the strange electronic timbres just waiting to be be born from overlooked, outmoded equipment.
Whilst at times it may recall the saltiest digital tone and gait of early Chicago house and Belgian new beat, there's a futuristic funk and idiosyncratic ambiguity to Movement that entirely
belongs to Novo Line; whether bubbling up the mutant dembow lacquer of opener, The Movement
1, radiating form the tightly-bound, curdled funk of Hot Piece, or jabbing like a bag of cyborg slow house cats in The Movement 2, it really does make for one of the year's finest and most addictive
dancefloor mutations, bar none.

Special Hors Série Ep made by the young talented producer Oldtoy. Ambiant/Downtempo/Electronic release for music lovers. All instruments & voices made by Oldtoy.

Kickin' In', an epic 12-minute journey through disco, that Patrick Cowley recorded in 1978. The song encapsulates the Hi-NRG dance music that Patrick became known for. It was an 'up' sound for the gay disco scene, music that would compliment and sometimes enhance all night dancing. On the flip are two earlier songs produced between 1975-77 featuring basslines by college classmate and studio mate Maurice Tani. Both songs feature Patrick narrating erotic gay sex fantasies inspired by San Francisco's leather bars, back rooms and bathhouses. These songs show the sleazy side of Cowley's slow burning, oozing electronic creations.

This album is the result of a long personal journey and is conceived as a series of small tales.On stage or on CD, the dreamlike world of Renart will take you away. Between solitary experimentation and acclaimed electronic performances, he keeps surprising us.Renart weaves melodic and melancholic atmospheres through tales which give free rein to our interior wanderings. At the crossroads of repetitive musics, 70's psychedelic rock and modern techno, Renart creates powerful nagging rhythms and sharpens his future tracks in his misty castle of Malpertuis.

Advancing the unfolding legacy of instrumental hip-hop at Stones Throw is Samiyam's Pizza Party: 24 minutes of off-kilter mobster music mixed with a warm soul sound that is unmistakably L.A. producer and beatmaker Samiyam. Praised by his collaborators Action Bronson, Earl Sweatshirt, The Alchemist, and Flying Lotus, Sam's independent beat tape ventures and instrumental albums are revered by rappers, respected by producers. Pizza Party is free of samples from the characteristically dusty vinyl grooves and warped tapes of past recordings. Instead, we have originally-played synthesizer and FX in unison with the off-the-grid drum patterns and aesthetic sonic swagger that Samiyam owns. The last track, What Can I Do,' features co-production with Jonwayne.Samiyam grew up Sam Baker in Michigan. He was among a network of post-Donuts producers focusing on instrumental hip-hop beat as the finished work, who found themselves migrating west and huddling in the scene around Low End Theory in east Los Angeles. That's where Flying Lotus met Sam and released Rap Beats Vol. 1 as the debut on Brainfeeder in 2008.Three other albums followed - Sam Baker's Album (Brainfeeder, 2011), Wish You Were Here (Leaving, 2013), and Animals Have Feelings (Stones Throw, 2016) - along with production work for Earl Sweatshirt, Captain Murphy, and Pharoahe Monch.

New 7' from Miles Newbold aka The Natural Yogurt Band, UK based dingo multi-instrumentalist. Here we can find 2 cosmic tracks in a pure music library style. Authentic, psychedelic library vibes from the golden era meticulously recreated in the new millennium.

London band Tomaga are back with their fourth release under the Hands In tThe Dark banner: Memory in Vivo Exposure.

The EP consists of four original tracks and yet another new musical evolution for the duo. Whilst they still use complex layering and harmonic polyrhythms in developing their original approach, this time the sonic tales they have shared are much more cinematic and dreamlike. These visions are locked up into emotionally charged loops to convey the sensation of a dream in which half remembered things become new zones of feeling.

Ulterior Motive are finally ready to release their long awaited collaboration with DRS, 'Hey Judas'. Instantly recognisable and yelled for in seconds, this track has been doing serious damage wherever it's been dropped in the last few months. DRS lays down a sweet 16, and twinned with UM's razor sharp beats and bass, it's a deadly combination.

The AA side showcases a true master class in Modular madness, as the guys team up with technical Bristolian wizard DLR.

Growling itself all the way to the front, this sizeable slab of bass and percussion brings the funk and the vibe to the floor, bringing that 98 sound firmly up to date.
We're only at 002 in the Guidance catalogue and the bar has been resolutely raised. Watch out, there's so much more to come.

Edition 1 is a various artists compilation and the ninth release on Alix Perez' 1985 Music. The album is to be understood as a statement of intent as well as a snapshot where the label is right now.

Alix has assembled his favourite artists operating within the 85bpm / 170bpm axis and the result is a coherent album that cements ties with newcomers such as Monty, Deft and Tsuruda whilst also bringing new light to existing relationships with Fracture, Ivy Lab and Chimpo amongst others.

It's an exciting time for 1985 Music, an outlet that's quickly becoming known for great art across the board: be it music, clothing or design

CGI is proud to present the long overdue 12" debut from Atlanta's own Divine Interface. Having spent nearly every weekend of the past many years DJ'ing in clubs around Atlanta, Divine Interace (real name Drew Briggs) is an expert at weaving a narrative into the frenzy of dancefloor. For his original productions it is no different as Briggs uses his own voice over the tracks to recount seedy tales of late nights, teeth clenched, lit under street lamps, missed calls, decadence and debauchery. This is a 4-tracker of unmatched proportions, simultaneously adventurous and deep while never missing a beat.

Having grown up with his father and grandfather both being musicians, and after beginning to play the drums at the age of 3 years, it seemed to be in the cards, that Sune Vosbein-Jensen aka Gaze ill would end up making music. In 2000, his interest for electronic music production started growing after years of playing the drums within the genres of rock, fusion, jazz, and funk, and experimenting with almost any instrument. Since then Gaze has had a fair handful of releases out in both digital- and vinyl format. The clue's in his name - Gaze ill really is sick.

As a truly indispensable bookend to any listeners with the slightest interest in experimental music, French culture or the foundations of mechanical songwriting this inaugural release by these Parisian musical revolutionaries not only predicts the future sound of modern composition by almost 60 years but detangles the deepest roots of European popular culture celebrating an important historical family unison in the process. Combining the infant steps of Magma, the sonic blueprint of 1970's TV theme Picture Box and the sculptural creations of Polly Maggoo this important and groundbreaking 3 track 7' EP takes us back to the very first aural glimpse of the future of pregressive Europe at the hands of physical sound sculptures glaring in the face of premature technology. This EP and its varied three-pronged assault is the first step in the legacy of the Lasry Baschet unison uniting the husband and wife team of Jacques and Yvonne Lasry plus their son Teddy (who would later create Magma with Christian Vander) and hard material sculptors François and Bernard Baschet (who would later work with William Klein). It was this creative unison between visual art and experimental music, witnessing the Lasry family exchange their orthodox music skills in favour of crystal rods, balloons, wet bows and metal sheets, that would potentially change the course of European music which was already on the extreme verge of electrocution with the rise of tape music and embryonic synthesised instrumentation. Promoting the phrase Instruments Non-électroniques (as celebrated on the sleeve of the Cacophonic full-length release 11CACKLP) the Lasry-Baschet collective's humanistic music (an attitude upheld by composers like Michel Magne) would later spark the imagination of Jean Cocteau leading to installations at the Museum Of Modern Art leading to a huge shift in the way people approached experimental melodic music alongside the efforts of Harry Partch and other music machine makers. The appropriation of their music in art, theatre, ballet, film and television came closest to UK shores when their composition Manège was used as the long running theme for the children's TV compendium Picture Box spanning three decades (rivalling both The Moomins and The Booktower for the most indelible and nostalgic spooky theme tunes in the history of British TV) by which time Teddy Lasry had independently become one of France's most creative instrumental composers of all time

In the fertile terrain of New Zealand's 1980s post-punk scene, few figures loom as large as the Jefferies brothers. Graeme Jefferies and Peter Jefferies - the primary forces behind This Kind of Punishment - wrote some of the best music to come out on Flying Nun, Xpressway or elsewhere. A dizzying mix of pastoral ballads and DIY experimentation, TKP's songwriting was at once classic and acutely raw.

On their self-titled debut, the Jefferies brothers and Chris Matthews eschew the punk-informed modes of their contemporaries for a sound that is decidedly more deliberate / intimate. Rooted in a marriage between simplistic, classically-influenced piano, alternating guitar chime and sparse, subtle violin drone, This Kind Of Punishment is a contemplative, inventive collection of ideas corralled via economic 4-track recordings, minimal instrumentation and an austere performance style entirely of the Jefferies' own making. Songs like "After The Fact," "In View Of The Circumstances" and "Two Minutes Drowning" boast a living quality whereby the listener can act as bystander to these moments of creation - a trait that the band would expand upon throughout the course of their brief tenure.

First-time vinyl reissue since its initial release in 1983.

The label Refined Productions was launched by Aleksandra Grünholz, graphic designer and producer as We Will Fail, and Jakub Mikolajczyk, head of MonotypeRec label and MonotypePressing. The concept is to run a 'slow label' to not get caught in the trends but to stop, watch, listen, feel and think, then listen again. Their goal is to reset the pace of electronic music output and create little gems that you will listen to over and over again.

Brass Hearse will be available on limited edition single sided black vinyl, with screen printed image on the B side. Download card is included with 2 extra bonus tracks. Limited to only 250 worldwide.

The goth soaked electronic rock of Brass Hearse's debut album is here to take over your dark souls and have a ball!
They are black chrome'

BRASS HEARSE is made up of WOLFMEN OF MARS (L Liberty, J Clapp, N Merryweather) and the vocalist from ICE DRAGON

Stepping up for release number 47 on Boka Records is Foundation Audio's Chad Dubz, coming correct with a supremely well rounded 4 track EP.

For the past four years Francesco Leali kept busy running Parachute alongside co-owners Manfredi Romano and Thomas Feriero, producing under different monikers and touring the globe as half of CW/A. Finally back as Clockwork, Leali reveals a five track EP featuring some of his rugged music to date. A briery shift into foggier territories where Leali explores layered sound-design and broken rhythms, something he had only hinted in his previous work.
'Online Entity' depicts Leali's hindrance with modern society's social networking obsession. 'In contrast to what these services were actually intended for', Leali explains, 'They seem to have impacted a lot of people negatively, resulting in unnecessary resentments, misinformation and feelings of proximity when these tools can easily alienate you from reality'.
'Constantly worrying about how you want people to perceive you is absurd already, but for many of us this constant sharing has become the only way to achieve happiness, to be satisfied. In an era where all of this is getting out of hand it's essential to remind yourself of the things that truly shape you as an individual. With
Online Entity I aimed for feelings of release, mutating resentments into something positive - more physical. I imagined it as a soundtrack to an escape from these very situations.'
The release showcases this approach with five club-ready numbers filled with calculated, pounding drums and gloomy atmospheres, with only rare glimpses of hope scattered throughout.
To round things up we mobilised fellow Parachute affiliate Ayarcana and Serbian Techno pro Lag who both deliver two startling interpretations of 'Escape Sequence' and 'Rumination'.

New project from RVNG Intl. founder Matt Werth and the dudes (Brian Close and Justin Tripp) behind the multi-media duo Georgia.

The collective minds of Digital Release make deep-psychic-technology sounds. Its music that moves and travels in spheres and projections with an understanding of global tunings, improvisational space, and vast futurisms. Its a tripped mind with peyote rhythms!

Each LP is pressed on 180-grm vinyl and housed in a full colour wide-span matte jacket (with download) and includes a 22x22' foldout full color poster and full colour inner sleeve.

7th Storey Projects are delighted to announce an immediate return for Fushara to our label following the success of his previous release with us (Ascension/Nerve, cat number 7TH 12018, released October 2017).

Consistent with his previous output, this release contains two epic tracks which evoke the themes of industrial and urban decay which permeate much of his work.

We've found it hard to put the music into words, suffice to say they are true breakbeat fueled, sonic journeys that feature razor-sharp drum programming and foreboding atmospherics - a must for any jungle/dnb head with a penchant for their music thoughtful, dark and moody.

Fushara aka Thushara Goonewardene is a London based electronic musician working with breakbeats, samples and synthesiser. A constant theme for his music is urban decay. From the late 90's Fushara has been involved with the London scene as a raver, DJ, and Producer. He has produced experimental work for labels such as Pineconemoonshine, MJAZZ and more recently Scientific Recordings. In 2015 he set up an imprint Lone Foundation to showcase experimental bass music collaborating with DAAT and others. More recently he has made a return to work with breakbeat collaborating with Infest for one of his tracks on his debut on Criterion Records and has signed to Flex Recordings for a forthcoming EP.

Reference points: for fans of: Pan Sonic/Mego, Throbbing Gristle/SPK, John Cage/BBC Radiophonic Workshop, Vinyl On Demand, Broken both released and previously unreleased material from the eighties, Kanker Kommando's Low Tech 1982-1988 is a revelatory retrospective, shining a light on one of Belgium's best kept secrets. Forming in 1980 as a punk group, influenced by English post-punkers Swell Maps, Kanker Kommando quickly evolved, and by 1982 they were fully invested in making experimental music on primitive electronics. Their music was free of traditional boundaries, and reflected the grimness of their times, which resulted in a deteriorating, roughly-hewn sound.

New 4 Track EP release from Piezo for Swamp 81 sublabel, 81. Mastered at TenEightSeven

Hola, amigos! Our next 12" comes from Mexico, delivered to you by the one and only Rodrigo Alvarez aka Rainforest, known already for his output released through Monochrome Recordings, Omni Music, Cadence Recordings, Skutta Records, or 45Seven. So once you're familiar with the said list of his affiliations, you might imagine what to expect. The most appropriate term for a common denominator to describe the content of this EP would be, let's say, 'jungle refurbished'. Feel more than welcome to explore Rainforest's world of beautifully-crafted complex drum patterns, low-frequency bass lines, and rich palettes of background samplework. We're positive that your early-morning cup of coffee can be well substituted with the powerful, fierce-percussioned 'Squad Nights'. The pensive, deep-end 'Blu Diesel Euphoria' will help you digest your daily concerns, and the exotic, desert-inspired 'Sound Tribe' will give you a strong energy boost. The digital bonus, 'Depth of the City', tones things down a bit, offering a perfect soothing ending to the whole story. Given a bowl of so varied ingredients, you can be sure that you get a really wholesome treat, especially if you're after something more organic. In terms of sound, that is.

The next signing of Forbidden Colours are modular nerds Kino Internacional and Borja Pin eiro from Reykjavik606 who always challenge the fine line between music-making and story-telling.
For A1 - "Everything Happens For A Reason" the duo join forces with the maestro Odei Astibia on the drums, where they jam on the infamous Mecca Studios for a really beautiful mind trip.
On the flip side "Lake Nakaumi" leads listeners to some lonely scenario where the modular and pads travel together on the same wagon.
Forbidden Colours called Basque techno leader Kastil for a remix who recorded a 7 minutes straight and trippy techno.
My love wears forbidden colours My life believes
My love wears forbidden colours My life believes in you once again

20TH ANNIVERSARY 4 TRACK SAMPLER

A welcome return from the elusive soundsystem version kings 'Seekers International' to the NoCorner imprint, and an equally welcome linkup with affiliated afficionados 'Bokeh Versions' who have been championing the SKRS sound of recent.
These cuts are actually dubplate gems left in limbo since around the time of 2014's Rootprinciple cassette for NoCorner, so it's with great pleasure that NC can finally announce the righteous move in all its glory.

Four tracks, mastered to the highest standard and shot back through time, here to present itself with a fresshhh piece of Mysteryforms artwork, with a strong 'hats off' to Wilfred Limonous (the face of late 80's Jamaican Dancehall sleeves).

This is SKRSINTL at their highest-grade standard, with a hazy quartet of dubwise, re-structured and re-imagined in the way that only SKRS can do.

Or, as SKRS put it, very simply and aptly:

SKRS x Bokeh Versions x NoCorner x Mysteryforms x Tape-Echo unification ting seen!'

Edition of 500.
Served in printed sleeve, designed by Mysteryforms,
layout by Studio Tape-Echo.
Mastered and cut by Lewis at Stardelta.

STURQEN transform a raw, layered sounds into pure energy, leaving sound trails that resonate and make you go further and explore dimensions.

'Junction' - a six track EP produced entirely by Samrai & Platt - features vocalists from Jamaica, Ireland & the UK and rounds off an excellent 12 months for the label & crew who've toured across North America, Mexico and Europe in 2017.

The set kicks off with ST favourite Alexx A-Game (originally voiced at his studio in Kingston in 2016) urging listeners to 'free up' their mind and souls and let the 'good times take control'. It sets the tone for upcoming Jamaican talent Blvk H3ro to step up on the soulful party number 'Can't Wait' (recorded at Equiknoxx's studios in Vineyard Town in 2016), which has been a staple in Swing Ting sets over the last 18 months.

Slowing the pace is 'Addiction', a link up with Irish artist and frequent Murlo collaborator Gemma Dunleavy who lays down an impressive vocal over the skittering drums, muted guitar and glistening keys. The listen is interrupted momentarily for an interlude from Gavsborg whose moving voicemail is accompanied by a poignant piano line from JP aka Without Understanding. One for the clubs - 'Turn it Up' features Equiknoxx's Shanique Marie riding a stripped funky-esque riddim with ease.

Fittingly the set closes with 'Contagious' which finds two of Manchester's finest vocalists - Fox & Tyler Daley searching for an escape from the reality of our turbulent times over a refined yet sparkling production. The 12' vinyl will be limited to 200 copies.

Support from: Murlo, Toddla T, Jamz Supernova, HDD & Equiknoxx across NTS Radio & BBC Radio 1 / 1xtra.

French artist Ta-Ra (previously known as Ta-Ha) has built up quite a following since arriving on the scene with her hit track Lil Bit. Now clocking up over 1 million views on YouTube the track set her apart from the crowd and laid the foundation for her self-released TuaregShawty EP in 2014. After a string of shows across Europe and the Far East Ta-Ra (real name Tania) is ready to drop her first vinyl, in the form of mini LP 'SunrayZ'. Collaborating with fellow French producers like NxxxxxS & Myth Syzer (among others) she's delivered 8 tracks of dreamscape R&B for the heads. Whether it's the Blade Runner esque 'Kawaskai Ninja' evoking luminous, noir like imagery or the hazy, chill-wave transitions of 'Death Ray' - Ta-Ra constantly reminds us why so many are hooked on her ethereal sound.

Lost-in-time Kosmische / Kraut / Avant-Garde artefact, produced by Toby Robinson aka The Mad Twiddler circa 1975 for his private Pyramid label.

Tolkien inspired dark ambient soundscapes with spooky / ritualistic atmosphere, treated percussions, gongs & guitars, trippy Hammond & Mini-Moog, tape loops, weird noises, drones...

File under dark ambient, proto-industrial, kraut, experimental...

RIYL: KLUSTER, STOCKHAUSEN, TAJ-MAHAL TRAVELLERS, NURSE WITH WOUND, THROBBING GRISTLE, LUSTMORD, COZMIC CORRIDORS...


* 24-bit domain remaster from the original tapes.

* Insert with detailed liner notes by Alan Freeman (The Crack In The Cosmic Egg).

* LP Includes download coupon.

A major work of electronic avant-garde - high quality deep esoterica of the weird and spooky kind.'
- Alan Freeman (Ultima Thule, The Crack In The Cosmic Egg)

Five hundred and seventy-three moons ago (give or take), Thunder Tillman and his personal shaman emerged from the ESP Institute with an epic debut EP of baked psychedelics entitled Jaguar Mirror. We now bare witness to the duo's glorious follow-up as they initiate us into the Night School Of Universal Wisdom. These two cosmic jokers possess a vibrant and fearless sense of exploration that knows no boundaries, as if their dreams translate directly into song and their bodies exist merely to channel music they've tapped into from another world, one where influences are uncharted and any instrument imaginable is available at their fingertips. As with Jaguar Mirror, their grasp of all things analogue begins with guitar laying the slightly imperfect foundation for four harmonious narratives, a journey that begins with a fast paced gallop across vast landscapes in search of the Incan god of thunder, Catequil, and gently concludes with us lying horizontally to absorb sporadic beams of healing light. The discourse throughout Night School Of Universal Wisdom is as charming as it is exquisite, orienting the listener with a bouquet of warm tones whilst layering plies of musical dialogue so subtle they require repeated study. Thunder Tillman manage to weave the past into future without diverting to pastiche, successfully merging their characterized production with melodic mastery and a sense of humor, a creative achievement that accredits them as two of our most esteemed scholars.

Golpea Tu Cerebro' ( Shake Your Brain') is the first ever vinyl compilation dedicated to the unknown yet fascinating Spanish underground cassette scene from the '80s.

During the early to mid-80s, with few resources but unlimited imagination, some people all across Spain (some of them very young) started recording at home their experimental, noise, electronic and industrial cassettes. They were influenced by DIY, Futurism, Dada, mail-art as well as by the early Industrial bands (Throbbing Gristle, Whitehouse, Nurse With Wound, SPK, Cabaret Voltaire, NON, Esplendor Geométrico, etc), which were championed in Spain thanks to adventurous radio shows, fanzines and mail order catalogues selling imported and domestic albums and cassettes.

We're talking about what probably was the first DIY and truly independent music scene in Spain. The dark side of the Movida'. Individualism and avant-gardism in opposition to superficiality and emptiness. Most of these projects were just one-man operations or collectives created by friends: underground tape labels like ä.d.n, El Consumo Del Miedo, Auxilio de Cientos, S.T.I., Obreros del Sonido, Toracic Tapes, 3EM...and fanzines like Cloruro Sónico, Necronomicon, Particular Motors, Syntorama, El Papel de la Merienda...

They released their cassettes in limited homemade editions and there were lot of exchanges with other creators and participations in compilation cassettes from worldwide labels within the International Tape Network.

Here you'll find legendary names like LA OTRA CARA DE UN JARDÍN, COMANDO BRUNO, LÍNEA TÁCTICA, FRANCISCO LÓPEZ, UVEGRAF, ÉTICA MAKINAL, L'AKSTREMAUNÇIÓ, NEO ZELANDA, INTERACCIÓN, TÉCNICA MATERIAL, FÍSODO 13.4 along with obscurities like EL ENTERRADOR ENTERRADO, 1985, ZUMBI-2, BRIGADA NADIE and more.

Including tracks originally released on rare cassettes and compilations along with a few previously unreleased ones.

Sound taken from the original cassettes / reel-to reels and remastered by Ángel Álvarez (Linneo Dos).

Primitive harsh noise, dark electronics, wild tape manipulation, electroacoustic noise, extreme sound art and just homemade weirdness...

52 page bilingual English / Spanish insert includes and introduction/ essay and detailed info about each artist. Lots of photos and memorabilia are also included.

RIYL: early ESPLENDOR GEOMÉTRICO, THROBBING GRISTLE, NON, WHITEHOUSE, NURSE WITH WOUND, VIVENZA, MAURIZIO BIANCHI, MERZBOW...

Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of "Secret" fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself his first syths and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. And so Zanov soon caught the attention of Polydor, who released Green Ray in 1976. It is a work made with minimal equipment if compared to other French sythetists, not to mention their German peers, he worked on the EMS VCS3 synth and used a 4-track Teac and a Revox A77 Mk IV reel to reel tape recorders obtaining huge sound results. You can appreciate an influence from the Berlin school, Green Ray walks the same path of what artists like Tangerine Dream and the likes were producing at the time, Zanov had felt under the spell of Ricochet, but his head was boiling with ideas which gave the recordings a very personal, unique touch.

Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe.