Beats News

After a short break from their release schedule, MDNGHT return with a two- track offering from London based newcomer Kouslin with his debut release 'Suga's Drums'. Citing major influences from the Bristol bass music scene, the young beatsmith delivers a rhythmic-lead sound fashioned with a healthy dose of tribal sequencing. One for the club!

One of the many characteristics of Italian avant-garde theatre, from the seventies through the eighties, was the overlap of acting with the physicality of movement - reality with fiction and the stage with real life, it was a new poetic language for a multimedia representation. In this new language, the music composed for the stage was an active part of the performances, and the soundtrack from 1985's IL CAVALIERE AZZURRO' is one of its most significant examples.

The musical project of the working group O.A.S.I. (Paolo Modugno, Massimo Terracini, Gino Castaldo and Ermano Ghisio Erba) blended industrial experimentation, ambient and concrete, with a strong ethnic element, both vocally and performed, then recorded and manipulated with the aid of tape recorders and samplers.

This was a work that identified a historical moment of fervid experimentation and inspiration, and though intended to be played during a theatrical performance, vividly stands out without the visual accompaniment.


Paolo Modugno: Ac. & El. Guitar, Sanza, Bendir, Tapes, Sampler

Massimo Terracini: Piano, Sampler, Tapes

Gino Castaldo: Tapes, Samplers

Ermanno Ghisio Erba: Drums, Percussions

LINER NOTES FOR BEAVER & KRAUSE'S THE NONESUCH GUIDE TO ELECTRONIC MUSIC - By Richie Unterberger

Among the very first to master and popularize the sounds of the Moog synthesizer were Paul Beaver and Bernie Krause. Their debut album, The Nonesuch Guide to Electronic Music, was something of a primer for the sounds the instrument could make. Though largely devoted to demonstrations of specific sounds, it ended up making far more of an impact than the usual instructional record did, enjoying healthy sales and helping to spread the use of the synthesizer within the music industry.

Beaver and Krause were introduced to each other by Elektra records founder and president Jac Holzman, who was looking to use the synthesizer in an astrological concept album the company was producing, The Zodiac -- Cosmic Sounds. They were in some respects an unlikely pair. It was while sitting together with Krause on a plane ride to the Monterey Pop Festival, in fact, that Holzman conceived of the idea for The Nonesuch Guide to Electronic Music.

"We felt that any number of companies represented possibilities," responds Krause today when asked whether Elektra was felt to be a natural home for the duo's first album. "But Jac, at the time, seemed to express the levels of creative energy, imagination, and interest unmatched at that moment by any of the other A&R reps."

Adds Bernie, "Neither Jac or us had a clue what we were doing and what the potential market was, although Jac apparently had a gut instinct about it. Paul or I certainly weren't thinking in those terms. Our objective was to get the information out there about synthesis of sound and new definitions of music that resulted from its introduction (i. e. music = control of sound)." The information wasn't solely contained on the vinyl. The double LP was accompanied by a scrupulously notated 16-page booklet, described as a "syllabus" in the introduction, that Krause wrote to detail signal generators, voltage control, modulating, filtering, synthesis of sound, and studio equipment's role in the recording and live performance of electronic music.

As for how the sounds on the album were selected and recorded, "We went through each module on the Moog, one by one, and explained the functions inherent in each. The sounds themselves were selected from the four possible outputs of the oscillators (sine, triangular, continuously variable rectangular, and sawtooth). From these, either individually or in combination, we selected and used the sounds as examples. The only challenge of Moog synthesizers at the time was the relative instability of the oscillators, which tended to drift in pitch. So we constantly had to retune the machine. Otherwise, no problem."

Most of the two-disc set's four sides were brief, less-than-a-minute tracks sonically illustrating numerous examples of electronic sound, subdivided into sections documenting "signal generators," "control generators, "frequency modulation," "amplitude modulation," "ring modulation," "amplitude modulation," "ring modulation," "filtering," and "tape delay." Even with the numerous individual tracks, and the many bands of silence separating them, the album's running time is on the short side for a double LP. Krause confirms this was done to help ensure that the sonic range of the sound was as full as possible, as longer vinyl LP sides tended to cut down on that quality when they were mastered. "We and the mastering folks were not sure how the more robust signals of the synthesizer would affect the limits of track width and depth, so we purposely kept it on the short side," he elaborates. "Also, this was the first release to use Dolby noise reduction during the recording process. And finally, it wasn't a 'listening' type of album."

As recording artists, Beaver and Krause would continue to develop their pioneering sounds in unexpected ways over the next few years.

Richie

BRIT Award winner, cultural commentator, critically acclaimed director and actor, and musical maverick Ben Drew aka Plan B has today announced his eagerly anticipated fourth studio album 'Heaven Before All Hell Breaks Loose' (HBAHBL), due for release on 13th April 2018 via Atlantic Records. The three time Ivor Novello Award winner has also released new single 'Heartbeat', written with Kwabs and Al Shux (Jay Z, Lana Del Ray), which marries Plan B's incredible signature vocals with soulful, uplifting beats and spine-tingling melodies.

The artwork for HBAHBL has also been unveiled, which focuses around the classic sci-fi image of world renowned illustrator John Harris, tying in Plan B's fascination with the world we live in and the future we're creating for ourselves. It also sees Plan B collaborating with other writers and producers for the first time, including Arrow Benjamin (Runnin' Naughty Boy/Beyonce), Foy Vance (Ed Sheeran), Fred Gibson (Ellie Goulding, Charli XCX), and Kid Harpoon (Florence and the Machine, HAIM). HBAHBL is available to pre-order.

Earlier in 2017 to mark his return to the scene, Plan B revealed a brand new stand-alone track 'In The Name Of Man', which focused around mass upheaval. The video saw collaboration with Flabbergast Theatre, a small company that he came across at a show in Angel, London. He was hugely inspired by their innovative and incredibly life-like use of puppetry, often using tiny movements to convey bold emotions, and employed this with incredible effect, alongside captivating historical footage.

Mysterious, charming, and wavering, Scoprire Le Orme (Discover The Footsteps) represents a unique musical experience, a kind of Minimal Folk with far Eastern baroque influences. The work is a living entity, yet with a calm atmosphere interweaved with tension - the tradition here being redefined and transfigured in a very personal way with a touch of esotericism. Roberto Mazza (formerly a member of TELAIO MAGNETICO, along with Franco Battiato, Lino Capra' Vaccina, and Juri Camisasca) has since the early seventies devoted himself to the study of both British and Scottish traditional music, with closer attention to the Hebrides archipelago. This work, originally published only on audiotape, has been recorded in complete autonomy with Mazza himself playing the compositions and utilizing instruments such as Oboe, Bardic Harp, and synthesizers.

«Prelude» EP is the inceptive release of Oxmose, which marks the first entry in an ongoing catalogue, and the beginning of a journey with various artists. At its heart, the «Prelude» EP is a dialogue between two composers, a conversation that traces the line between abstract, electronic experimentalism and gliterring interpretive jazz. Parisian producer Shcaa takes control of Side A with 'Core', a near 20 minutes exploration into sound, which skirts the fringes of avant-garde minimalism and experimental rhythms. The song's acute cadence lays a dense and atmospheric foundation for the EP. - Side B sees Romanian artist Traian - Chereches offer-up an absorbing - counterpoint to Shcaa's opener on 'Cage'. The energy of Chereches' rebuttal fuses organic and interpretive sounds into a deft jazz reinterpretation, revealing a wide and surprising cinematic ambience. Mastered by Rashad Becker from Dubplates & Mastering Berlin, « Prelude » will be released on limited edition 12'', 180g heavyweight vinyl - with an outer sleeve featuring handmade artwork created by graphic designer Alice Voinea. The organic materials used in her work, emphasizing the interchange of the record, adding a further layer of continuity, one that streches between the artist, the music and the listener. - Written by Tom Fenwick

One side of Ragga Tek pure blaster and one side of Ragga Jungle essential newskool ! And this for all 3 new releases from JIGOSRE !

LUKE VIBERT & THE MAGHREBAN REMIXES
Vinyl only special release from the Sneaker Social Club crew featuring superb remixes from Luke Vibert and The Maghreban along with the original mix.

''During one long winter's night in a neon-lit Paris, a restless young man wanders around to let himself be found by something that most people otherwise try to avoid: ghosts. And the night is full of unexpected encounters in this ultra-chic film, which is neither documentary nor fiction, but rather an adaptation of the idea that Jacques Derrida defines in a guest star appearance on the cinema screen: that film plus psychoanalysis is equal to the science of ghosts - ie. a form of 'spectrography', which the French artist SMITH in her self-ironic, self-conscious, science-fiction essay of a film, conjures up with thermal infrared and in the dialogue's mosaic of quotes of rambling French philosophy, from Breton and Barthes to Merleau-Ponty and Derrida himself. Hyper-modern and rich in (retro) references â and above all its own ideas, for there are other ways to answer the question of how far you believe in ghosts, than yes or no. And it is this range of possibilities that 'Spectrographies' charts with great ingenuity.'' 'Spectrographies' is the debut movie of interdisciplinary artist SMITH. SMITH â artist, photographer and filmmaker â their work can be seen as an observation of the constructions, deconstructions, relocations and moults of the identity. Through the hybridization of techniques, mediums, the use of new technologies and collaborations with scientists and philosophers, SMITH develops a poetics of metamorphosis. Through the representation of ghostly and fantasmatic figures, as well as post-traumatic transformations, they capture negative and hollow subjectivation processes intertwined with self-effacement and self-image issues. Accounting for creative destruction, SMITH's works invite viewers to be immersed in a dark and diffuse atmosphere, which is characteristic of their auratic and ethereal style, and conducive to daydream and meditation. Preceding a meticulous production process, the movie enjoyed screenings at various locations around Paris including the famous Centre Pompidou, Gaité Lyrique, Musée du Jeu de Paume and David Lynch's famous Silencio Club. Additional screenings also took place in Berlin and Copenhagen. The composer for the sound score to 'Spectrographies', Victoria Lukas, also writes and records under various pseudonyms including Vita, Inkamera and Zerkalo; with the cream of Victoria's work having been released via Last Known Trajectory, Clone and Frustrated Funk. SMITH and Lukas, who have been collaborating for the past ten years, worked both separately and together for almost one year on the directions the music should take to accompany and highlight the film's intentions. Within 'Spectrographies' is unleashed what we wholeheartedly recognize to be Victoria's most intimate, intriguing, ambitious, and challenging work to date â representing what we at LKT feel to be her bravest and most- marked departure from many of the often restrictive barriers and constraints that the world of dance music predicates. This release is the first in a sequence of concept releases. The series entitled... Vita. We invite you into the world that is 'Spectrographies'⦠Do you believe in ghostsâ¦

In the year 2053, two Japanese musical explorers by the names of Katsuyoshi and Yousuke,
travelled to the city of Breda in the Netherlands. Whilst drinking beers in a park near the train station, they stumbled upon an old, partially decayed USB stick, hidden behind a trashcan. With USB technology being long absolete by then, they had no way of checking what was on there until returning back home to Tokyo, where Yousuke still had a MacBook from around the turn of the century tucked away under his bed. After retreiving the data, the stick turned out to contain two 128kbps MP3s of unreleased Coco Bryce material. Utilizing an extensive and painstaking radiocarbon dating procedure, they managed to pinpoint the production date to the Spring of 2017.

The Tokyo natives then proceeded to reverse the MP3s back to their initial WAV format via state of the art 2053 audio technology, and emailed them to Richy at Binary Feedback, who subjected the files to a spot of mastering. Richy immediately recognised the tunes from a series of YouTube ID request videos that had been doing the rounds for the previous 36 years. Being the shrewd business man that he is, he decided to contact Rick Sanchez, who in turn teletransported the tracks back to 2017, dropping them off at an undisclosed Dutch pressing plant. Romanian visual artist Raw Parigi was contacted to sort out the labels, after which the records were pressed up and distributed to shops across the globe, hopefully making their way into the homes of hundreds of jungle and drumfunk enthusiasts worldwide. Amen.

Cauldron is the legendary psychedelic jazzy rock & electronic album by Californian band Fifty Foot Hose. First-time official vinyl reissue since its release in 1967 on the Limelight label.

Fifty Foot Hose formed in San Francisco in 1967. Like few other acts of their time they consciously tried to combine the contemporary sounds of rock with electronic instruments and avant-garde compositional ideas. They were one of the most radical groups of the psychedelic era, and their experimentalism still has the power to shock and surprise even now.

What set them apart were the pioneering experiments in electronic music, like the band they are often compared to, The United States of America. Incorporating theremin, siren, audio generators, and other various electronic effects as Cork Marcheschi, the band's original bass player had developed an acute interest in the dadaist/futurist experiments of composers like John Cage and Edgar Varese. David and Nancy Blossom brought both psychedelic and jazz influences to the band. Cauldron, their only album, was released in December 1967, including "Fantasy', Red the Sign Post' and God Bless the Child', a Billie Holiday cover. An intriguing mix of jazzy psychedelic rock tunes with fierce and advanced electronic sound effects. These sound experiments differentiated them from their contemporaries and most audiences didn't quite know what to make of them.

So fans of flowery, psychedelic 60's music must beware of this odd gem, Fifty Foot Hose's music leans more towards White Noise, Silver Apples and specially United States of America than to the whole flower power movement. After only one album, the proto-cyber psych outfit passed as quickly as they came. Their only mention would be a name-check in Ralph J. Gleason's 1969 book, The Jefferson Airplane And The San Francisco Sound' published over a year after their demise. Ralph J. Gleason wrote: I don't know if they're immature or premature.' History has proven them to be the latter. Today the original album is very collectable and considered a touchstone of avant garde rock music.

"The concept was to expand what contemporary popular music was. I thought the avant-garde could have had a home with this new group of listeners but they turned out to be pretty conservative - intellectually . Drugs were fine - sex was fine - stop the wars was good but when challenged with abstract art., they reacted like conservative people look at a Jackson Pollock painting." (Cork Marcheschi).

Here comes a bloody hardcore killer full of jungle trips and loading lods of acid in. Massive music !!

Moscow based multi-talent Impish has been steadily honing his skills working through labels such as ProgRAM, C.I.A. and his own fast rising Occulti Music imprint. It's that last label that saw him release the critically acclaimed Silence LP back in 2016. Fast forward to the autumn of 2017 and a new album project the 'Hush' LP is set for release through all quality physical electronic music outlets around the world. Being the perfectionist that he is Impish continues to impress working on crystal clear music productions where impeccable drum work is combined with organic touches and progressions.

The second 'Hush' LP sampler features three cuts of the album. First up the well respected Irish drum & bass producer Zero T takes up remix duties for 'Solid' turning the stripped back original stepper into a wavey hard hitter with the remixer's sound plastered all over. Continuing with 'Let Me' featuring UK based vocalist Kate Wild things heat up quickly where soaring bass sounds complimented by soulful vocals and tech-like stabs make for an intense drum & bass experience. Last but not least we find the original mix for 'Solid' featuring fellow Moscow based vocalist Julia Marks. It's an easy listening, thoughtful piece of drum & bass with driving beats for the dance floor but harmonies for the mind and soul..

Kanker Kommando can be defined as a 'whatever-kind-of-band' formed in the 80's by Hendrik Laevens and Jaak Perquy. This fine compilation by the Knotwilg label illustrates the 'Low-tech' approach of Kanker Kommando: transforming the limitations (musical, technical) into an opportunity to do something completely different.

It s been quite a while since Naibu s last feature on Scientific. More than a year has passed since the release of his acclaimed 'Case Study', a mature and eclectic quasi d n b album rich in live instrumentation and tons of intricate details.

And here s a follow-up to this work a four track remix EP featuring reworks by some of the biggest names in the atmospheric deep drum & bass current of today. Naibu s already captivating take on music gets reinterpreted in four different ways, so just know that you ll be treated with a sense of freshness and familiarity at the same time.

Spanning a variety of shades of drum & bass, from Hiddenwave s deep and rolling take on 'Turn Me Down', through Seba s nostalgic rework of 'Astray' and Bungle s powerful, cosmic rearrangement of 'Case Study', to Future Engineers heavyweight, solid-basslined reinvention of 'Fighting for Attention', the EP acts as an excellent supplement to Naibu s original work, offering listeners even more of auditory pleasure.

Burgeoning Swiss duo QZB come with a big bag of future for Critical s Systems series, their first release on the label.

Featuring five tracks of industrial-edged, expertly produced drum & bass and half-time, these guys should be firmly on your radars.

Despite her last name, Anna St. Louis was born and raised in Kansas City. She grew up a painter and singing in punk bands, eventually leaving her hometown to attend art school in Philadelphia. After graduating she made the move to Los Angeles where she began teaching herself guitar, writing songs and recording them on her own in her bedroom. First Songs is the sound of someone discovering their talent in real time - a peak into the collage of a wonderful mind that is absorbing their new surroundings and using new tools to put them into the room. Listening to this collection you can feel the sun coming in through the window - Anna on the foot of the bed with a guitar on her knee, finding her voice. St. Louis wears her influences well - think Patsy Cline singing over John Fahey - but has a style all her own. And while you can take the artist out of the midwest, you can't take the midwest out of the artist - so let this be known, this is Midwestern music ran through a California filter. I believe Anna will have many more releases in her lifetime, but let it all begin here - First Songs.

Metaclaw is blazed studio session that time could have forgotten...but Offen Music didn't. A glorious downbeat synth plodder/head nodder from the minds of three very muscial friends.. features remixes from Gordon Pohl and Glib'r.. TIP!

For the last ever release on Astro:Dynamics, we drop the third and final volume of Excavated Tapes from Portland artist Kevin Palmer, aka Best Available Technology.

The latest release from Bjarki Runar's bbbbbb label sees Bjarki delving back into his vast archives and shines a light on a bizarre detour during the early days of the label that involved
a peculiar commission from the Icelandic state. Bjarki introduces the story; 'It was back in 2015 and we were only just putting together the original plans towards making bbbbbb a label. While this was happening, I got a call from a friend who was
working for a local tech start-up and marketing company. They'd been contacted by the Icelandic Ministry of Fisheries and Agriculture who came to them with a weird proposition.
They were looking at the idea of marketing Icelandic lamb as this user-exclusive commodity for high end restaurants, the same way they do with Kobe beef in Japan. His marketing company was going all in with this idea of creating an elite herd of sheep that would get the 5-star treatment - fresh food and beer, shampoo and geothermal baths for their fleece, and entertainment such as TV and music for when they were in the hills. That's where I came in'. The initial meeting between Bjarki and the marketeers however didn't go as smoothly as they hoped; 'When I met my friend and his team, they were going to have music pumped through a series of remote speakers across the hillside' Bjarki explains. 'But when they showed me what they were going to play to them, I almost fell of my chair laughing! It was all this
cheesy, easy listening, orchestral Icelandic bullshit. I said to them 'This is nonsense! Why are you bringing me into this project if that's all you're going to be playing' In the end, I told
them I would completely redo all the sounds and music they were going to be using. I was going to drag the Icelandic sheep into the 21st Century'. Bjarki was as good as his word. Over the summer of 2015, he spent several weeks at farm
locations near Kirkjubæjarklaustur and Reykholtsdalur, walking the hills and playing a variety of sounds and beats to various flocks of sheep to see what the best approach was. It
was tough going at first; 'At the beginning, I was working totally blind', Bjarki explains. 'Imean how can you possibly know what sort of modern music and sounds Icelandic sheep
would go for' But Bjarki persevered and he found certain sounds and tones made the sheep more active and engaged.
From this point, he began to make tracks that would encapsulate what the lambs were drawn to the most. 'A track like Soda 'Sugarlicious' for example, came about when I started
playing Candy Crush on the hillside. As I kept playing, the sheep began to gather around me showing interest in the bright chintzy sounds coming from my laptop and that deep voice that
would keep speaking to you. I simply put together a track that was all shiny colours and heavy on the chimes. The sheep fucking loved it!' A track like 'Drab' meanwhile was suited
for less sunny moments. 'I got caught in a nasty rainstorm, so I started playing these synth lines I had made, along with an improvised kick drum. The mix of the softness of the tones
along with the hit of the bass cased the sheep to follow me all the way back to the farm I was staying at. The farmer wasn't too impressed with that, but the flock was completely
hypnotized'. In the end Bjarki, amassed several tracks ranging from soft ambient to gnarly hardcore bangers to present to the Ministry. But in the end, they decided not to go with the whole
proposal. 'These people were fools', Bjarki says. 'They just couldn't get their heads around doing something completely different, that was a bit of fun yes, but was completely done in a
serious manner. We all spent weeks doing this stuff so yeah, it was a bit gutting'. In the end though, there is a silver lining to this story as these efforts were not wasted for we can now hear the best of Bjarki's efforts from this admittedly weird project on a limited 12'release that marks a storming 2017 for the bbbbbb label.

Shaneera is the English mispronunciation of the Arabic word shanee'a, literally meaning "outrageous, nefarious, hideous, major and foul.' In one iteration of the word, as queer slang used in Kuwait and some Arab countries, a positive and desirable light is shed on these attributes. Shaneera refers to a gender-defying persona, of being an evil queen. You know a Shaneera when you behold one. Over five energetic club tracks, Al Qadiri explores this dark-sided character with friends Bobo Secret (the leading vocalist on the record), Lama3an, Chaltham, and Naygow, in their debut recorded appearance. The lyrics are suggestive, imploring, shady and loving, some original and some re-recorded material from Grindr chats, online drag and femme comedy skits. The language is a mixture of Kuwaiti and Egyptian Arabic, and one Iraqi proverb, Sonically, the record combines Khaleeji (Arab Gulf), Western drum kits and Arabesque melodies. On the cover, Al Qadiri appears as Shaneera, her evil extreme femme alter ego, the design inspired by stale pop diva record cover imagery from the Arab world. Conceptually, the EP follows Al Qadiri's long term exploration of gender identity and performance in the Gulf. Her natural look, at odds with the conventional presentation and performance of femininity in the region, is transformed on the cover into a maximum femme look inspired by a mid 2000s Kuwaiti trend of extreme makeup. What would pass at a cursory glance as femme drag was actually the norm at a specific time in Kuwaiti women's fashion. 'Shaneera' the record lands somewhere in an undisclosed setting and is a love letter to evil and benevolent queens around the world.

14 × Vinyl, 12", 45 RPM, Colored
Box Set, Album, Deluxe Edition, Limited Edition

*Super deluxe edition of Humanz.*

Presented across 14 individual pieces of 12' coloured vinyl (each one a different colour), packaged in individually art-worked sleeves. Each piece of vinyl features an album track, backed with an exclusive 'b-side' featuring alternate versions of Humanz album tracks plus further previously unreleased material.

Includes a 54-page, cloth-bound, foil-blocked, hardback book of Gorillaz artwork by Jamie Hewlett and a download card, all housed in a bespoke 12' vinyl case.

Heavyweight (180gr.) gatefold LP, including a download code.
The first-ever reissue of Jon Hassell's "Fourth World" masterpiece originally released in 1981.

Collaborators include Brian Eno and Daniel Lanois (U2, Peter Gabriel) and Michael Brook (Nusrat Fateh Ali Khan).

Beautifully re-mastered, with a bonus track ("Ordinary Mind") and liner notes written by Hassell himself.

Turkish free jazzers KONSTRUKT and the Japanese avant-garde / noise icon KEIJI HAINO present their first collaborational album.
Formed early 2008 in Istanbul, KONSTRUKT have since been gaining high reputation and an ever-growing audience within European improvised music circles. Over the past decade, the Turkish free jazzers not only released a couple of superb albums under their own name - they also regularly invite significant musicians like PETER BRÖTZMANN, JOE MCPHEE, WILLIAM PARKER, AKIRA SAKATA, MARSHALL ALLEN, EVAN PARKER, THURSTON MOORE, MICHAEL ZERANG, ALFRED HARTH or ALEXANDER HAWKINS for recording sessions and/or concerts (a.o. at festivals like A L'ARME, .KONFRONTATIONEN NICKELS-DORF, KRAKOW JAZZ AUTUMN). Their latest work "A Philosophy Warping ..." sees KON-STRUKT team up with the Japanese avant-garde / noise icon KEIJI HAINO - and besides all the elements you may well expect from such a musical meeting like KONSTRUKT's "acerbic razor-edged sound" (MARK CORROTO, ALLABOUTJAZZ) and HAINO's unmistakable voice / guitar explosions, there's also some real surprises ...

Recorded and mixed by Ozan Öner at Pür Recording Studio, Istanbul..
Mastered by Rashad Becker at D&M, Berlin.
Cover painting "Escape" by Artur Trojanowski.

mitra mitra was formed in Vienna in late 2014 by Violet Candide and Mahk Rumbae.

Originally from New Zealand, Violet Candide is a founding member of the Crazy Hospital DJ collective, and one of the organisers of the legendary Future Echo club night in Vienna, and is one half of Anesthetic Hairpins.

British musician Mahk Rumbae is known for his work as a member of the industrial/experimental project Konstruktivists, Oppenheimer MkII (with Andy Oppenheimer of Oppenheimer Analysis) and his solo techno project Codex Empire.

After working together on one of Violet's solo songs, Heat, the pair decided to continue working together as mitra mitra, with the aim of writing electronic songs not tied to any particular influence or style.

mitra mitra have so far released a limited 7" single on Polytechnic Youth and a self-titled debut album on their own label Micromort Music - both of which sold out almost immediately.

For their new EP, released in conjunction with Peripheral Minimal, they present four new songs, including live favourites The Flood and One Universe, as well as Snakes and Phantom Flats. Rounding off the 6 track EP are two special remixes from LowSea, who remix Snakes, and IV/AN who remixes Blender (from the debut LP).

Begun on a whim in 2010 by Enablers vocalist Pete Simonelli (words, vocals) and Lynn Wright of And the Wiremen (guitar), Molecular has seen a broad cast of musicians come and go in its highly rotational flux of instrumentation and musicianship in performances around New York City, England and Spain. It is a "feel" oriented collection of players whose ideas evoke a steady yet shape-shifting spirit of improvisation.

Warmest Regards is the culmination of a short week-long tour throughout England. This live recording is taken from a very lively, intimate set on a wintry Sunday night at New River Studios in London. The line-up includes Simon Goff (And the Wiremen) on violin, Algis Kizys (ex-Swans, Of Cabbages and Kings) on bass, and Sam Ospovat (Enablers, Ava Mendoza) on drums. It documents the progressive cohesion of the band after six straight nights of entirely improvised music. Over the course of these six shows, the poems, rants, and music were never delivered the same way twice. On that basis alone, we just took the thing and let it kick us each and every way possible until the egg timer chimed and the set would then conclude. There were no foundations, no arrangements, and there was never any solid plan. The only rule we followed, as is ever the case with improvisation, was listening to each other.

Meaning all things magic and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo's fourth album - a psychedelic opus in two separate volumes released in 2017 is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang.

Following the Yin (feminine, darkness, night, earth) represented on Occult Architecture Vol. 1, Vol. 2 presents the Yang. Yang means the bright side of the hill' and is associated with the male, sun, light and the spirit of heaven, and as such Vol. 2 explores the light and airy elements of Moon Duo's complex psyche.

In production we referred to Vol. 1 as the fuzz dungeon, and Vol. 2 as the crystal palace,' guitarist Ripley Johnson explains. The darkness of Vol. 1 gave birth to the light of Vol. 2. We had to have both elements in order to complete the cycle. We're releasing them separately to allow them their own space, and to ensure clarity of vision.

ORE- BELATEDLY is to be released on 2xLP and digitally and features collaborations from Khyam Allami, Beck Baker, Sophie Cooper, Thomas Stone and Kazuyuki Kishino (KK NULL)

ORE is the project of Sam Underwood. Belatedly in his words:

The title is derived from the fact that I failed to complete this album the first time around. I started it as a gift to my father when he was diagnosed with lung cancer in late 2014. But I failed to complete it before his death 8 months later. I subsequently aimed to complete it but found that too hard...so had to start the whole thing afresh. This is now ready, Belatedly.

Aged 35 - the average age at which fewer cells regenerate than die - Sam Underwood left his previous job to pursue his dream of being a musician. He also put down his guitar, intent on exploring what he hoped would be a rich sound world, a compound formed of doom metal and low brass. ORE was formed.

For me, playing the tuba was the first time I really felt a connection - in every sense - with a musical instrument. An extension of my own pipework, my resonant frequency. A truly physical instrument to play.

In the early 1980s, Alice Coltrane Turiyasangitananda formed an ashram in Agoura Hills, California. There a beautiful, multi-ethnic and multi generational religious community grew up around her. The highpoint of living in this very special and loving environment took shape on Sundays when Alice would lead the community in a musical ceremony, mixing both gospel and Indian chant, to create a music she wholly invented - it was something extraordinarily powerful. The Ashram is still there today. There are still some who live there and there is still a weekly Sunday service that is open for everyone.The folks who populated the Ashram world of Alice Coltrane Turiyasangitananda were a very special group of people. Many of the adult members were musicians before having moved there, and many of the younger followers have become musicians and film makers as they grew older. One these amazing artists is John Panduranga Henderson.Panduranga played organ, piano and sang with Ray Charles in the 1970's where he was a star performer in Ray's band. When he joined the Ashram, he became in essence a star performer there as well, though of course there were no 'stars'. Alice sitting at the organ would say, Panduranga' and John would come to the front and let loose one of his amazing gospel-esque solos praising Rama or Vishnu or Jesus, Muhammad, Moses and more. He made one record under his own name - a record so obscure it's not listed on Discogs, nor found on the interweb what! Today, for you dear listener, we would like to present Panduranga Henderson's Ocean of Love.' Om Shanti.

Discrepant is proud and excited to present a magical live recording from the legend that is Pierre Bastien, showcasing his mecanoid orchestra at its intricate best during a performance at Studio M, the historical studio-concert hall of Radio-Television of Vojvodina, Serbia.Around 1986, French composer and multi-instrumentalist Pierre Bastien started creating and building his own orchestra called Mecanium: an ensemble of musical automatons constructed from meccano parts and activated by electro-motors, that "play" on acoustic instruments from all over the world. On this record the Mecanium plays amplified Meccano parts, drums, reeds, rubber bands, paper, nails and flutes whilst Pierre plays kundi, rubber band, prepared trumpet, video loops, nail violin and râbab. Recorded live at Studio M, Novi Sad, October 8, 2016.

The good ship Ransom Note sails on!

Continuing our commitment to releasing the finest dance music from planet Earth, our latest missive comes from fresh-faced Belgian kit freak Placid One. Squeezing out analogue techno from a studio full of synths that burble and shimmer and croak, Placid's lead track 'C Balloon' is a drum-less masterpiece, an arpeggiating ascent into a chrome-plated future. The track belongs in the lineage of the emotional best of Detroit, as mysterious as it is melancholic, it's a vision of computer blues for the 21st century.

It's followed by 'Bombay Persuasion', a jitter of broken tech-funk building to a rumbling throb of bass, and 'Life', which chops up classic breakbeats with late night acid secrets. All three tracks combine Placid One's youthful exuberance with a yearning for the hardware mentasm of early Brit pioneers, the ghosts of Aphex Twin, Orbital and Kirk Degiorgio can be heard echoing through their grooves.

On remix duties we have Deutschland's finest Cass. who provides a blissed out reimagining of 'C Balloon', unravelling its synths into an epic of found sounds and ambient drift. This is followed by a floor ready refix from Ransom Note favourite Timothy 'Heretic' Clerkin, who rolls 'C Balloon' into a warm house jam, all classic synth hits and sun-rising acid bubbles.

If Psychic Health's self-titled debut album took the lessons the LA duo learned in the teeming clubs of Berlin and Melbourne, their latest LP, Exclusion, look inward, a document of the duo tunneling down the studio wormhole. As such, Exclusion is a remarkably dynamic effort, adeptly jumping between evocative ambience ("Jamaica 88," "Ryso") and equally expansive dance floor fair.
Examples of the latter, such as the album's obvious centerpiece and titular track, Exclusion, document Gabriel Mounsey and Devon Steffens's harnessing modular beast technology for peak techno utility, finding a clear thoroughfare between the soaring strings of Derrick May's classic Transmat releases and Ostgut Ton's current EBM-inflected precision.
As you'd expect from Mounsey's background in film composition, Exclusion whirls with imagery. It's a Los Angeles album, but focuses on raw beauty of the city at night—the lights in the distance, and the desolate downtown streets where kickdrums often waft from disused warehouses. While their debut album opened notable doors for the group, landing distribution from Hard Wax and featuring in the Netflix series Sense8, Exclusion is an altogether masterful turn for Psychic Health, their complete studio immersion easing the listener into deeply hypnotic states.

'Bangbadem'

Fuelling the flame and amping up the energy in a matched fashion, 'Bangbadem' speaks in an ageless language of rolling percussion, tribal muses and driving basslines, evolving as it unfolds.


'Sour Power' from Seven, Juss B and Truth comes to us as a deep and deliberate wishing well, each stone thrown into it's murky grasps bouncing off into an ambient lament, mirroring it's depth in each resounding echo and heavy handed hit.


Support from Seven, Mala, Truth, Youngsta, Bukez Finezt,J:Kenzo, N Type Bun Zero, Rinse FM and SUB FM

LP + mp3

winter, or a time which represents that season, in a metropole that appears to be moscow.
the visitor is taking metro no. 6 at leninsky prospect as he is on his way to the ballroom close to gorky
park. the air is icy, the sky is grey. a cat, previously hidden among the dirty snow, is crossing his way.
the closer he gets to his destination, the clearer he can hear music, music that reminds him of future
days.
the dimly lit room is only sparsely filled. on stage a graceful singer, capturing the room
with her presence. captive voices merge with chords played on yet unknown instruments - machine rhythms cycle in 3/4 time. the vigorous peasant dancers, following an instinctive knowledge of the weight of fall, utilize their surplus energy to press all their strength into the proper beat of the measure, thus intensifying their personal enjoyment in dancing. here, in the transhuman ballroom, time stands still and values are being dissolved by numeric progressions. spiritually allied, the visitor, the singer and the peasant dancers short-circuit the present moment while the last falling snow slowly turns into rain.with »walzerzyklus«, atom™ returns to raster to complete his series that has once begun with
»liedgut« and continued with »winterreise«. the 7 tracks, created in collaboration with russian singer lisokot, are subdivided into 3 pieces of 2 minutes each and 4 pieces of 3 minutes each, intentionally reflecting the 3/4 time of a classic waltz.

throughout the release, lisokot's delicate vocals are put into different relations to atom™'s rather cool machine music, either complementing or contrasting each other. in the same line, the 3
shorter leitmotifs' provide the main theme that is taken up repeatedly in the course of the release. the EP will be released on CD and as special vinyl edition limited to 300 copies.

The first release on Palto Flats' PFF series for contemporary electronic / experimental / dance releases in limited format. Conga Square - Secada Mondatta treads similar musical territories as Toulouse Low Trax, Burnt Friedman & Holger Czukay.
.
Featuring Jimy Seitang, Brian Close (Georgia) Andrew Felix & Ross Menuez. First track, 'Fifth Season' spends its 9'+ duration locked in a downtempo groove, 'Raiders' is cavernous electronic jazz, and 'Secada Mondatta' is minimal dubby electro with propulsive rhythmic patterns.

Conga Square was recorded and mixed by Davey Jewell in NYC & LA, and mastered/cut by Helmut Erler at Dubplates & Mastering. Artwork & design by Brian Close.

The Critical pressure keeps on coming with an EP of epic proportions from two of D&B's leaders of heavy end, dance floor material.From the militant stance of the leading track 'Disrupted' to their own slamming remixes of each others tracks and the future-robo vibes of 'Void Main Void', this EP is destined for clubs the world over.

We don't know much about George Boutz, except that he released two cassettes in the early 80's. All recorded at home, using several synths such as the OB-08 and the Micromoog, making weird, spacey and trippy tracks. Tip tip tip! Orbeatize has 3 more releases coming up in December, check out the link below the info of ORB 06!

Repressed for 2017 on white vinyl.

Bologna's Yerevan Tapes project vivid sci-fi sound designs from producer/signer Marie Davidson and sound designer Invisible Church, making up the duo's first collaborative work, recorded during September 2016 - January 2017, and notably starring Theo Parrish playing cymbal on the 10 minute submission, Ten Years.
Spawned from a meeting at RBMA's Montreal '16 festival, Whatever Makes You Feel Safe locates her signature vocals far removed from the structural synth-pop comforts of her roundly acclaimed debut side, Perte D'Identité, and the Adieux Au Dancefloor LP for Cititrax, and elusively diffused into chasmic frameworks of field recordings and depth charge percussion deployed by Invisible Church.
In all three parts they feel out chasmic, void-like dimensions with a microscopic attention to textural and spatial qualities. Marie's vocals signify a ghost in the machine presence on Collage, rendered as silvery streaks and cluster-formed cloud of ferric harmonics perfusing drizzly street or industrial scenes worthy of a Bladerunner scene.
Never Release The Tension meanwhile isolates and focuses in on a blunted, atonal sort of post-industrial sound design recalling Mika Vainio in its brooding pressure, or even the elegiac glossolalia of Liz Fraser via Tropic of Cancer in its lamenting keen.
But the best is definitely saved for last with Ten Years, where speaker-drooping subs underline sheets of steely grey, phantasmic dissonance, punctuated by the patter and splash of Theo Parrish's cymbal work, and possibly betraying a hint of influence from first nation musical traditions as much as kosmische or avant BM.

Novo Line reprises the meter-messing genius of his Movements album with the Dyad mini LP - a brilliantly uncompromising follow-up for Ecstatic. Exclusively using the tools of '88/'89 professional recording set-ups - namely the Atari ST, but with a slight algorithmic alteration.
While it's increasingly hard to find new tricks in old gear, especially with the resurgence of hardware fetishism and the ubiquity of DAWs, that's exactly what Nat Fowler has been doing for the best part of a decade as Novo Line. By, in his own words, 'misusing one algorithmic composition program (not, by a longshot, a professional music production tool of any epoch) contained in 208kb of data on a 3.5' floppy disk',
He generates and explores new permutations of old music which, ironically enough, sound fresher or at least more innovative than a lot of new music in circulation right now.
Inputting ever-changing parameters of melody, and 29 year old algorithms, the machine's voice is live-mixed and presented un-rendered as maxed-out waveforms via 1MB RAM, resulting in a severely compressed and combusting effect that leave mastering and sound engineers the world over scratching their heads in puzzlement. However, the effect is equally enthralling to anyone whose ears have become overly accustomed to contemporary emulations of 'space' in electronic music, and genuinely sound unique in relief of the contemporary field.
The release poses a playful question: can a record be ambivalent as to which speed it should be played
Celebrating vinyl and futhermore physical media, the listener is encouraged to find their exact speed of preference with the RPM toggle and pitch slider, that nearly forgotten joy in modifying speed in real time without a CPU mediating between the listener and sound; some tracks stumble heavily at 33rpm like boulders in the tumble dry, while others flash by at 45. In the taut, recoiling thud of Monad, thru the frenetic pop edit of Ennead to the 'floor-curdling prong of Dyad Marcia on the front, to the forceful New Beat mutation Tetrad, and the mind bending Melpomenean Dyad which closes the LP, its some heavily challenging but deeply satisfying gear that seriously yet playfully messes with convention.
Essentially Novo Line is revelling in the pure spirit of computer music and the sonification of dance music as we know it - born in the '88/'89 phenomenon of techno-house music, including its Industrial/EBM precedents, and its New Beat/Euro House offshoots. And like John McCusker's delectable artwork of a beige room and monitors interwoven with tubular, computer generated follies, Novo Line provides a captivating perspective that shortcircuits nostalgia's illness to result in a killer vaccine against/for convention.

2 long tunes of pure Breakcore / Hardcore industrial and Electronika Core nightmares! LOUD STUFF ! MUST HAVE ! Limited 100 copies

Listening to Unknown Path's Pathfinder for the first time is a claustrophobic experience. It's as if the tracks had been recorded to tape and left to decompose for 10 or so years, then dug up and re-recorded. A thick layer of grunge and an overall murky feel sets the tone for Path 0.1 and continues throughout the EP. Paths 0.2 and 0.3 add a more upbeat feel to proceedings, as the beats get scattered around like they were in a pinball machine. Path 0.4 finishes off the experience by bringing the tempo back down, while all the time keeping the uneasy atmospherics that make this EP a unique and rewarding listen.

Since Jim Coles took on the mantle of Om Unit, the English producer has sought to challenge himself and his audience by going beyond the confines of genres and styles he has so far explored. In the process he has found success by striving for more feeling, for a more human and daring electronic music. This journey continues with 'Self', Coles' third album as Om Unit and a true follow-up to his 2013 debut 'Threads'.

'Self' captures Coles in a period of growth, change, and experimentation. Inspired by personal psychological and emotional healing work, and a vision of the self as an egg — which Coles later on discovered is a Jungian archetype — the album blends dubwise, bass-heavy music with the space of experimental ambient compositions and the daring imagination of a cold wave science fiction soundtrack.

The first Om Unit album on Coles' own Cosmic Bridge label, 'Self' offers new forms amid familiar touches. Stripping away what people might expect, Coles deconstructed and reimagined his work so far as a challenge to himself and, in turn, to his fans.

The album opens with 'Cold Love' and 'Passages', two minimalist tracks that deconstruct the tropes Om Unit has become best known for and teases the listener with games of tension and release. This approach is revisited later with 'Unmasked', what Coles describes as 'a power diagram' of dancefloor ideas, and 'Field of Dreams', which began as an imagined dream about hardcore and ends up like a rave track heard inside someone else's head, a mediation on the roots of a sound that has been central to Coles' career so far.

Some choice vocal collaborations help anchor 'Self' beyond the abstractions of instrumental music. Bristol's Rider Shafique lends his rugged voice to an inner monologue on 'Nothing'. As the track's rhythm unfolds at a seemingly glacial pace, Rider invites the listeners to embrace suffering and see how in order to grow, we need the sunshine just as much as we need the rain.' Manchester's DRS, whom Coles calls one of the realest lyricists in drum & bass,' takes an equally empowering approach on 'Make Believe' over a beat that skews structural expectations. The last, but by no means least, vocal contributor is Amos, aka Amina Osmano of A/T/O/S, who lends her soulful tones to 'What I Can Be', an uplifting song that leads listeners into the light.

Fans of Om Unit's more dancefloor-minded output are not forgotten. There's the epic 'Out of the Shadows', inspired by the importance of releasing trauma from our bodies, it's meld of soaring strings and gentle breakbeats bringing to mind classic era Metalheadz or early Massive Attack, the hopeful dance music of 'Twilight' with its inviting flute sample and punchy rhythms, the dubstep meets jungle of 'Despite It All', and the romantic yet melancholy footwork of 'Cloudwerk'. The album ends with 'Tahatan', the Sioux word for hawk and — via its rhythmic lurch, bird samples, and layering — an invocation of key steps in Om Unit's journey to date.

As Coles admits 'Self' is not an obvious album, but then again he has never been an obvious producer. Over the years that has meant exploring the potentials of hip-hop beats, the space of slow-motion house music, or the frenzy of footwork patterns and coming out the other side with personal takes fashioned from experience, experimentation, and excitement. With 'Self', Coles is once again putting Om Unit forward as a connector — between musical ideas, studio techniques, and potential emotional outcomes — rather than a purveyor. The album hides its beauty behind stylistic flexibility, inviting listeners to hear and feel the experiences and memories that make up who we are.

Auf der Zielgeraden seiner 12-teiligen "The Golden Ravedays"-Serie holt Superpitcher den Rock'n'Roll aus dem Sack und zeigt Alice Cooper, dass er nur ein geschminkter Clown ist. Ein Tribalbeat schiebt das Stück konstant voran, während uns eine gruselige Stimmer versichert, dass wir hier Rock'n'Roll hören. "Shining" dagegen besticht durch die warmen Sounds und eine ausgeprägte Beatstruktur. Wir sind gespannt darauf, was das "The Golden Ravedays" Finale mit seinen letzten beiden Veröffentlichungen noch für uns bereit hält ...

Alessio Natalizia aka Not Waving rides the wave of a lifetime on his magnum opus, Good Luck. The London-based Italian artist's second album for Diagonal is an emotional but fiercely optimistic LP of skewed cathartic dance pop written in the midst of these dark and uncertain times (made perhaps more uncertain by the recent birth of his first son). It represents the most ambitious album in his own unique catalogue, a discography that features acclaimed work as part of Banjo or Freakout and Kompakt techno duo Walls — plus half a decade spent at the axis of underground electronics via his own Ecstatic label and his recent, raved-up output for Diagonal.
This latest record sees Natalizia fine-tuning 20 years of recording and rave experience into a vibrant, pop-ready statement that's never felt so necessary. It abandons the sensitive streak hinted at on Animals, his debutLP for Diagonal, to pursue a creative hunch for concision and social unity. This new perspective drives the album's flux of emotions and guides what some may find to be a utopian outlook, wrapping his trademark experimental urges, clever song arrangements and winking edits in a larger narrative: a new system, if you like, that offers a way out of the contemporary condition towards something pure, sweaty and wild. After all, rave 'floors were conceived for many as a way to forget/abandon the dark undercurrents of late 80s political turmoil. Good Luck does something similar.
The record is constructed as an album proper and follows a novel narrative: from the ego-pinching computer punk of Me Me Me, which jabs it into action, to the new wave thrust of Tool (I Don't Give A Shit) and the ambient flush of Roll Along With The Pain Of It All (I'll Text U), Natalizia clearly delights in taking us on a frenzied ride, but he never forgets his fondness for contemporary club culture (see the fulminating iridescent EBM-pop of Where Are We — with Montréalais minimal wave chanteuese Marie Davidson guesting on vocals — or the acidic punk jabs of Watch Yourself).
Good Luck is a thrillingly positive record — like a big slice of pink and blue sponge cake, it's delicious, sweet,creamy and wonderful. And that's the thing: even the title feels like a much-needed injection of optimism, a return to the utopian ideals of rave. Contemporary olitics/culture/life/love/music/media seem to be infected
by a feeling of impending dread — of fear, alienation, division. Perhaps it's the job of artists to present an alternative vision for the world (and music) rather than simply to reflect one's reality back into the echo chamber of their own lives. It feels like thereís never been a more important time for a record like this.

Alaska & Seba return to Arctic Music with their second 12'' 'Sandpoint / Be With You' both tracks are synonymous of the smooth rolling soundscapes of Alaska & Seba.

When legendary Drum and Bass pioneers, Bad Company UK and the equally pioneering twenty-five-year strong RAM Records joined ranks, it was clear the consequences would be historic. Both have spent decades helming the drum & bass genre, becoming a definitive part of its fabric. The most recent chapter of the story began when Bad Company UK made a welcome return in 2016, which led to them signing exclusively to the RAM Records imprint. Longstanding fans and new listeners alike have been treated with brand new music; from their remix of the Prodigy's The Day is My Enemy, to their standalone singles Equilibrium, Nomad and Tetris. Tetris provides a nod to the sound which made Bad Company UK so infamous whilst bringing the 2017 flavour. Following an extensive worldwide tour, which saw them take their sound across Europe and the USA, as well as Japan and New Zealand, D Bridge, Fresh, Maldiniand Vegas aka Bad Company UK breaks the commercial stereotype yet again with Primal Fire, whilst utilising the emotive vocals of featured vocalist Sitka, and these two tracks demonstrate yet again how Bad Company UK are continuing to burn the flame as brightly as ever.

repressed !

Basement Records is really excited to announce the relaunch of it's sister label Precious Material Label. The label originally ran from 1994 to 1997 and won critical acclaim for a series of releases including the outstanding Icons (Blame & Justice) Projects, Jazz Juice Detroit, Brothers With Soul, Nautilus and Tony Justice Headhunter releases to name but a few. The label was known for its deep luscious Jazz, Deep Techno and Rare Groove inspired releases.

This new album continues on the same thread and has been receiving great reviews. The album features exclusive tracks, some tracks that were only released digitally and an unreleased remix of the classic "Jazz Juice" track "Detroit" by DJ Lee.

The project will be released as a 4 x 12" Album with a double CD featuring a mix by DJNibers aka Andrea Nibbers & Ben.

Zero Sum is a track that has become a stone cold classic. Its timeless sound and feel, is up there with tracks that form the golden era of Jungle .Available for the first time on 10" vinyl, Sully has worked his magic on this release.
There is also a refix on the other side from one of the golden era's classic duo's - Dem 2 Ruff.Their Refix keeps the vibes of the original but in true Dem 2 Ruff fashion. It comes to slaughter your speakers, be warned its ruff but still nice too.

BCee & Villem's Vanguard Project returns for it's fifth instalment in the series.

* U MK ME FEEL has been getting a hammering from DJ's from Etherwood to Friction and encompasses that classic ravey feel that The Vanguard Project do so well.

* Think About rolls out effortlessly with classic rolling vibes that just ooze class.

* Flipping the script, The Vanguard Project showcase just how versatile they can be with 'Fused'. Probably the heaviest track they have unleashed to date, this is a bass heavy peak time beast of a track.

* Rounding things off, Spearhead Resident MC Tempza steps up on vocal duties for Recharge.

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

For Kontra-Musik White Label's 10th release we give you none other than Nuel. The Italian producer is closely connected to the Aquaplano label run by Donato Dozzy - a natural source of collaboration as they speak the same language, not least in the musical sense. Nuel has perfected this dreamlike and seductive speech and it was irresistible for Kontra-Musik. On the surface Nuel's tracks might seem abstract and mathematical, but there's really an abundance of movement and groove in his music. Mechanical yet sensual, there's subtle erotic current running through the whole release: It's like a Marvin Gaye record for robots that just want to get it on.

No matter where the winds may blow, what storms may come or what pirates will do, the Transatlantyk ship is still sailing.
Navigated for the last three years by Zambon out of Berlin, ultimately avoiding the shallow waters of the generic and constantly patrolling the seas in search of exciting sounds.
After all that sailing the label just had to replenish its ranks with some fresh faces - those still capable of voyaging into the unknown.

Joining the crew is a young gun TAMTEN, who by day serves as a vinyl pusher in Warsaw's finest Side One record store.
What he does by night is not the matter of this short text, but we are sure he does a lot of it.
Hence his love for all things distant - from subaquatic pads and floating riffs, to new-age-y siren voices, otherworldly effects and percussion drenched in reverb.Â

There is a lot of similarly distant, sun-bleached material on this five tracker, full of a druggy and hippy Balearic feel.
Beautiful ambient jam 'Przebudzenie' is the stand out track, but 'Znaki Czasu' is equally as good with its simple, yet memorable melody, reminding of dawns and sunsets on some God forsaken beach.
Sultry deepness of 'Nieznajoma' is followed by enchanting digital exotica of 'Wyrocznia' and wavey trip-hop cut 'Po Burzy'.

Overall its one of the strongest EPs that Transatlantyk managed to co-opt into its growing catalogue. Definitely one for the dreamers.

Time for something a little different from Public Release.
EYE O is the convergence of a few Bay Area stalwarts—Kevin Woodruff, formerly of Tussle, and Jason Schwartz—and 'Deux O & Debut" is their first studio-recorded public offering. The five-track, fifty-minute- long LP is a weaving journey through a pastiche of styles that're all nephews, cousins, brothers, sisters of one another. Kraut-rooted motorik drums reconfigure into more complicated math-y patterns; razor-sharp dance-punk guitars stretch out and dissolve into dubby post-rock atmospherics; synth loops you'd more commonly find in house tracks get grafted onto fuzzy psychedelic breakdowns; hard rock licks lock into chunky industrial grooves.Less for dancefloor destruction and more for trippy weekenders, the instrumental record manages to both be a focused, cerebral, conceptual hunk of fat to chew on and a spaced-out, intuitive ride through the cosmos. For use during those off-kilter small hours of the night just as much as it is vision quests and introspective weekends. It's rare that an outpouring of so much can feel so simple and sublime.

8ball is part of the Grade10 record label who has been popping up on Radar Radio and NTS Radio over the last few years. This is 8balls first release proper on Grade10 and it comes hot on the heels of the All You See Is Crime In The City cassette. 8balls rare appearances behind the decks have included Outlook Festival and Broken Sonics at Corsica Studios.

This Ep contain five tunes which cover ambient, jungle and hardcore. They all come ladened with overdubbed compression and bins rattling bass apart from Sepia is a jungle tune with only the synths left in. Tun3 and Maker are both short intense blasts, while Stages is classic jungle and So Good is reminiscent of late 91 hardcore.

Selected Music from the album 'Brian Damage' , originally out in 1980. Comes with both versions from the 'Aeo' cut on the A side - check!

PATRIXX Matic

ABA-ARIGINAL

He's bBeen a player of many years with groups such as UB40 Aswad Dub Band Ruff Cutt just to name a few. He and his brother formed the band MATIC 16 to which the horn section is called MATIC HORNS. As a horn section they played on many reggae recordings for producers from the UK JA USA and Europe. He has in resent times produced instrumentals for his own label HFP (HomeFront Productions) that has been released 1.lucrative and 2 Aba-Ariginals as well as producing dub plates to the big sound systems such as Aba-Shanti-l Channel One Jah Shaka and sound systems in Europe.

He has now taken to DUB STEP with one of its biggest producers COKI in bringing the horn to the electric digital sound with great success, new to the scene and new to both artists. This is an extension of bringing the sound of TRIXX to the club scene.

After the success of DJ Khalab & Baba Sissoko's afro-futurist masterpiece "Khalab & Baba" LP, and winning the Track of the Year award at Gilles Peterson's Worldwide Awards, K&B return to Wonderwheel with two remixes of tracks from the album on a limited edition 7". First up, Black Acre labelmate Clap!Clap! delivers an absolute monster that veers into 4/4 territory with hints of classic jungle vibes, while Brownswood recording artist Nikitch delivers a devasting, bass booming footwork inspired reflip of "Lenke"

Moscow based multi-talent Impish presents the Hush LP, his latest album project that will be released through all quality physical electronic music outlets around the world October 20. Working through labels such as ProgRAM, C.I.A. and his own fast rising Occulti Music imprint Impish is quickly establishing a name for himself in the global drum & bass scene. In a world that consumes more and more music in a superficial way Impish manages to take a halt on the Hush LP with timeless songwriting, arrangement and production inspired by live music and drum work. From effortlessly rolling tracks such as Can't Feel and Shadows towards more introspective vibes on Changing Colours and the LP's title track a common thread runs clearly throughout the album: the aim for perfection, true craftmanship and a drive to combine to high-quality beats and breaks with musical elements. To aid the budding artist in spreading his ethos UK based female vocalist Kate Wild and Irish drum & bass producer Zero T feature on the album for vocal appearances and remix work.

J.C aka Jose Cabrera and Kastil collaborate and come with the exciting results. A fresh blend of fierce techno, ambience, industrial, noise and found sounds recordings. A full length captivating album that pushes and pulls you through an edgy and engaging world of sound. Part 1 mixes up trance-inducing deep techno with punishing drum programming. Synths have a life of their own as they whip and snap about and bring a post apocalyptic sense of foreboding. Some tracks are abstract modular gurgles and others are lo-fi, heavily textured affairs that are beguiling beautiful. The use of modular synths lends the whole thing an unpredictable and analogue feel that makes is bristle and brim with life throughout. Part 2 focuses on more suspensory ambient sounds. It means tracks zone you out and get you thinking, with distant melodies drifting next to warm solar winds. When drums do appear they are deep down below and dubbed out affairs that unfold slowly. A album that keeps you locked from start till end!

19 year-old Glaswegian, Teddy Lambert (aka Rapture 4D) turns in his official debut in the form of the 'Lambert & Yoker' EP for Astral Black. Across 6 instrumentals, Rapture 4D shows a maturity beyond his years, delivering a progressive debut that demonstrates why this young producer is heralded as the leader of Glasgow's new-wave described by FACT magazine's John Twells as blending 'post-TNGHT instrumental trap business with Bloom-ish pneumatic grime'.Without an official release to his name, Rapture 4D has created a name for himself amongst the grime scene over the past 18 months. The past few months alone have seen R4D taking up residence in Red Bull Studios, collaborating with grime scene OG's and contemporary peers such as P Money, Plastician, Flirta D, YGG, Lady Chann, Spooky and Capo Lee to name a few. This January R4D earned his stripes holding down an hours self produced set alongside his partner in Grime, Polonis, with the original grime kid Wiley handled mic duties to a frenzied Sub Club. Rapture 4D also currently holds the title of UK Beat Boss champ (as voted for by Jammz, Grandmixxer & Flirta D) with his remixes for the likes of AJ Tracey & Rude Kid finding their way in to top 5 charts for 1xtra.
'Lambert & Yoker' has already received support from DJ heroes Slimzee, Sir Spyro & the Boxed crew on their radio shows for London's Rinse FM, NTS & Radar Radio. 'Black Ice VIP' is set to be premiered by Complex Magazine, with support elsewhere from Mixmag & FACT Magazine.
It's undoubtably a press release cliche, but the talent and work ethic demonstrated by Rapture 4D proves he is one of the most exciting producers currently operating in the UK and this debut release is just the first milestone for this talented young producer.

The 1980s. Neo-liberal excess. Crumbling communism. Military juntas ruling with an iron fist. And of course, freaked out music. Contort Yourself are turning back the clock and returning to an unholy fount of inspiration with "80s Underground Cassette Culture Volume 1." A buffet of beaten up and brutalised tracks are on offer from unknown outfits and respected experimenters. Across two LPs expect to find noise reductions, post punk bitterness, no wave grunts, distortion soaked strings and vocals lost in a hail of pain. A road map into the weird and wild world of DIY back alley artists who, armed with only a tape and an idea, gave the established music norms a sharp fist to the throat..

For this debut release, the Munich-based crew behind FAYAH CHORDS has turned to two experienced vocal talents: South African dancehall mic man Crosby and veteran toaster Longfingah.

Crosby delivers a trademark vocal on the skittish but soulful, reggae-influenced dubstep pressure of "Bad Mind Character", which was produced by FAYAH CHORDS crew member Ruffftec and TheBanktella.

It's accompanied by two jaunty digital stepper dub/reggae reworks by Violinbwoy and Blue Hill respectively. Ruffftec returns to the controls on Longfingah's cheery, breezy and soulful dubstep bumper "Caught Inna Dem System".

In this instance, the remixes were delivered by Subactive in a wobbly early dancehall style followed by the killer remix of Phantom Warrior, who weighs in with an interpretation that looks to ragga-fuelled drum & bass for inspiration.

This release provides enough musical fuel to light every dance on FAYAH. By the way - the cover and vinyl presentation is delicately finished. A matt sleeve with white walled finish with an artwork depicting the artists fight against injustice. The vinyl itself is uniquely white.

»decadent yet depraved«, the debut album by belief defect, finds shelter and complicity in raster as home and label.
familiar with the underground music scene and how its skeptical nature can also be an obstacle to overcome, belief defect abandon any claim or credit in an attempt to transcend the limits authorship imposes, avoid the boundaries or expectations earned or self imposed and find the clearest, most direct path to their music for themselves and the listener.
at the core of the album is the music that inspired them, the conclusion of countless recordings listened to in their formative years that ultimately result in a life-long devotion to electronic music: from dance floor to primal anger and self-annihilating noise, to transcendental, ambient escapism and intense self-reflexive sonic layering.
the result is a soundtrack for this apocalyptic time, an uncompromising reflection on the state of mankind and its uncertain future - underscored by a sense of religious and secular demise referenced in track titles, samples, and soundscapes scattered throughout the album.
yet, more than a political statement »decadent yet depraved« is an introspective journey, turning each listener into a spiritual soul-seeker staring into the abyss, reaching for some kind of cathartic truthfulness.

Bleep Bloop is back with his newly revealed EP The Fifth Pupil EP, out October 13 on DJ Shadow's Liquid Amber label. The four-track EP is experimental Hip-Hop and bass music at its finest and arrives in conjunction with his biggest North American tour to date.

A throwback to the classic leftfield music from revered labels like Warp, Planet Mu and Ninja Tune, but with a modern twist, the EP ignites with with the gloomy title track which sounds like a blast of machine gun bass and percussion to the body, relentless to the end. Angry' highlights Bleep Bloop's diverse musical palette with a classic jazz percussion structure that feeds rubbery basslines into snare rolls. Man and Machine' is proper drill n bass, the soundtrack to an automated world where machine-lead processing overtakes the human touch. The EP' closes out with Angry (Paint Remix),' an alternate, more aggressive take on the original.       

In addition to supporting Rezz and Zeds Dead on their upcoming tour dates, Bleep Bloop is on his own headlining The Fifth Pupil' North American tour through December. Notable stops include Brooklyn, Los Angeles, Washington DC, Denver, Chicago and many more.

Shanti say 'For the third release on Peach Discs, a wicked new producer from Leeds steps up! his name is Chekov, his Rotlicht EP is the first 3 tracker on the label and very different from the previous two with some tension building sleazy cuts. ENJOY!'

Sicknote, J Bionic and Dissect are back with the third Volume in the Paws Recordings series.
"20 Questions" maneuverers its way through uplifting and mysterious melodies, twisting and turning all the while on a progression of ethereal and intense moods.
"Bluffing" continues the Paws style with big drums, catchy percussion and heavy hitting bass.

Espectrostatic's 3rd LP, Silhouette, comes to vinyl for the first time as a hand-numbered limited edition of 500 on transparent Spectre Blue wax with download card. Including re-imagined artwork and insert by Hauntlove.Silhouette, the follow-up LP to 2014's Escape from Witchtropolis, is a seductive and enthralling mix of creepy horror and melodic beauty.Alex Cuervo's Espectrostatic moniker once again manages to create its own world and effortlessly draws you into his dark creation. As soon as the opening track 'The Corridor' begins you know immediately whose dystopian world you have entered.The melancholic beauty of 'The Day We Were Captured' will melt you without remorse, building synth upon synth atmosphere. There is also a fun and teasing side as highlighted on 'Dead End City' with its post punk drums and guitar flare.

The Limiñanas is guitarist, bassist, organist and main songwriter Lionel Limiñana and drummer and sometime vocalist Marie Limiñana, and is based in the southern French border city of Perpignan. After having released a series of singles, on which the duo used several guest vocalists, The Limiñanas released their self-titled debut album in 2010 on US label Trouble In Mind. The music of the Limiñanas finds its inspiration in the French psychedelic pop music from the 1960s - think Serge Gainsbourg and the yé yé sound. The Velvet Underground and psychedelic garage rock were also important influences in the band's sound. This all leads to music that incorporates a lot of 60s elements, but still sounds modern and different from most of the other music around. The duo continued to put out singles and albums over the next few years, slowly incorperating new influences in their music, like European '60s and early 70s soundtracks and library music. On their third album, The Liminañas worked for the first time with French avantgarde composer, guitarist and multi-instrumentalist Pascal Comenade, a cooperation that led one year later to the album 'Traité de Guitarres Triolectiques' on Because Music, re-released in 2016 as 'The Nothing Twist' on Trouble In Mind. Comenade, who became known for using toy instruments an an important component of his music, has released more than a dozen albums since the early 1980s and has worked with artists as diverse as Robert Wyatt, Faust and PJ Harvey. For their Snowflakes Christmas single, The Liminañas and Pascal Comenade again join forces and have recorded two songs together: original 'The Curse Of Santa Claus' and a version of 'Silent Night'. 'The Curse Of Santa Claus' has usual Christmas ingedrients like sleigh bells and church bells, and revolves around a story read by Odliz Bemer, but adds several vintage sounding organs, pounding drums and a fuzz guitar. The instrumental version of 'Silent Night' gives the much covered traditional a complete new perspective, with the melody being played by a glockenspiel, Herb Albert-style trumpets, violins and funky wah-wah guitars, all held together by a steady drumbeat.

The first live incarnation of Naples' infamous Mystic Jungle collective.
Analogue improv captured live in front of an audience of around 100 people in an art-space in the city.
Sprawling across 2 sides of wax uninterrupted and encapsulating the tribe's cosmic drenched machine funk 'Live In Napoli' is a fascinating document of a crew formulating something that touches equally on Boogie, New Age, House and Esoterica with ease while oozing the sophistication and singular style the MJT have become known for in recent years.

Fast on the heels of 2016's long awaited return Sweet Sensi Records with SENSI003 featuring FeyDer's That's My Number, the Sweet Sensi Records camp returns again with its fourth and most old skool junglist double 10" vinyl.

Tim Reaper lights up the first side of plate 1 of the release with Oh Gosh, a proper '95 style vocal ragga tune.

Next up is Netherland's FFF with his dub-infused amen smasher 'Done With It.

Locking down the first side of plate 2 is Kid Lib bringing the spirit of Tom and Jerry with rare-groove inspired ragga lick 'Nuf Luv'.

Finally closing off the release is Sweet Sensi Records Head Honcho's DJ Clear and Co-Label Owner David Jabba's 'Jungle Lovers' - funky guitar lick and amen smashing beats for your dancefloor.

Mastered by Ten Eight Seven's Legendary Beau and digitals by the one and only Fanu you will hear the Love put in to this release!!

Basil Kirchin was a pioneering British composer who blurred the lines between musical genres. While his career began in the '40s as a professional jazz drummer, in the '60s he started to make field-recordings, painstakingly splicing tapes and slowing-down sounds until the source material would be virtually unrecognizable.Originally released on Island Records in 1974, Worlds Within Worlds juxtaposes Kirchin's various tape manipulations - amplified insects, animals, engines, glossolalia of children - with traditional musical instruments to form an organic totality that has the overall effect of otherworldly, ambient soundscapes.As Brian Eno writes in the liner notes on the original release, "Within the first couple of minutes it became obvious to me that Basil had not only discovered a whole new area of sound, but had exploited it with extreme skill and sensitivity, producing beautiful and evocative music as well.... So Basil Kirchin has made a double contribution: he has not only built the instrument, but has written and played the first successful works for it."

Worlds Within Worlds remains a lost classic in sonic abstraction. This first-time reissue is recommended for fans of Broadcast, Aphex Twin and Nurse With Wound.

What is music Is it some warped set or a never before heard radio station, or two televisions being broadcast and received simultaneously

Beat Detectives 'Heavy Traffic' album is a composition that deals with ideas of cut and paste, duration, loose comedy, sharing, like shuffling through cards or flipping through folders. The original seed of the composition was a selection of recordings more or less randomly tracked to tape in a series, along with many warped and fragmented rhythms from the 56 bog beat lab. Always an investigation, scattered to find a pattern or hook or groove or better a beat. What does a frustrated version of the world feel like This is cartoon music. Is it This is a rhythm.

One headphone seems to be louder than the other but it might be the mix, the odd acoustics of the train platform or the reality of the situation is that your hearing is probably busted Now the panning in the track is totally different anyway. U know Thats the vibe.

Burn it down. Don't argue with the wrong people. acab.love poetry, end hate. earth is for all people.
the tracks should speak for themselves.

Patterns Of Consciousness is the powerful second full length from analog synth composer Caterina Barbieri. Highly recommended to fans of Alessandro Cortini and Eleh, Barbieri can be seen/heard/felt live at major electronic music events across Europe and beyond.Gorgeous high resolution analog textures and algorithmic melodies unfold under Barbieri's careful control, exploring the basic nature of sound and consciousness. These pieces are minimal in arrangement but maximal in presence asserting Barbieri as a unique voice in contemporary electronic music composition."Patterns Of Consciousness finds Caterina Barbieri at her best, elegantly moving between melodically pleasant yet twisted sequences and comforting, reassuring sonic spaces. Every piece, while given a singular identity, is part of the bigger picture: a work of art that will push you, pull you, and then eventually leave you with your back against the wall once you get to the last track. " Alessandro Cortini (Nine Inch Nails)"A pattern creates a certain state of consciousness. Once it is created, the pattern stands as an object exactly like the sound waves which generate it. We are at the same time inside and outside of the object. While being it, we observe it. Over time we become familiar with the inner structure of the pattern. We decode its gravitational centres, where our psychomotor attentionis attracted, where everything seems to be drawn. When a change in the pattern occurs it causes a perturbation of the previously established field of forces. This causes consciousness to fracture, potentially unfolding layers of perceptions we weren't aware of or simply suggesting that we access only a fraction of our psychic potential.The layered nature of consciousness and the relativity of perception are some of the biggest secrets we can experience through sound." Caterina Barbieri

Andrey Terekhov is known to the world as EastColors, and is known for his wide-scale, expansive sound on releases for labels such
as Critical, Samurai and Hospital. Now, it is Demand Records who take up the talented young Russian's work, The Swiss imprint is
respected the world over for its strength of roster, quality of releases and forward-thinking vision. The perfect combination of artist
and label, then, for the issue of The Light EP. The original is straight up classic EastColors, with ranging depth, soulful vocals and
urgent, percussive beats. The flow is augmented with some flashing electronics, smooth delivery and top drawer arrangement and
production. Truly a gifted musician, if you have slept on EastColors up to now, it's time to wake up.

Istanbul's drone-pop producer Ekin Fil turns her sites to the big screen for the first soundtrack in her impressive catalogue of recordings. Inflame (2017) is a psychological thriller laced with paranoia and nightmares, directed by Ceylan Özgün Özçelik and was showcased at the Berlin International Film Festival and the SXSW Film Festival, amongst others.

In making her cinematic debut, Ekil Fil turns synths and electronics, in building the score that in part is brimming with tension and claustrophobia through out all the blank spaces. Always known for her restrained compositions that float amidst ethereal pools of drone and whorl, Ekin Fil sets forth haunting minor-key melodies, monotone arppegiations and plenty of seance-fiction dread. Scattered bits of the film's sound design flicker at the edges of these tracks, as an aural hallucination that dissolves as quickly as it becomes evident. Dubbed electro rhythms creep through the recursive leitmotifs and variations on themes always cast in a dim, crepuscular light.

Less informed by the retro-garde aesthetics of Carpenter and Argento, the spectral electronics of Inflame's soundtack finds its neighbors in the skeletal sprawl of Raime and the darker ambient propositions sponsored by Posh Isolation.

Edition of 200 LPs, black vinyl, 88 page artist's book, Softbound 8.5" x 11"

Eric as Alain.
Philosophical trimmings as unabashed art.
Satire isn't mean, it's about being funny.
Get in on the joke.
Eric as Homer Simpson.

Amsterdamian duo Know V.A. aka Feico De Muinck Keizer and Marjin Brussaard step up to plate for the second release of Signal Life's black label series 011-015. Having worked with the likes of DJ Shadow for his label Liquid Amber, Know V.A. present four tracks of dystopian club futurism inspired equally by their native gabber parties that the duo still occasionally visit as well as hardcore, bubbling, hardstyle and Atlanta rap manifested in a very distinct, unique, raw way. As the duo states, they are inspired by music that surpasses the function of just music and creates a lifestyle, adjoined with fashion, art and film.' The EP sets off with RIP, a nearly 10 minute epic of splintered grains and distressed, slowed down bubbling rhythms. Just To Hurt lurks in with equal doses of dancehall rhythms, icey synths and skittering alarms. On the flip, Xeno opens with a murky riff reminiscent of ATL rap's most prominent producers and rhythms mutate effortlessly between bubbling and rap in a way that will make any dancefloor move. The final transmission, Endless mixes grimey detuned squarewave leads, melancholy vocal synths and distorted bass. As Know V.A. phrase it, How would music sound in a club in a dystopian world We are slowly progressing to the end of the world, the future of the planet atm doesn't bring up an optimistic view.'

Mancunian newcomer LOFT lands on Wisdom Teeth with a stunning set of dramatic, dynamic and cinematic club cuts. LOFT debuted on Astral Plane Recordings last year with the 'RA Recommended' Turbulent Dynamics EP, which featured five stylistically varied slices of experimental, sui generis club music. The EP's centre point, 'Heffalump', stood out in particular. Across 7 minutes the track rises and falls, its rhythms and melodies constantly shifting and changing, building to a fanfare coda of trance stabs and tumbling breaks. Resident Advisor, who placed the track 8th in their Top 50 Tracks of 2016, called it 'disorienting and strangely danceable' - a pairing that, on WSDM007, turns out to be LOFT's calling card. Three Settlements Four Ways picks up where 'Heffalump' left off. Dynamically and structurally, the EP operates miles outside of traditional club territory, eschewing techno's constant, linear structure in favour of unpredictable narratives that rise and falter in a series of dramatic crescendos. Baltimore rhythms and gunshot breaks build to violent peaks before tumbling into thin air, giving way to yearning melodies, romantic synths and pitch bent choirs. WSDM007 secures LOFT's place in that special class of artists - think Objekt, Bruce, A Made Up Sound - capable of creating impeccable, challenging dance music that is at once cerebral and unfalteringly functional. If mindfuck dancefloor moments are what you seek, look no further.

Terrific 12¨ purple vinyl and as Waste Editions crew are really into emotive and personal sounds ,on this occasion this new release 'Inside us ' by Old Coroner can´t be otherwise. We can´t talk about a trend since the producer from Barcelona Victor Safont ,who is the man behind this project ,started producing synthwave music in 2003. Yes siree! Powerful beats ,dark textures and touching melodies which are perfect for a diabolic dance floor or a meeting at a lodge.

If Psychic Health's self-titled debut album took the lessons the LA duo learned in the teeming clubs of Berlin and Melbourne, their latest LP, Exclusion, look inward, a document of the duo tunneling down the studio wormhole. As such, Exclusion is a remarkably dynamic effort, adeptly jumping between evocative ambience ("Jamaica 88," "Ryso") and equally expansive dance floor fair.
Examples of the latter, such as the album's obvious centerpiece and titular track, Exclusion, document Gabriel Mounsey and Devon Steffens's harnessing modular beast technology for peak techno utility, finding a clear thoroughfare between the soaring strings of Derrick May's classic Transmat releases and Ostgut Ton's current EBM-inflected precision.
As you'd expect from Mounsey's background in film composition, Exclusion whirls with imagery. It's a Los Angeles album, but focuses on raw beauty of the city at night—the lights in the distance, and the desolate downtown streets where kickdrums often waft from disused warehouses. While their debut album opened notable doors for the group, landing distribution from Hard Wax and featuring in the Netflix series Sense8, Exclusion is an altogether masterful turn for Psychic Health, their complete studio immersion easing the listener into deeply hypnotic states.

Limited Edition Colored Vinyl. Original Controversial Artwork. New 24 bit/ 96 kHz taken from the original master tapes. Rare Master Tape Box photos included. The 1969 follow up to Silver Apple's debut found the duo digging into the far reaches of their songwriting psyches for a darker and more emotionally charged set of songs. While the debut set the stage for a sound the world had never heard before, Contact is where the Silver Apples began inhabiting that sound with more urgency and experimentation. Sourced from the original master tapes plus inner sleeve with unseen master tape box photos. Featuring the original controversial artwork with the Silver Apples in the cockpit of a Pan Am jet on the front, and a plane crash with the duo superimposed over it, on the back. The airline sued

both Kapp Records & the band, forcing the band to break up. Their highly influential sound has influenced countless bands from Stereolab, Beastie Boys, Blur and more.

Stelzer/Murray is the duo of Brendan Murray and Howard Stelzer, two stalwarts of the Boston noise / experimental scene over the past two decades. Both artists have long been friends and both artists have never shied away from collaborating with avant-garde musicians hither and yon. Yet, this marks their first collaborative work together. Better late than never, we say.

Stelzer brings to the table an array of mangled and partially demagnetized tape, and Murray brings his knack for compacted harmonics, obfuscated field recordings, and long-view compositional strategies. An irradiated, almost Kirlian glow permeates Connector through the duo's slow accretions and erosions amidst the soaring crescendos of compacted tone and vacant shadows of mechanical thrum. On occasion, rasping saw tooth frequencies and oblique synth-noise phrases stridently pop in a clinical opposition against the field of hiss. Screaming cascades from ice storms. Tape symphonies from urban blight. Life-support machines at the point of obsolescence.

In describing the process of building this album, Stelzer reflected, "When you've known someone for this long, the act of collaboration is like conversation over dinner, you don't fuss over it or worry about it, it's stress free, even instinctual like exhaling."

Good things come to those who wait.

Debut vinyl release for this curious Japanese producer combining electronics with subtle field recordings across a gorgeous set of arrangements. A maiden voyage too for the Lullabies For Insomniacs label. Blissful TIP on this one!
SUGAI KEN is an electronic musician based in Kanagawa, Japan. Using synthesis and recordings of his daily surroundings, he conjures the subtle and profound ambience of the Japanese nightscape. His music evokes a nocturnal peace that reflects the intangible qualities of his memory and dreams.

- On The Quakefish is an immersive exploration displaying a rugged invention, compressed into short bursts of electrifying genius. The release represents a romantic desire for dispersion into nature. Earthy as well as ethereal in his appreciation for figurative beauty, SUGAI KEN summons the Zen tradition of Satori. He invites one to listen with a sense of intimacy and introspection, reflecting on the extremes of subtlety.

!Gore-Tex City' is Varg's new album, and third in his Nordic Flora Series, marking a further and deeper sweep of his elements. Stealth dance floor assaults are layered with lobotomised, spoken word meetings in malls, and free-form electronics pepper acoustic bereavement motifs. It shifts from heavy to chronic as blown-speaker-rap stubs out cigarettes in gated techno enclosures.

Sleeper's Crucial Recordings imprint comes bearing generous sonic offerings of its characteristically standard-setting and ever-expanding output with their newest release, CRUCIAL014, a compilation comprised of Crucial's own family lineage. The highly prolific label has build themselves a resounding reputation within the underground scene for pushing their unprecedented mission for delivering multifaceted and boundary shattering bass music, with CRUCIAL014 proving as the newest groundbreaking addition to their vision. Featuring the stylings of Saule, Moonstones, Mesck, Oxóssi, Samba and labelhead Sleeper, CRUCIAL014 is bursting at the seams with four weighty, innovative, unorthodox and infectious beats that abandon all stylistic expectations with its addictive, future-facing grooves.

This mighty compilation reveals itself through Saule and Moonstones' Triple Threat,' an alluring web of enchanting melodies juxtaposed with undeniably thunderous, militant power that evoke exceptionally contagious primal energy. Mesck continues to fuel the highly volatile flame of this release with Johnny, Are You A Ghost,' boasting an unmistakably powerful, highly original and explosive sound that blurs the lines of headphone and dancefloor listening. The B-Side to CRUCIAL014 commences with Sleeper's contribution, Holy Guacamole,' a mixture of the earthy meditation of dubstep's powerful roots and unmistakable percussive sway while keeping the energy dark, moody and forward-facing. Lastly, Oxóssi and Samba's Orbitals' draws this complex and eclectic musical roller coaster to an exciting climax, offering a collaboration brimming with angry growls and guttural midrange melodies. Encased within its four tracks, Crucial's latest collaborative release, CRUCIAL014, offers a multifaceted buffet of sounds, styles, textures, moods and emotions that demonstrate the far reaches of Crucial Recordings' diversifying and irreplaceable personality.

40 years of the Voyager Golden Record

In 1977 two gilded records were send on a journey to interstellar space on board of the twin-spacecrafts Voyager 1 and Voyager 2. Stored on the discs are nearly two hours of audio material (music, sounds, words) and also 120 audio encoded images (photography, graphic, text) in order to describe culture and living space of mankind to a possible finder in a distant future and space. Today Voyager 1 is the furthest artefact and, since 2012, also the first one in interstellar space.

John Harten's art book project reflects in 120 artist contributions and four essays the compelling multi-layered idea and approach of this iconic data disk between album, atlas and archive and deals specifically with the images stored on the Golden Record.Public Folder is a serial book project by John Harten (co-founder and art director of MAGAZINE, Cologne).


The Book (Public Folder #3):

Ed. John HartenPublic Folder & Revolver Publishing ISBN 978-3-95763-395-8
24 x 20cm, 344 pages, german/english Elaborate bookdesign with two thread-stitched book parts, removable text book, different papers, 8 paged cover with goldfoil embossing and silver print and folded poster wrapper.

With contributions by 120 artists like:Albert Oehlen, David Ostrowski, Gregor Hildebrandt, Ingo Niermann, Johannes Wohnseifer, John Bock, Jörg Sasse, Justus Köhncke, Lothar Hempel, Marc Brandenburg, Matthias Schaufler, Michail Pirgelis, Mischa Kuball, Oda Jaune, Owen Gump, Peter Miller, Rafael Horzon, Rainald Goetz, Roman Schramm, Walter Dahn, Wolfgang Tillmans, Wolfgang Voigt ...


Record 1 (PF3 / GR 1)

A: Justus Köhncke - System als SchönheitThe audio part of Köhncke's contribution for the book: a conceptual composition, transforming the Unix software development timeline to sound. Played from a metal dubplate in an installation 2012.

B1: Jörg Sasse - Voyager (1980)Tape recorded soundcollage Jörg Sasse did in 1980, using radio reports about the Voyager mission (see also track A2 on record 2).

B2: Jens-Uwe Beyer - Black Ocean - Blue SeaThe composition of nearly 18 minutes is a hommage to a piece on the actual Golden Record where the history of earth and mankind is explained in a soundcollage. Among other sources, Beyer uses science data from the Voyager mission.


Record 2 (PF 3 / GR 2)

A1: A.W. - Per Monstra Ad AstraMorse code of Aby Warburgs - per monstra ad astra , as a citation of Kepler's (and Sagan's) motto - per aspera ad astra , which is stored as morse code on the actual Golden Record.

A2: Voyager 1 Plasma Wave System (Nasa) - 12.-13. November 1980 (Saturn)The Plasma Wave Subsystem is one of the science experiments of the Voyager probes. It detects plasma waves between 10 Hz and 56 kHz, which makes it possible to just represent the data as sound waves. The data used here represent the Saturn fly-by of Voyager 1 (see also track B1 on record 1).

A3: F. D. - Arecibo MessageThis is an early SETI message in form of a binary pixel image, initiated in 1974 by Frank Drake who is one of the main founders of the Golden Record.

B: Public Folder - Golden Record / ImagesSimilar to the images on the Golden Record, all 120 artist contributions for the book were encoded and stored as audio sound. Each image takes 10sec and can be read-out (made visible) by a spectrum analyzer.

Massive new Chinese Man records, dancefelfloor Tropical bass with some Cumbia Footworking hot moments ! Don't miss the Masterpiece !

The SP version comes with a printed sleeve !!! Massive drum & bass ! A heavy cut by Beau and solid Neuro drum with a bloody sound... Noisia fans should get this one without hesitation !!!! This is defenitly a bombastic record !

Having given us a taster of things to come back in September 2016, with the 'Pressing Matters' single, The Cyclist returns to Hypercolour with a brand new, full length album. And as the title suggests, 'Sapa Inca Delirium' leans heavily on South American mysticism, not just musically, but in the visual imagery that the eleven-track album paints so well across its various tempos and rhythms. From the tropical burst of mood setting opener, 'Go Back' to the steamy and pacey percussive flow of 'Inhale/Exhale' which features regular collaborator Tanaya Harper on vocals, The Cyclist's fourth long player is crammed full of intriguing atmospheres and soundscapes. 'Antiexist', with its down-tempo rolling snare fills and ethereal Gregorian chanting segues effortlessly into 'A Blind Girl Drinks Ayawaska', a suitably discordant and hallucinogenic skit that ensures the album flows into the more rhythmic cuts like 'Skateboarding In The Jungle' and 'Mirrors' (the second album cut to feature Harper on vocals). Even the traditional jazzier vibes of 'When We All Break Down' featuring Joni are kept rugged and boisterous, with heavyweight bending bass, choppy breakbeats and FX'd ambience amongst the smooth jazzy chords and sweet vocal delivery. 'Sapa Inca Delirium' is one of those albums that will reward on repeat listen, such is the diversity of style on show here, and the detailed and wide eyed curiosity offered up across the long player's fifty three minutes.

Vandal invite Jamalsky for 2 banging Hardtek Kicker jungly And 2 Hard Dub jungle sounds... To dig elsewhere too ! Dancefloor killer !