Beats News

Logical direction recordings first vinyl release features two fresh (official) remixes.

Official re-issue of Danish electronic music from 1974! Vinyl LP comes with booklet and limited to 500 copies - no repress.
.
Frederiksberg Records announces the first re-issue of 'Stoned' which is exclusively licensed from the artist and has been carefully restored from the original master tapes. It comes
with a booklet of liner notes by Thomas Knak.

'Stoned' by Gunner Møller Pedersen is a pioneering partly-electronic composition from Denmark. Gunner believes that it's musically out of category'. It was created for a slide show
with focus on sculptures by the late american photographer Stuart Fox. Gunner self-released the record in minuscule numbers in 1974.

The music on STONED has an original and meditative quality which transcends time and should appeal to today's music lovers with a taste for something different.

Dear ladies and gentleman, May I allow myself to present to you something quite special. Perhaps you are not quite able to imagine, or maybe you just don't know any better, but incase it is not already obvious: OTTO - whose last album 'Greatest Hits' created furore not only with their female fans - have just backed it up with a new release more advanced than most. Which of the two can play the flute, or which has a drivers license you ask Most likely can the strongest clues be found in their delirium. Do enjoy.

* Logical direction returns with their first Beatz ep vinyl release. A 4 track ep, with the likes of Verb, Dj Fox, Drum Cypha, Tim Reaper, Mpathy, Zebedee. Keeping it true to the original sound of jungle DnB.

This new soundtrack album features 13 original compositions by the acclaimed experimental composer Ben Frost, creator of the critically-lauded studio albums by The Throat (2009) and Aurora (204), as well as music for the film Sleeping Beauty and 2015 British television series Fortitude. For this release the artist creates vivid minimalist textures that capture the drama of the compelling new film Super Dark Times. When Kevin Phillips approached me to write music for his film it resonated immediately. As a composer, the thing that perhaps excited me the most is that Super Dark Times, is in many ways of a period drama, and that within that idea there was a largely untapped world of sound to explore. Whilst the sound of the '80s has long since moved into the realm of retro, 1995 still feels uncomfortably close. CD Walkmans, digital delays, Boss Metal Zone distortion pedals, Intel Pentium chips, and Peavey practice amps inadvertently defined the music of the period (and my teenage years), and it was from that world of technology and my own memories of the confusion, the anxiety, the black hair dye the music for Super Dark Times was born.' - Ben Frost

Limited edition 180g vinyl reissue 2LP's on Virgin EMI. Download cards included.

Holotype Editions was founded as a means of bringing out music by some of the most unique and peculiar artists of the last decades. What could be more fitting for the imprint's seventh release, than the duo of cult artist Ghe´dalia Tazarte`s and multi-instrumentalist, composer and singer Maya Dunietz.
Recorded live at Cafe Oto, in December 2013, Schulevy Maker documents the duo's first live appearance. An amalgam of bizarre samples, concrete sounds, live piano and bells, juxtaposed with the otherworldly voices of Dunietz and Tazarte`s. At times light and humorous, at others dark and ritualistic, Schulevy Maker can hardly be labeled or tagged. The album title refers to Shoemaker-Levy 9, a disrupted comet that collided with Jupiter in July 1994. Tazarte`s and Dunietz freely reassembled the syllables of the comet's name, coming up with this obscure title.
A truly life-affirming record, by two artists defying categorization, Schulevy Maker comes in a limited edition of 300 copies, pressed on black vinyl with a beautiful cover designed by We Are Still Bold and Beautiful.

This second Disques Flegon recording is from Greita. After two initial tracks on the V.A. « Buffet Froid », the first and successful release of the French label, the parisian artist is back with his own EP « Faux Signal ».
The five tracks stand out blending the different inspirations that define the EP unique sound. From house to broken beat through Greita's love for Jazz Fusion and French library music, the piece travels with ease from contemporary dancefloors to cosy homes.

Photay's debut full-length Onism inherits the same historical tension in an age of climate change and social media addiction. It is also a reflection of personal conditions, a meditation on place, community, and its creator's own embodied history. The word 'onism,' invented by John Koenig, means the frustration of being stuck in just one body that inhabits only one place at a time. Shornstein contrasts spacious near-silence with bombastic saturated peaks. Fangled robotic tones ('Screens') meet with forest floor ambience ('Storm'), evoking visual designs for the built and natural worlds, while the overwhelm of metropolis ('Balsam Massacre') and the digital age ('The Everyday Push') is eased by the liberatory forests of Woodstock ('Outré Lux' feat. Madison Mcferrin) and assumptions into imagined realities ('Bombogenesis'). The demonic swing of 'Balsam Massacre' imagines the sounds of a tree's innards as it is felled with a chainsaw, while 'Storm' thunders distantly in triumphant reverie. On 'Aura,' Shornstein sings for the second time in his career ( Take the time to hear yourself'). The message hints at a common denominator to his meditations, resonating also as a warning to the world, an everyday push to the role of electronic music in storytelling the future of the global environmentalist movement. 'Onism' is pressed on 12' 140 gram clear transparent vinyl and includes a double-sided full-color 12' insert along with a digital download card.

Montreal stalwart Roger Tellier Craig (of Le Révélateur / Fly Pan Am) returns to Root Strata under his given name to offer a stunningly abstract pair of compositions indicating a severe departure from his earlier work. While Instantanés might at first evoke Acousmatic and Musique concrète traditions, the two side-long snapshots Roger presents feel far more spontaneous and rustic than those trappings might suggest, or as Luc Ferrari would say a concrète music of the poor.' A studied meditation over 10 years in the making, Instantanés is a surreal mix of the familiar and the alien, a lush garden indifferent to human cultivation or experience.

Two previously unreleased recordings from one of Greece's pioneers of electroacoustic music. Stephanos Vassiliadis (b.1933 - d. 2004) founded in 1979, together with Iannis Xenakis, the Contemporary Music Research Center (CMRC) and remained its director until his death in 2004. His largely undocumented artistic output consists of works for theatre productions, mostly unfinished or fragmented electroacoustic pieces, as well as numerous children songs. Vassiliadis was also a significant pedagogue and some of his initiatives have reformed the musical education system of Greece.

EN PYRI (1973)
Recorded in 1976 by Andreas Rodousakis on double-bass and the composer himself on the mixing desk of Radio Sweden Studio in Stockholm, En Pyri presents a previously unreleased version of Stephanos Vassiliadis's composition for tape and double-bass written in the memory of Jani Christou. En Pyri was composed three years after a multi-fatal car crash that caused the untimely deaths of Anastasia Vassiliadi (first wife of Stephanos Vassiliadis), Jani Christou (acclaimed composer, close friend and collaborator of Stephanos Vassiliadis) and of Christous's wife Theresia Christou Choremi. The title En Pyri, translating as In Fire, comes from the First Epistle of the Corinthians ..for the day will disclose it, because it is revealed in fire..', referring to that what remains after death, or in the composer's words: man's song-creation is the only thing that can withstand and overcome destruction'. The fire is clearly pictured during a particularly long climax starting midway to the end of the piece. The dramatic aspect of this spectrally dense section is even stronger during live shows, with the performer centre-stage fiercely playing double-bass, but failing to be heard over the full-range audio of the 8-track tape. This staged element of En Pyri is inevitably lost with the reproduction of this recording, but the audio alone carries a heavy load. Sounds as if written out of total need and almost physical necessity to deal with death and loss. At the end of the composition, while the performer is still onstage, a quiet tone is revealed' and held for a few minutes signifying that what remains, that what is revealed in fire'. In most performances of En Pyri, Vassiliadis was on the mixing desk. According to statements of his close friends and collaborators, he would gradually increase the level of the 8-track tape to the point he could physically feel the sound on his body. Needless to say, playback of this track in maximum volume is highly recommended.

BACCHAE (1974)
Bacchae was written for a production of Euripide's tragedy The Bacchae directed (and choreographed) by the distinguished choreographer Zouzou Nikoloudi. This particular play was part of the University of California Intercampus Cultural Exchange Program and was never performed in Greece. From the 25th of September to the 3rd of October 1974, it was staged seven times in different campuses of the University of California (Santa Barbara, Irvine, San Diego, Riverside, Davis, Santa Cruz, Berkeley) . These seven shows were to become the only occasions this composition was presented to the public. Bacchae seems to be Vassiliadi's first attempt in bringing together his background in electroacoustic music with the music he grew up to. He beautifully achieves this by juxtaposing modular synthesizer tones with samples of greek traditional music from his collection of archival recordings. These two elements ebb and flow throughout the composition, at times becoming indistinguishable from each other. The manner in which Vassiliadis mixes acoustic and synth drones together resembles electronic music of following decades. Developed gradually over a duration of 23 minutes of uninterrupted and texturally thick audio, Bacchae is a kind of proto-ambient, folk-drone electroacoustic piece, luckily rediscovered in the archipelago of recorded music.
This release was made possible thanks to the invaluable support of some close persons to Stephanos Vassiliadis. We would like to thank the composer's family (especially his grandson Stephanos Andreou, for his artwork, and his daughter, Evi Vassiliadis, for the research in her father's archive and the editing of the texts) as well as the composer's friends and collaborators Andreas Rodousakis, S. K., Charalampos Daradimos, Dimitris Karageorgos and Anargyros Deniosos.

The sixth heavyweight plate from the Banana Stand Sound crew comes full force with summer vibes to close out the warm months of 2017. The A side of this 180g vinyl features the musical stylings of US based Subtle Mind and Dillard. This collaboration is everything you would want from this pairing, featuring jazzy grooves and deep bass, reminding listeners that dubstep can be musical and still get the dancefloor going. The B sides, perfectly named Cubano Dub, is a real gem coming from Sam ULG. A truly unique use of samples opens a new door of experimental sounds unlike anything you've heard before at 140 bpm. These tunes are sure to keep you warm inside while the weather gets colder outside.

Total Science are back to grace their own imprint CIA Records, and this time they enlist the musical and technical prowess of fellow Bristol associates Hydro and War alongside themselves on The Reign EP.

Made up of four killer slabs of fast paced, moving and deep Drum & Bass, the influence of each party is immediately obvious in each track. Total Science are infamous for their breaks and rave influences that have often been present in their music since they first started releasing in the early 1990's. Hydro has been releasing music since 2007, working with a slew of respected producers such as Break, DLR, FD and Halogenix amongst many others. He is infamous for his epic sample collection and the deep and deadly vibe that he brings to tracks. And the young French extraordinaire War has already shown he is a force to be reckoned with, consistently releasing music with a sublime depth and musicality that belies his age - and also a power and punch that consistently rips clubs to shreds.

The Reign EP brings the finest attributes of each of the parties to the table, and results in a well-rounded collection of music that offers something to a wide range of listeners. Whether you want to lock them into a groove, tear the roof off the club, or get them thinking about what will come next in this world, The Reign EP has it in spades.

Zomby, one of the UK's most enigmatic electronic producers, underscores his already illustrious succession of releases with his forthcoming EP 'Gasp!', released on Big Dada. Zomby's ability to effortlessly shift aesthetics across his career has firmly stationed him as a producer that can't be boxed.
'Gasp!' sees him altering his often jungle-driven sound yet again, furthering him as a sonic chameleon among an ever-increasing landscape of musical similitude. Utilising analogue equipment that was recorded live to a digital surface, he says, 'I was tired of too much digitisation and over-saturation; this is a work that represents a shift forward for me.'
The compact, three track EP is a relentless, hardware-driven behemoth of beats and breaks that fit somewhere between a chugging steel factory and a darkened dancefloor.
Mastered by Matt Colton at Alchemy Mastering. Black heavyweight 12" vinyl housed in printed sleeves. Download code included.

For the third installment of the FTP series, the tracks twist into darker genre territories. The compilation opens with Psygnosis, a nine minute acidic techno stormer beaming from the pineal gland of the reclusive New Zealand artist Matthew Brown. The track starts out with a simple hook, building intensity towards a crescendo of raining acid lines and 808 hi hats which resemble unsheathing swords, twisting form into hypnotizing insanity. On the B side, Draveng unleashes some comic mischief with Isogamous Skoliosapien, a frantic rave tune bursting out of the seams with jazzy drum hits and frantic chord stabs. It would be a good soundtrack for phantasms to dance to in a haunted place. Closing out the EP is the propulsive electro missile Nonstop, a track that whips into the air and spins like a jet powered boomerang. It is is the first release from the Finnish cyber-phreek Sansibar. Expect more to come from him in the very near future.

Boka Records returns after a near 2 year hiatus to present a series of brand new releases and new recruits. First up is Bristol's Guesswerk featuring regular collaborator oneThird and a fine remix from none other than Quest of DEEP MEDi fame

Nachdem Brian Eno 1973 seine Band Roxy Music im Anschluss an das Album "For Your Pleasure" verlassen
hatte, galt sein Interesse Ambient. Ende der 70er traf er in New York den US-amerikanischen Trompeter und
Komponisten Jon Hassell. Der hatte in Köln bei Karlheinz Stockhausen studiert sowie beim indischen Sänger
Pandit Pran Nath Unterricht genommen. Dieser eröffnete ihm Möglichkeiten zu einem neuartigen
Trompetenspiel. Hassell fasste seinen Stil mit dem Begriff "Vierte Welt" zusammen: "Mein Ausdruck Fourth
World umschreibt ein sinnliches Koordinatensystem, in dem sich für die Balance zwischen uralter Weisheit
und neuesten Technologien organische Formen finden lassen." 1980 veröffentlichten Eno und Hassell das
hypnotisierende und betörende Album "Fourth World Vol. 1 - Possible Musics". Auch wenn sich im
Nachhinein herausstellte, dass Enos Anteil an dieser ethnografischen Klangreise in nicht verzeichnete
Territorien marginal war, gilt es als visionäres Epochenwerk. Es fand im folgenden Jahr mit "Dream Theory In
Malaya" seinen Nachfolger. Neben Hassell und Eno waren Daniel Lanois (U2, Peter Gabriel) und Michael
Brook (Nusrat Fateh Ali Khan) an den Aufnahmen beteiligt. Die Neuauflage erscheint in einer remasterten
Edition, ergänzt um den Bonustrack "Ordinary Mind".

Makoto, a man who's been instrumental in Japan's drum & bass movement since the birth of the genre, now signed exclusively to Hospital Records, presents his fifth solo album 'Salvation'. A perfect fit bringing that trademark sound across 14 tracks of authentic soul and rolling jazz inspirited drum & bass.
'I Don't Wanna Wake Up' featuring the outstanding vocals of Karina Ramage is the perfect summertime roller. Delightfully hypnotic, this will be a staple selection for any DJ worth their salt over the coming months, catching its premiere on Huw Stephens' BBC Radio 1 slot. Makoto also empowers Karina's topline prowess on the hauntingly beautiful 'Winds Of Change'.
Following suit, the vocally driven 'Salvation' ft DRS balances an elegant ambiance with grittier elements. Switching to 'Primitive Galaxy' which focuses more on high-energy dancefloor impact but still with his distinctive bassline groove and melodic stabs. A jazzy riff takes the lead in 'Fancy Free' with celestial vocals and staccato drums, invoking a euphoric trance that all liquid tracks strive for.
Already having an enriched history across Good Looking and his own imprint Human Elements, Makoto is a leader in the art of funk, soul and jazz entrenched drum & bass.

Blendits Audio returns to the vinyl format for the first time in two years. With a special 12'' that combines cuts from both BLAU017 and 018 digital releases, the labels catalog is extended with a record by household names Mindmapper, Silvahfonk, Hydro & War.

On the A-side, two Dutch artist re-appear on Blendits Audio with their uplifting but rough tones of ''Seven''. From special drum sounds, crafty FX blips and a clear pad that hints to the middle-east, an unusual drum & bass experience is being extracted. Mindmapper & Silvahfunk showcase why they are among the most anticipated artists in modern day Drum & Bass.

On the B side bristolians Hydro & War - who have both released with Blendits Audio before - lay down a piece of ethereal beauty. On ''Solace'' ferm drum sounds are being complimented by elegant vocal cuts and technoid fx, this results in a dashing track that explores production boundaries and will most surely leave listeners in awe.

Foom presents the new Peter Gordon & Love of Life Orchestra EP, Condo."Condo" (the title song) is a little-known gem from Peter Gordon's catalog, pairing David Van Tieghem's motorik drum programming and found percussion with the transparent and vibrato-free vocals of Rebecca Armstrong (Armstrong was also a member of Steve Reich's ensemble, and contributed vocals to the definitive ECM recordings of Steve Reich's Music For 18 Musicians, and Tehillim). Prior to them working together, Nik Colk Void (of Factory Floor) wrote to Gordon that: "(Condo) completely catches my personality and when I feel disillusioned or need comfort, I always put it on, and it makes me feel good and strong." Their correspondence culminated in the Peter Gordon & Factory Floor collaboration, Beachcombing. The EP is comprised of a remastered version of the title track, "Condo" (which originally appeared on 1981's Casino EP), along with 3 previously unreleased tracks from the same 1981 sessions. "Neighbors" uses Condo' as its foundation, with Peter Gordon's solo on top, Candy Store' sees the full band iteration of the Love of Life Of Orchestra, including Rebecca Armstrong on vocals, Fred Maher on guitar and Bill Laswell on bass, "East Village" relies only on synthesizers and electronic percussion, with a chorale layered upon a deep groove. The EP closer, "Condominium," is a nod to those DJs who would play the title track at a slower tempo. The EP's titles are a comment on the gentrification of NYC's East Village, which began in the early 1980's and continues to this day, driving out low-income residents, including artists, writers and musicians, such as Gordon, Van Tieghem and Armstrong.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- FIRST PRESSING OF 1.000 INDIVIDUALLY
NUMBERED COPIES ON TRANSPARENT VINYL

Seven is the seventh studio album by Soft Machine, released in 1973. Roy Babbington, who had previously contributed to Fourth (MOVLP1601) and Fifth (MOVLP1599) on double bass as a session musician, replaced Hugh Hopper on bass guitar, who left to begin a solo career.

Their unique take on jazz rock was groundbreaking. Seven is a highly diverse album combining minimal, spacey elements and some great instrumental jamming. It was also the last of their studio releases to carry a numbered title.

A limited run of 1.000 copies will be available on transparent vinyl.

The Green Line is a new project from Oliver Cherer under the name 'Gilroy Mere'. Trading as Dollboy, Rhododendron, and Australian Testing Labs as well as his own name, Oliver has meandered his way through the backwaters of left of centre English folk, ambient and electronic music, issuing numerous albums of original music to much critical acclaim via highly regarded boutique labels such as Static Caravan, Second Language, Deep Distance, Polytechnic Youth, and Awkward Formats.

The Green Line is an instrumental album inspired by the buses that once linked central London to country towns. Established by the London General Omnibus Company in the 1930s, with their striking green livery they were a common sight in the outer London suburbs.

The Green Line is written as a remembrance of childhood trips into the exterior via the green double and single decker buses that took Londoners out to the countryside. It was recorded at his home studio in Sussex using a collection of instruments and obsolete electronics amassed over a lifetime of being unable to resist junk shops, charity shops and car boot sales.

A window into the full-blooded, captivating spirit of music from the
Andes, ANDINA shines a fresh perspective on Peru's Andean heritage. A co-release with Strut Records, the album is selected from records released between '68 and '78, upending clichéd ideas of Andean music and bringing to light the divergent, exciting traditions to have emerged from Peru's strip of the iconic mountain range. Encompassing steady-grooving, Peruvian cumbia rhythms, transcendent folkloric harp recordings and Lima big band groups taking influence from their highland neighbours, it boasts a diversity that will appeal to fans of jazz and Latin as well as tropical-minded DJs and deepdigging collectors. It was dubstep producer and DJ Mala (Digital Mystikz) who most recently shone a light on the region with his 2016 album Mirrors on Brownswood - Tiger's Milk founder Martin Morales had accompanied him to Peru two years earlier, acting as his guide and mentor in discovering the breadth of Peru's musical history.

Repress!

For those who know, Bambooman is one of the most sought-after, probing, and distinctive voices in UK electronic music right now.

The Yorkshire-born producer's catalogue builds into an aural mosaic, comprising everything from scrunched up hip-hop to techno deviance, all delivered with an impish sense of individuality.
'Whispers' certainly resonates. It's a lengthy, bucolic work, an album of great breadth but also one of sustained mood – think those hazy summer evenings when shadows stretch out across the road, and autumn lingers around the corner.

This new album has a dusty, organic, and decidedly personal feel, much more at home with Jon Hassel's 'fourth world' aesthetic than the club.

The results are also imbued with an incredible sense of mystery, with Bambooman's productions frequently being shot through with a hallucinatory sense of the uncanny. Entirely self-composed, 'Whispers' utilises "lots of field recordings that I've collected over the last few years, while within the tracks you can find lots of the instruments, percussion, bells and whistles that have been gathered throughout my life."

In certain ways 'Whispers' is entirely autobiographical: Bambooman reaches back to his varied alter egos, to the ambient releases, art commissions, and soundtrack projects that litter his discography. The cover art was even pieced together by Oliver Pitt – of Glasgow group Golden Teacher – who was an early ally in the producer's sonic quest.

Stylistically 'Whispers' veers from avant hip-hop of Flying Lotus to the theoried composition of Terry Riley, from the future-forward percussive energy of Battles to the ever-evolving electronics of Mark Pritchard. It's a record marks by a fiercely independent spirit, but also by a close-knit cast of collaborators.

King Kashmere takes a starring turn, following the pair's collision on the recent 'SUPERGOD' EP.

Each vocal is recorded, chopped up and then spliced across the album, with Elsa Hewitt also making a number of appearances and re-appearances.
credits

Despite building their careers out of strikingly different musical places, both dBridge and Radioactive Man have taken influence from the field in which each other operate. dBridge (Darren White) was part of the iconic drum & bass outfit Bad Company and he helms one of the scene's most solid and quality imprints in Exit Records and Radioactive Man (Keith Tenniswood) was born from the acid house scene and the off kilter electronics of his Two Lone Swordsman projects (alongside Andrew Weatherall) which led him to create his decidedly UK take on Drexciyan electro. It's by no means a stretch to learn that both producers have crates that contain their favourites from each genre but they've also found a mutual respect and connection in the studio over the last few years, leading to the dBRm moniker for Craig Richards' The Nothing Special label

Kicking off the post-Summer release flurry on Polytechnic Youth is the magnificent second full length from Brooklyn-based FATEN KANAAN Pleiade Hex 6'.
Since releasing her debut last year, (the fabulously received and super quick-selling The Botanist & The Archaeologist'), Faten's star has shone brightly and earlier this year she collaborated on the killer The Darkest Wave' 45 w/ Pye Corner Audio (which sold through three pressings and is mooted as one of 2017's best singles).
The new album builds on this momentum, and comprises, in Faten's own words: Several -mostly instrumental- 'suites' that are narrative in nature. Cyclical patterns are central to the compositions: exploring harmony and counterpoint as they ebb & are reincarnated, and the perpetual return to the heart/core.
Through the circling patterns, the album honours the return to the youthful spirit: of embracing naive romanticism, gut feelings, and strength of vision. Loosely inspired by medieval canons/rounds and Baroque structures, the album hovers between ambient electronic experimentations and semi-classical traditions.

Relying mostly on a single analogue synthesizer, each section either sets a scene or plays a character - whether it's dancing across a stage, running through a forest, emerging from underwater, or languidly drifting through portals'.

A wonderful record, sure to sell out real quick. It is released this September on vinyl only by Polytechnic Youth.

Composed, produced, and mixed by Faten Kanaan.

Mastered by Heba Kadry

The second of September's wonderful brace of new Polytechnic Youth LPs, sees the debut for Morgane Lhote's first solo outing (since her Stereolab days), with her ace new project HOLOGRAM TEEN.

11 killer -often whacked out- tracks inspired by a multitude of key figures from varying genres, the soundtracks of Goblin and John Carpenter, 1970s French Disco and psychedelic Brazilian rock, Congolese Soukous, and the string arrangements of François de Roubaix and Jean-Claude Vannier.

As Morgane herself says with this first LP, I wanted to create the soundtrack to the trippiest horror movie ever, and combine the scary and the absurd, through a very tongue in cheek aesthetic both musically and visually. For this project, I decided to experiment with adding live instruments, such as bass, drums, and strings, instead of or in conjunction with electronic instruments on some tracks. It was especially interesting to merge both musical feels and textures into one cohesive narrative.

I also had a strong sense of what the music should look like' as shown on the LP's cover design: Disco Démon was always going to be the main protagonist in a mish-mash of Jean-Claude Forest's comics meets neon loudness meets the movie poster to 'The Warriors' and 'Le frisson des vampires''.

A very filmic, hugely adventurous full length- perhaps a slight departure from previous output on PY, but all the better for it we feel at PY HQ, and with titles like Roller Lover Doppelganger', Tracksuit Minotaur' and Lesbian Death Drums' what's not to like!

A very limited vinyl pressing expected to sell out super quick, get on it!

Ende September 2017 veröffentlicht Iglooghost sein Debütalbum 'Neo Wax Bloom', zwei Jahre nach seinem Einstand als Teenager, der - Chinese Nü Year' EP, auf Flying Lotus' Brainfeeder Label. Darauf dokumentierten vier Tracks die abenteuerlichen Zeitreisen eines wurmartigen Wesens aus Gelatine namens - Xianhjiao'. Diese Geschichte wird nun auf 'Neo Wax Bloom' weitererzählt: zwei gigantische Augäpfel prallen unerwartet auf die mysteriöse Welt Mamu. Über die elf Tracks baut Iglooghost einen typisch intensiven, hysterischen und vollkommen durchgeknallten Soundtrack auf, bei dem er neue Charaktere in seine fantastische Welt einführt und außerdem seine alten Freunde Mr. Yote und Cuushe zurückholt.

A-side fully hypnotic, frontal, skeletal & static live drum track with dubbed vocoder throughout the whole side. Helsinki's Jesse duo with a special non-album track from their album sessions produced by DJ Sotofett (upcoming LP on Keys Of Life). On the flip LNS collaborates with DJ Sotofett for a shimmering and pad warming ambient track kept coherent by liquid driplets of echoed synths at the beginning and later the tickering & harmonic arpeggios.

Field Records looks to L'estasi Dell'oro (Christopher Ernst, aka Penalune) for a new three-track EP for sound systems that once again takes us down the rabbit hole. Following on from his previous 'I Look Upon Nature While I Live in a Steel City' album in 2015, this is another masterfully drawn out and engaging affair. "Either to please or to educate" is the intended purpose of this EP release, utilizing guitar, tabla, and other electronic and acoustic instruments. The incessant movement of the metronomic tremors felt underneath our plains lay the rhythm. The threadbare dialogue we use to communicate frays slightly further. These spirals are given an explicit voice through Leader Annabelle Kuwe's dispassioned public address to the remaining world at the Great Meeting of 2166, as recounted by Sadie LaPierre on closer 'Achieve Ignition'.

Debüt-EP des neuen Warp-Signings aus Italien: Lorenzo Lenni offenbart aus der Perspektive des Ex-Straight-Edge-Hardcore-Punkers eine frische Sicht auf den 1990'er Hardtrance und seine Auswirkungen auf EDM und Dancehall. Allerdings sind seine Emotions- und Sensationsstrukturen verfeinert und eindringlicher, was seine EP in eine Reihe mit den Arbeiten von SOPHIE, Plastikman, Ennio Morricone oder Squarepusher stellt, die das schnelle Auf- und Ableben in den Zyklen der modernen Musik überdauern.

London-based Astrophonica, headed by Charlie Fracture, kicks off 2017 with a compilation capturing the sounds that have driven the label forward for the past five years. *Gradients* is Astrophonica's first compilation and brings together its small but powerful roster with a string of close friends and allies, giving prominence to both well-known names — dBridge, DJ Earl, Stray, Om Unit under his Philip D Kick guise — and newcomers — Lewis James, Tusais, Touchy Subject, Tehbis.

Astrophonica's ties to various established players are proudly on display with contributions from Richie Brains collaborators Sam Binga — the furious, clap-driven 'BFT' — and Stray — whose uplifting 'Blink' provides a ray of sunshine — as well as Exit boss dBridge, who indulges his love of sampling and breaks on the stripped back 'db vs The 45 King'. Reflecting Astrophonica's love of Chicago footwork is 'Statisfyee', a hypnotic groover from Fracture and DJ Earl, Teklife member and a disciple of the late DJ Rashad, while Sully's 'Helios' gets a rare remix from Philip D Kick, the footwork meets jungle alias of Om Unit.

Representing the label, Parisian dub scientist Moresounds and English producer Sully come with two different but complimentary junglistic experiments: the dark and percussive 'Warriah' and the expansive and rolling 'We're Here'. Meanwhile London's Touchy Subject and Tehbis, the latest additions to Astrophonica, offer up two head-nodding burners with the bright and colorful 'Cosmic Tales' and the smoky grooves of 'Alphabet Ooz'. Label founders Fracture & Neptune dig deep into their archive for 'Whatever', a previously unreleased track updated for 2017 that pays homage to Astrophonica's roots with trademark attention to detail and an ear for rhythmic sensibilities. Fracture also flies solo with 'Back Up In This', a lean and aggressive dancefloor wrecker. Completing the picture are two new talents: Irish-born, London-based producer Lewis James displays his blend of cinematic compositions and hard-hitting beats on 'Snook' while Antwerp's Tusais does an equally efficient job of pummeling the dancefloor with the menacing 'Blackout'.

*Gradients* is a glorious celebration of Astrophonica's growth as well as its stylistic roots and forward-thinking ethos. Each of the 13 tracks has been tested in the clubs for the past year to ensure an all-killer-no-filler experience. And as with previous releases, the compilation sports artwork from Utile Creative whose striking design adds an all-important visual touch to a new milestone for the label.

"Feeling numb from all the electronic dancemusic coming out, moaning about how its become a bit samey, or are you just tired of your shitster friends saying its not like in the 90's anymore. This record will shut everyone in the room up. A1 is a deeply psychotic acid death march into confusion, so minimal and primitive (kick, snare, acidsquelch) it will challenge every beard and armpit and might even hypnotize the dj to the point he cannot mix in the next one. A2 is a straight up Commodore 64 SID track with mongoloid data elephants tooting over a wobbly and tarded electroish beat. B1 is a dystopic dreamy rave stomper, starting out kinda datacuddly but gets more and more serious, with choirs of fable mooers taking you into that virtual bad trip you need. b2 continues as expected with more c64 SID madness, so snary I cant even determine if its in 115 or 230bpm. But it leaves you with the feeling your ears and mind just been wrestled, smacked and poked at, and thats the point. This is no record for the safing chickenshit DJ." - /DJ Joakim Cosmo, Sweden.

* PE-010 is a pretty trippy split tape between L.Zylberberg and Belia Winnewisser that should strike anybody's soft spot for esotericism.

* 'Chatter', a 15-miuntes balearic/electro-jam by L.Zylberberg, feels like a warm handshake between Manuel Göttsching and Heinrich Müller. L.Zylberberg does ring a bell Then you've probably run into her at Berlin hotspots like Sameheads, O Tannenbaum or Griessmühle.

* The other side of the tape features three synth-pop-y oddballs by Belia Winnewisser that are equally fragil, haunting and strong, and they sit somewhere between the smell of melted butter and having a nude jog. Belia is a Lucerne-based artist that is part of a=f/m (alongside Rolf Laureijs) and goth-outfit Evje, among other projects.

* The split tape marks the 10th audio-release of Präsens Editionen. Black ink printed on pink cassette, housed in a glossy cardboard slipcase featuring calligraphic designs by Kaj Lehmann - 100 copies only.

Press / PromotionPräsens Editionen was founded in 2011 to give home to zweikommasieben Magazin. Ever since a bunch of magazines, books, zines, records, tapes and oddities have been published. After the quickly sold out tape by the American experimentalist Robert Turman, PE-010 is the next opportunity to get hold of a Präsens Editionen tape.
zweikommasieben is a Swiss magazine that has been devoted to the documentation of contemporary music and sounds since the summer of 2011. The magazine features artist interviews, essays and columns as well as photography, illustration and graphics. In addition, zweikommasieben organizes concerts, parties, club nights, matinees, raves and other fun events in various cities—and started to release music with its mothership Präsens Editionen.

Print / Internet-716 La Vie (1.2k followers on Soundcloud): Track premiere and/or mix by one of the artists-zweikommasieben (print run of 1700 copies; distrubited worldwide): 1/1 page ad
Social NetworkingPräsens Editionen - Facebook = 320 likes.zweikommasieben - Facebook: zweikommasieben = 4500 likes. Twitter: @zweikommasieben = 490 followers.

Mary Ocher (Klangbad) - 'hoohoo. it's lovely '
Steve Warwick (aka Pan's Heatsick) of Birds Of Delay "Late night / early morning hazed meditations"

Das Grammy-nominierte Produzentenduo ODESZA (Harrison Mills und Clayton Knight) gelten zurecht als eine der populärsten Gruppen im Bereich der elektronischen Musik und haben den Ruf, ihre Fans auf ihren regelmäßig ausverkauften Live-Konzerten besonders glücklich zu machen. Anfang September 2017 veröffentlichen sie ihr neues, 16 Stücke langes Album "A Moment Apart" welches über das Ninja Tune-Sublabel Counter Records erscheint. Anschließend präsentieren sie ihrem Publikum das neue Material auf einer ausgedehnten Welttournee.

"A Moment Apart" präsentiert sich gereift, ein Sound, der insbesondere auf Atmosphäre setzt, auf funkelnde Synth-Lines - und auf Gefühle wie Nostalgie, Zuversicht und Hoffnung. Die namhaften Gäste auf dem Album sind u.a. Leon Bridges, Regina Sektor und Ry X.

Following up his self titled 12 inch earlier this year Austin, Texas based Shane English continues in his path exploring the deep and bizarre edges of the American DIY electronic world. *DOWNLOAD CARD INCLUDED!*
.
Over these eight tracks we get English's wide spanning take on the music touching upon elements of industrial on "Invasion Threat" darker ambient with opening track "Sanctuary" and even hints of Stinson on "Bilocation Drift". English's signature sparse and melancholic tone is present throughout again using minimal percussion and voice to glue it all together in a haunting fashion. Another engaging listen direct from the depths of the American underbelly.

In the dozen or so years of the Artyard's checkered career, the label has taken on the largest official reissue program of the works of Sun Ra, with earth shattering spin-offs like the incredible Egyptian Jazz album by Salah Ragab, and the essential tome for anyone's home, Hartmut Geerken and Chris Trent's book: Omniverse Sun Ra (last few in stock, by the way).

The label also ventures into the murky waters of electronic music. In 2009 it released Berliner Ring's "Orbital" abum, and now follows with the foggy electronic dub meditations of Al Chem.

This is Mr Chem's first album, after a release on Tim Lee's Tummy Touch label.

No Hopper is a reworking of a Ras Michael tune No Hoppers, from Rastafari Dub, Chem's version merging electronic percussion with organic, almost Moondog-like rhythms and misty atmospherics. The Prophet pinpoints Chem's GPS firmly in Berlin, just as The Red Tower blurs that kick drum border between reggae and house music. Baudelaire randomly sputters digital delay, building up the pressure, Ladder of Perfection rounds off the set with a drone, creaking with squashed fills.

Darkness, mystery and percussive electronic dub, the alchemy of Al Chem

Antwood (a.k.a. Canada's Tristan Douglas) returns to Planet Mu with his second album 'Sponsored Content'. The album is more reflective than his debut, last year's 'Virtuous.scr'. The relentless mood of the first album has given way to a more melodic, stripped out sound. It still shakes with speed and energy, but with more space, more moments of delicate sadness and strange cyborg pop. What comes to the fore in 'Sponsored Content' is Tristan's gift for melody, coupled with the uncanny feeling that somehow his strange music is an entire ecosystem of it's own.

Bruno Spoerri's masterpiece VOICE OF TAURUS LP available for the first time on vinyl since 1978 - Beautiful 1 LP - housed in 350g sleeve and contains all new liner notes by Bruno Spoerri himself, printed oin double side poster inlay - Bruno Spoerri who came to recent attention over his sampling dispute with Lay Z and Timbaland (that he won) plays the 1978 cult classic The Sounds Of The UFOs live at the bluedot Festival (in conjuction with Finders Keepers) wich together with our equally cult classic companion Voice Of Taurus are to be reissued here now! - For fans of electronic music, jazz, early techno , movie soundtracks, library music, cosmic oddities, ambient, sci-fi disco, synthesizers, Pierre Schaeffer, Pierre Henry, Wendy Carlos, Nino Nardini, Yello, Encounter of the Third Kind, UFOs, meditation, and unknown galaxies.

We Release Whatever The Fuck We Want Records is overjoyed to announce the reissue of highly sought-after electronic/sci-fi disco/proto-techno/ambient masterpiece VOICE OF TAURUS by Swiss music pioneer and synth super wizard Bruno Spoerri, available on vinyl for the first time since 1978, housed in a 350g jacket and packed with all new liner notes. Surrounded with a formidable family of legendary synthesizers, primitive modulators, and audio gear transformed and customized à la Spoerri, armed with an extraordinary talent for improvisation, and deeply inspired by the likes of Wendy Carlos, Pierre Schaeffer, and the then freshly released Close Encounter of the Third Kind, Bruno Spoerri envisioned VOICE OF TAURUS as 'electronic pop conceived using an experimental and jazz approach". The result is an out-of-this-world sonic adventure where early techno sounds blend with synth-based sci-fi soundtrack vibes,

* Once again, providing a context for exciting new producers to release their debut 12', Cold Recordings is proud to now bring you 'Cocktail Party Effect'. Hailing from a musical family Eric Baldwin, the currently Berlin based but British pro- ducer, shows off his colours here with a diverse, rhythmical, experimental - but always dance floor savvy - EP of 4 killer cuts, all rolling out between 125-130bpm.

* The title track 'Battered' leads the EP , kicking things off with a glitching set of electronics , setting a curious mood ,be- fore dropping into a crazed rhythmical explosion, fidgety and erratic, but somehow glued together in a fluid, propelling motion. 'OOYFM' takes things into slightly more typical UK bass music territory, rolling out techno ingredients, a grimey UK bassline with broken-beat rhythmical dynamics that also hint at UK-Garage influences.

* Flip the vinyl for the second half of the EP and you'll find 'Intens' taking up a stance that sits somewhere between dancehall and techno, rolling and smashing its way as it goes along, while descending electronic motifs cascade in sympathy. Finally the EP closes with 'I Kno3' which pulls back on the instant gratification factors but hits out instead with a moody, bass driven and percussively expressive exit track.

Veranda Culture is the new project from Melbourne artist and DJ, Francis Inferno Orchestra The new album, his second full length LP, follows on from his most recent release, the club-ready 'Oasis and Time', The next step in James' musical journey sees the producer shift-direction with the tranquil and beautiful Veranda Culture, balancing New Age ambience, percussive pulse rides and echoing synths for an album that unfurls with a calming patience and soothing confidence throughout.Recorded over a period of three years between Melbourne and London, FIO began making Veranda Culture after discovering the debut album of Greek-born, Sausalito-based composer Iasos - the New Age masterpiece 'Inter-Dimensional Music' LP — in Melbourne's Liquorice Pie record store. The album is filled with quietly twitching rattles and bells, gurgling talking drums, and snippets of trickling water and bird songs collected through field recordings, creating a bed of sound that is hard to pin down but effortless to absorb as a whole.

'Take' (Norwegian for 'mist' or 'fog') was inspired by Guy Andrews' visit to Scandinavia last year.
The London-based artist known for creating dark atmospherics and brooding aural landscapes weaves textures and soaring rhythms with energy and restraint, exploring the space in which we find ourselves.
Guy works with musician Alev Lenz on the haunting and stunning track 'The Clearing' and the sinister and pulsating 'Feelings'.
Lenz's music was recently featured in the final episode of season three of Charlie Brooker's Black Mirror.
The artwork features an oil painting commissioned by the celebrated painter Jake Wood-Evans.

Optimo Music presents "Miracle Steps (Music from the Fourth World 1983 - 2017)", a 2 x LP compilation of Fourth World music compiled by JD Twitch & Fergus Clark. Also available as a digital release.
This compilation had been on the label's to do list for ages but it was only when Twitch and Glasgow's Fergus Clark started crossing swords over what actually constituted Fourth World music that the project really got going. Twitch decided that co-compiling the release with someone who had a slightly different take on things might make for a more interesting finished product, and so it came to pass that a cohesively thrilling compilation quickly materialised as each of them drew from a wealth of different artists and eras.
For the uninitiated, here's an extract from Fergus Clark's sleeve notes honing in on how the term Fourth World (an idea conjured up by Jon Hassell in the early 80s) might be defined -
'What we have attempted to gather across this compilation is a body of work which we feel directly resonates with both the literal definition of 'Fourth World' music and indeed our own interpretation of this unique sonic vision; from the work of the late Jorge Reyes, a Mexican musician who combined pre-hispanic instruments with synthesisers and digital sampling, through to the work of organic ambient ensemble O Yuki Conjugate. There are tracks which utilise custom, home-made instruments and there are tracks built from scratch using the latest in digital technology, but the undercurrent tying each piece together is this deeply personal feeling of intrigue and mysterious elation. Strange and unparalleled, this feeling manages to eschew geographic borders and rigid genre movements in favour of something which manages to evoke an inner sanctum, a musical private place for both reflection and assessment. This is music grounded in nor the past nor the present, music which manages to sound futuristic yet remarkably nostalgic. '
JD Twitch is one half of Glasgow's Optimo (Espacio) and runs the Optimo Music and Optimo Trax labels.
Fergus Clark is a writer, occasional DJ and avid music fan. He is a founding member of the music and art collective 12th Isle.
The 2 x LP version will be housed in a gatefold sleeve designed by the redoubtable Glasgow based visual artists Al White & Jamie Johnson.

2x12"

Franck Kartell's third full length release on Bass Agenda Recordings sees him continuing to do what he has done since he began this creative trajectory of making concept driven albums; pushing himself, his art and your experience as a listener, into new realms.

As with his last album La jette d'Orly, this next chapter in Kartell's adventures in creativity is inspired and influenced by the cinematic works and writing of Chris Marker.

Following on from sell out albums 'Afterlife' and 'La jette d'Orly' the new double vinyl album 'Coincidences' immerses you in 12 distinct scenes, painted with sound.

To transport a listener to another plain within seconds is not easy, yet it is something Franck Kartell achieves here not once but 12 times in a row; sustaining the illusion of escape throughout each track, cradling your mind as it experiences beauty, majesty, fear, darkness, peace and wonder.
Supported by Thomas H Green (The Arts Desk), Dave Clarke (including best Electro of 2016), Timeline music and many more.

The second release on Infidel Bodies has as its protagonist "Le Moderniste"
For his debut on the italian label, he produced an album industrial / rhythmic noise, a tribute to some legends of noise music such as: Marco Corbelli (Atrax Morgue), Maurizio Bianchi, Tairy Ceron (Today I'm dead), Rozz Williams.
This album is an evocation to sacrality and mysterious fascination of death. The artist radicalizes his sound in this release, getting the result: "a strong work, dark, dirty, it smells death and filth" (Le Moderniste)
This special edition provides a particular package composed of two bags stapled with inside: transparent cassette c60 pro-dubbed, artworks (by Paul van Trigt), hand-sewn insert, black nitrile gloves.

At long last, it's finally here. After two years of waiting, New York's Anthony Naples is ready to finally reveal his debut full-length LP, Body Pill, set for release on February 17th on Four Tet's Text Records. To coincide with the announcement, Naples has made 'Refugio,' the first single from the LP available. Listen to the full track here.

It's a amazing how much can happen in a short time frame. At the beginning of 2012, Anthony Naples didn't have a song to his name; by the end of that year, he'd been heralded as one of the city's rising producer talents. The genesis was 'Mad Disrespect' — a single that dominated Brooklyn's underground electronic music scene from even before its offical release. The track was a milestone for all involved. Not only was it Naples' first single, but it also was the first track he'd recorded, period. On a whim, he sent the track to Eamon Harkin and Justin Carter, the founders of New York's respected Mister Saturday Night series. A regular at their parties but an unknown to the duo, Anthony caught the pair's attention with 'Mad Disrespect,' and ended up as the cornerstone of label's inaugural release: the Mad Disrespect EP.

Anthony's music caught the ear of a number of people that summer, none more important than Kieran Hebden, aka Four Tet, who commissioned Anthony to remix his single '128 Harps' — again, Anthony's first remix at that point. From there on, things sped up. He followed 'Mad Disrespect' with a series of 12' released on a veritable who's who of influential labels: Scotland's respected Rubadub label, Four Tet's Text Records, Opal Tapes — all of which culminated in El Portal, his EP for Will Bankhead's Trilogy Tapes imprint. Along the way, he was invited to open for Four Tet at London's Fabric and invited to play Berlin's prestigious Panorama Bar.

And now, a little over two years later, comes Body Pill, Anthony Naples debut full-length for Text Records. As Anthony tells it, the title comes from a mangled English translation that caught his eye in a Japanese vending machine. 'When I ran the title past Kieran, and he said it just sounded like a lost rave classic, but I thought in the end it makes sense. The LP is a small dose of synthetic noises and rhythms.' Naples says. Stylistically, the album draws inspiration from the city that gave Anthony his start: New York. 'I wanted to make a streetwise record that was also solid and simple, like a brick or those weird fluorescent light tubes in the subway. They give off this weird hum that you hear only when you're alone in the station between trains late at night. I wanted to make a record that evoked that experience.'

Body Pill is a surprising album for Anthony, his most understated and mature release to date. Body Pill opens with a wall of ambient noise on 'Ris,' only to be overtaken by an a modest synth groove. Ambient noise washes over and eventually overtakes tracks like 'Way Stone' and 'Pale' later on in the record. But that's not to say there aren't echoes of Naples' work for Mister Saturday Night lurking throughout the record. 'Abrazo' feels like the natural companion to Anthony's earlier singles, with elegant strings mingling with a deconstructed house-inspired beat. 'Used to Be' is arguably Anthony's largest beat to date whose rolling hi-hats counterbalance the track's stabbing synths. The album's closer 'Miles' abruptly morphs from a lo-fi house anthem into a surprisingly minimal synth soundscape, a microcosm of the record as a whole.

Mental Groove Records is thrilled and honored to announce the follow up to last year Water Vein EP (MG115) by Asian Psilocybe Foundation & Dj Yogurt. Entitled 'Daikaku", a Buddhist term for one who has achieved enlightenment. This second installment smiles on Geinoh Yamashirogumi Akira's Soundtrack. APF is an eccentric Japanese musician who raised attention from the Detroit. Remixed by Jon Dixon of Underground Resistance's Timeline, APF first EP was released by once legendary producer Orlando Voorn (Fix, Game One, Baruka). On the A side he achieves to capture Akira's spirit with his own organic and floating sound signature within a long, delicate and trippy techno number while on the flipside Dj Yogurt, a regular figure of Tokyo's nightlife who worked at Cisco Records, delivers two straight percussive numbers fueled with traditional Japanese flavor to take the most discerning floors to a Tetsuo state-of-mind. Mastered by Music Matters Mastering and cut at Emil Berliner Studios, Berlin.

Breakbot AKA Thibaut Berland - Ed Banger's newest and brightest star announces his debut album 'By Your Side''. Having delighted dancefloors around the world with his infectious discoid funk of 'Baby I'm Yours' and 'Fantasy', and killer re-rubs for Justice and Metronomy amongst others, 'One Out Of Two' is the first single to be taken from this multi-instrumentalist's highly anticipated debut album 'By Your Side'. Crammed with soulful, robo-disco and emotive ballads, 'By Your Side' conjures up the ghosts of the Doobie Brothers, Todd Rundgren and Hall and Oates, as well as the nostalgic TV themes to 'Silver Spoons' or 'Punky Brewster'. Berland explains : 'My elder brothers had a huge influence on me when was I a kid. David the oldest introduced me to soul, funk and pop, making me tapes of michael jackson, prince, stevie wonder, madonna, phil collins and many other things. I remember spending lots of time in his bedroom listening to his records' An art school friend of Justice's Xavier De Rosnay, in later years, the likes of Air, Alex Gopher, Mr Oizo and of course Daft Punk were on heavy rotation for Thibaut, this heady melange of all of the above helping to create the Breakbot sound. Just like one of his biggest inspirations, in the form of Michael Jackson's 'Thriller' it was Berland's intention to make an album that rewards you for listening to as a whole: 'I guess you could say my album is more a pop songs album than a Berlin techno record with water drops sounds in it - I wanted to make a pop journey that would have all my influences, without being a reference catalog' From the opening perfect slice of retro/future summer funk 'Break Of Dawn', it's clear that this has to be one of 2012's funkiest albums... 'Fantasy features the vocals of L.A. based vocalist Ruckazoid - an astonishing discovery whose honied pipes are a dead ringer for the late, lamented King Of Pop..'One Out of Two' features Irfane's irresistible vocals, in addition to four other tracks ('Baby

INCLUDES THE ORIGINAL 'HIP MANUAL'! PLUS BEATNIK-JAZZ BONUS TRACKS! Attention, this is one of the non-music cult obscurities that came out of nowhere during decades of music history. This 1961 released fictional dialogue between a moderator and somebody involved in the late 1950s hipster / beatnik movement in which both discuss the meaning of words and phrases from the youth and - hipster language of the 50's. It is different to the typical spoken word records where either political or philosophical pamphlets get recited. It is a dialogue, a comedic dialogue with some audience noises fadet in, some strange narrations and examples how to speak in a 1950s beatnik style. It is an interesting authentic document of its time and certainly a challenge even for those who speak English fairly well. A collectors item for fans and retro hipsters a time when a vivid counter society was pulsating beyond the idyllic world on the surface.

Foundation X is proud to present the eagerly awaited first full 12" EP from Djinn, four deadly jungle tracks that display exactly why the female Mancunian artist has become an integral part of the FDX family. Djinn's ability to weave together dark atmospherics and rumbling subs with the toughest breakwork and is second to none, with a heavy nod to the 90's sound, satisfying both the dance and underground breakbeat science enthusiasts . . .

NINE GROUNDS - Haunting deep intro pads build to a tectonic 10 tonne drop of militant switching breaks featuring detailed edits and soundclash vocals sitting over a sweeping sub-low bassline reminiscent of a moody '95 rave.

DESTRUCTIVE CONSEQUENCE - Off-key notes & a rolling break build the vibes deceptively tame over subtle sub-zero bass throughout, pausing for a dark cinematic breakdown before signing off with a rollout of heavyweight raw amenism.

DARK REFERENCE - Diced up stepping breaks laced with Mentasms layered over building atmospherics & deep FX progressing through to a devastating drop of dark chords teased with heavy amen cuts and suspended strings.

PRESSURE - Finally committed to wax! Long awaited track 'Pressure' closes the E.P.'s deadly theme, progressing with sinister harmonies before reaching critical levels & maintaining heavy, relentless drumwork fully to the end.

Djinn's true skill lies in her masterful handling of contrast, while her breaks are unfathomably tough, slamming home with pinpoint precision but the force of a 10-tonne jackhammer, they sit within eerie, cavernous atmospheres that cause the senses to sharpen to the intricacies at play. . . . It's clear Djinn is a name we'll be hearing for a long time to come' - DJ Mag, 2017

DJ support from SB81, DJ Stretch, Nucleus, Mantra, DJ Monita, Trax, and more...

LTJ Bukem - 'So good to see Zero T back in the mix, Combination with Fierce is a winner for sure'Ant TC1- 'Found it hard to even think about putting down 'Going Clear' over the past few months. Firm place in any club set'

* Quarantine's back in 2016 with this first offering to start off the new year.

* ''Going Clear'' is another purist roller. Hypnotic loops draw you into the Think break and moving bass drop. Jungle

* "Profile" - This time enlisting the infamous Nico of No U Turn to turn in a structured rig masher. Capturing the continuous arc of Quarantine's razor edge sound.

* Both these tracks continue to establish the return of Quarantine and have been getting supported and played by LTJ Bukem, Friction, Fabio, Doc Scott, Randall, Hype, Bailey, dBridge, Marky, Ant Tc1 and many more.

Two wicked, old school rollers from the ever excellent Ishio Dai, who works the frequencies in both of these woofer-wrecking bass cuts. Killer!

A brace of strong bass excursions from the the huge talent they call, Ishio Dai! Jamming on the 808, 'Coco Dub' & 'BS' bounce around some proper system-testing bass weight!

Figurehead of the Japanese jungle scene, Ishio Dai releases 'Mirage / Island Dub' on his own Effective label. Working around a lick from Skatalite legend, Johnny Moore these two steppers roll with ferocious bass frequencies and snappy percussive sequences. Ace!

Songwriter, multi-instrumentalist, producer, orchestra leader, digital mixologist, and filmmaker: Kutiman's job description changes by the day. He's been dubbed the prestigious title of being a 'psychedelic funk architect' -- A title Kutiman truly lives up to. But while he may be too modest to agree, everything the talented musician does comes under one general description: pioneer.
Kutiman's upcoming 7' White Monkey comes as the third official release on Siyal Music. The A-Side features the crisp drums and cosmic synths of 'White Monkey', promising a heavy funk psychedelic experience. Flip it over to the B-Side and you'll find 'Sefi Ramirez', the name of the epic trumpeter collaborating on the track. The record exceeds expectations, launching listeners into a tripped up, funked up groove.
Many know Kutiman for his tremendous and innovative YouTube mash-up project, ThruYOU, while others may recognize him for his 2007 acclaimed jazz/funk self-titled debut album, or from his honorable mention in TIME Magazine's 50 best inventions of 2009. This recognition has led to Kutiman performing at YouTube's launch exhibition at The Guggenheim museum in New York City, and to a second ThruYOU series in 2014. Over the past few years, Kutiman has travelled to Krakow, Jerusalem, Tokyo, Riga, Istanbul, Tel Aviv and New York, to create original audio/visual montages of each city's atmosphere.
In July 2015, Kutiman released Space Cassava, Jazz/ Funk mini album that hailed reviews and received airplay from some of the world's most prominent radio stations such as KCRW (Jeremy Sole), Mi-Soul (Dr. Bob Jones), BBC6 (Gilles Peterson), and Mind Fluid (Kev Beadle). 
Above all, Kutiman is a unique, soulful and organic musician who enjoys creating music under a wide range of styles.
The second release off Kutiman's own label was kicked off in 2016 with his much anticipated sophomore album 6AM. 6AM proved how Kutiman has no musical boundaries; it is an album filled with psychedelic Rock n' Roll roots, which dips into deep funk/soul grooves and even adds underlying influences from Africa and the Middle East. The album was featured in the Guardian with a single premiere on Consequence of Sound. The album received widespread support from Gilles Peterson, Huey Morgan, Don Letts, and more!
Google described Kutiman's work with the paraphrase 'the future is a glorious mess.' And boy, were they right.

REPRESSED !
UIQ lands another cracking debut entry, this time by 22 year old Glaswegian, Lanark Artefax, whose precarious ballistics place a sidespin on his label boss, Lee Gamble's dancefloor
discombobulations.
The Glasz EP is a trippy, time-warping suite which feels in flux between various physical states, neither solid, gas or liquid, but rather some reactant, viscous material emitting noxious gases;
an effect achieved thru meticulous FX contouring and the application of self-created dissonant scales, combing thru finer integers of emotive and psychoactive states.
A willingness to bend perceptions of conventional structures is key to these tracks, most explicitly in the title track and the lush, polymetric gyroscopics of All That Is Solid Melts Into Air or with
more elusive, prism-pushing aspects of cone-buckling subs and interlaced choral frameworks in Remainder I that sound like 'ardcore filtered to plasmic, quantum jelly.
Glasz opens the other side with a curdled take on trap, oozing queasy stripes of melody and rave stabs on a brittle, percolated rimshot/snare, before Phasze (s_h_i_f_t) diffuses grime in an aether fantasy of sci-fi romantic pads and scything, elastic drums, and Virtual Bodies glitches a sort of shatterproof aeR&B hyper chamber music.

A Strangely Isolated Place was responsible for releasing some of the most beguiling and magical music of 2016, including superb full-length excursions from 36 and Merrin Karras. Predictably, this full-length from regular collaborators Christopher 'Lav' Landin and Ludvig "Purl" Cimbrelius is rather good. It was inspired by a large number of field recordings Landin made while holidaying in Greece back in 2014, which Cimbrelius combined with his own pianos, beats and electronic textures. After some to-ing and fro-ing, they ended up with a set packed full of evocative ambient and electronica pieces that match melodies and chords to the gentle rhythms of nature.

Mogwai return with their 9th studio album which was recorded with renowned producer Dave Fridmann (Mercury Rev, The Flaming Lip's, Mogwai's Come On Die Young and ROCK ACTION) at his Tarbox Road Studios in New York State.

Every Country's Sun named after a friends lack of knowledge in how the universe works, takes two decades of Mogwai's signature, contrasting sounds and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. It will definitely appeal to fans of the band and will gain many new ones along the way.

***Boxset includes: White vinyl double LP, 12" black vinyl (containing 6 tracks of album demos), CD, plus a set of Tarbox Road photographic prints - Includes download card redeemable from the label.***

After the success of last year's debut EP OneMind are back with more music on Metalheadz, and coming along for the ride are a couple of friends in Total Science and Throwing Snow as they follow in the footsteps of Ulterior Motive and Om Unit (who both featured on EP1).

EP2 is a prelude to OneMind's forthcoming album and is a sure sign of what to expect as the duo showcase an abundance of talent, from the heavy and well refined sounds of 'Late Addition' to the spine-tingling pressure of 'Early Daze', they really do have it all covered.

* An artist dedicated to pushing the boundaries between the classical and electronic worlds, Prayer is a producer and composer who has impressed at both extreme ends of the spectrum. After dropping experimental four-part EP 'LOST' in January 2017 that aimed to give classical music a more accessible angle, Prayer can announce EP 'SEEING' a darker, club-orientated four-tracker ready to release on esteemed Bristol-based label Black Acre, who mark 10 years in the game this year. Dropping on 30th June 2017 on vinyl and digital, 'SEEING' is one made for the left-leaning club kids who like their sounds gothic.

* In his words;
'SEEING' again explores relationships between two different areas of music; pushing for the diversification of classical music. Although more aggressive and instant than my previous work, it still fully compositional in its nature. The aim was to contrast harmony with brash rhythm, balancing perceived elegance and the abrasive.'

* Prayer finds the home for 'SEEING' on revered UK imprint Black Acre; the team responsible for releasing debut records from Romare, Dark Sky, Connie Constance, Rocks FOE and Snow Ghosts in their 10 year history. The Bristol based crew are known for their genre-bending output that has covered everything from bass and grime to afrobeats and disco; always championing the sound of tomorrow.

Drum & Bass, House Music, Techno, LTJ Bukem, Fabio, Manchester, London, Chicago, Detroit. Ron Trent, Mr Fingers, Wax Doctor, Grooverider, KMS, Transmat, Trax, Warehouse.

* Cained on plate by the best.

* It's an electronic album that has texture. Something fresh and current, but has a real feeling of nostalgia within it which gives you a flavour of where we've both come from musically and in terms of our normal lives. It's about how we work, what we've had to do to make it happen, and what we hold to be important within our genre.

Adam McCartney's Oek is a collection of six pieces. The name is a reference to the Tuvan word for "yurt", or quite simply, the idea of "home". The pieces are constructed using very simple material - scales, built from tetrachords and suspensions, blend the intervals of the chromatic field together. This abstract material is tempered, in turn, by the sounds of the instruments.

Personnel:
Matej Bunderla - alto and tenor saxophones
Ivan Trenev - accordion
Adam McCartney - harmonium.

Artwork by Adam McCartney. Executive producer: Slobodan Kajkut.

"Exercise indicates relatively shorter pieces in which the process of work, of practicing and of trying things out within specified limits, in short a kind of discipline in process, are being attempted. I regard them as both exercises in composing and for performers, especially as the performers function as members of an ensemble." - Christian Wolff

Christian Wolff - piano, melodica
Hans-Ulrich Altenkirch - vibraphone
Ellen Fricke - voice
Robin Hayward - vuba
Rainer Killius - contrabass recorder
Aleksander Kolkowski - violin
Kurt König - percussion
Annette Krebs - guitar
Inge Morgenroth - tenor saxophone
Natalia Pschenitschnikowa - flutes
Helles Weber - accordion
Peter Ablinger - artistic director
Bill Dietz - liner notes

New 3 Track 12" release from Chunky complete with a 2 track 7" with 2 vinyl only tracks bundled for Swamp 81 sublabel, 81. Mastered at Metropolis

What is Amateur Space Jazz One could call it a Lo-Fi Minimal Wavish version of Cosmic Space Jazz and anything closely related to it...from spiritual soul, G-FUNK, ethiopian jazz to ambient and everything in between...no knowledge of musical theory is required...Played with a D.I.Y punk approach on crappy digital synthesizers - preferably with dubious renditions of real instruments. Warmed up to the right temperature with some offbeat effectsbox. Multitracking is a technique widely used...to Create a "one person band with all its members oneself's multidimensional copies in time."....... Comes with a 24 page graphic novel written and drawn by Danny Wolfers himself and a Nightwind Amateur Space Jazz gummy domed sticker.......Let's enter world of Amateur Space Jazz!!!

A Complex Web - The Story of DIVE POSITION and THE SHINING PATH
... began in 1982 when Peter Miller (aka Dr. William S Ray - vocals, tapes, guitar) met Andrew Millar (aka Maurice Spectograph the Nose-y Pieman - program execution) in Gold Coast, Australia. While sharing a similar taste in music, they decided to form a band, so DIVE POSITION was born. Equipped with a Korg synthesiser and Tascam 4-track recorder, they 'wanted to have the 'sound' of Kraftwerk, the groove of Can, and the 'menace' of Throbbing Gristle', ending up with 'a cross of Suicide and the Residents', as Peter recalls. In a local record shop they met Stig Andre Leonardson (aka Vincent Blackshadow), who joined the duo on percussion and drum machine programming. Their motto was 'Now is Then'. DIVE POSITION then became THE FATAL CHARM around 1984, and THE FATAL CHARM became THE SHINING PATH who eventually released their only album 'Basic Training Manual' in an edition of only 250 copies, most probably in 1986. The band then started to drift apart, and shortly after Andrew sadly passed away - this compilation 'Now is Then' comprised of previously unreleased DIVE POSITION and THE SHINING PATH material is dedicated to his memory.

Franco Battiato is often heralded as Italy's answer to Brian Eno. A quizzical composer/lyricist, Battiato turned pop music upside down in the early '70s with three classic LPs - Fetus, Pollution and Sulle Corde Di Aries - that formed a confluence of avant-folk sensibilities and analog electronics.

1973's Sulle Corde Di Aries is the third chapter in Battiato's foray into esoteric pop. While the artist would venture further out into avant-garde terrain on subsequent releases, his early records enjoy a lyrical and playful spirit - eschewing traditional, song-based composition in favor of kosmische voyages.

On Sulle Corde Di Aries, Battiato guides the labyrinthine structural changes and majestic tones to evolve gradually over four electroacoustic suites. "Sequenze e Frequenze," the album's side-long centerpiece, blooms in a polyphony of organic pulses reminiscent of the vibrant keyboard minimalism of Terry Riley's A Rainbow In Curved Air and the rhythmic interconnectedness of Can's Ege Bamyasi.

While Fetus and Pollution are often considered his masterpieces, Sulle Corde Di Aries remains a hidden gem in Battiato's catalogue. With more of a cohesive album-feel than the previous records, Sulle Corde Di Aries slows the pace to take in the sweeping scope of otherworldly sounds and soulful harmonies.

Superior Viaduct is honored to present the first-time domestic release of Sulle Corde Di Aries on vinyl. Reproducing the original gatefold jacket, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978.

The Gradual Progression is a transformative collection of new music by Greg Fox. The seven pieces of The Gradual Progression activate spiritual states through physical means, Fox's rigorous inner rhythms the mandalic vessel for unbound expression and arrangement. TGP signals both a reconciliation of disparate musical ventures and a new nirvanic stage in the artist's oeuvre.

Fox views TGP as an exploration of selfhood, and more specifically, the search for his true voice as an artist. Though such a journey is by nature ongoing, if not essentially elusive, the discoveries along the path are the musical riches of TGP. For his second solo album, Fox employs new methods of externalizing his polyrhythmic virtuosity into non-physical realms.

This transfer of energy is achieved through responsive environments tethered to various aspects of the performance. Sensors attached to Fox's drum kit trigger tonal palettes, or virtual instruments invented for each piece, which Fox communes with in the post-Free Jazz manner. That is, locating and emphasizing states of universal resonance in solo and ensemble settings in place of demonstrating individual ability.

This is where the album's canonic influences - and inventors - are most recognizable. Pharoah Sanders' Elevation and Don Cherry's Organic Music Society come to mind, though the guidance of master drummer and holistic healer Milford Graves ultimately made TGP possible. For Fox's astonishing 2014 album Mitral Transmissions, Graves assisted Fox in adapting software that translated output signals from biological sources to virtual instruments. For TGP, Fox again used percussion to initiate passages whose intensity and vibrancy match Fox's energetic presence and focus.

Adapting the 'intuitive gesture' of action painting, and other responsive means of art-making, Fox developed a musical language constructed to isolate its most emotional and felt states for exploration. The subjective themes that inspired these deep spaces of TGP are numerous: personal loss, self-improvement, and artistic struggle, to name a few.

Another theme, hiding in plain sight, is Fox's drumming. Years of supplying spin in collaborative bodies (Guardian Alien, Ex Eye, Liturgy, Zs) becomes a symbol of materiality on TGP, of organic animated energy seeking beyond its boundaries. Fox describes this tactile element as sensing the emotionality and physicality of the world with the senses and through mental processes--about touching the walls of a pitch black room.'

TGP includes contributions from musicians Curtis Santiago, Michael Beharie, Maria Kim Grand, and Justin Frye, all lending various voices through instrument and from within. Fox considers the power of Sensory Percussion, the software program developed by Tlacael Esparza that helped facilitate the vision for TGP, unprecedented - something akin to magic.

Though TGP tackles technical challenges, the inspirational core is the humanist goal of social progress and its parallel pursuit of self-knowledge. Fox strives for a new musical paradigm that focuses less on his drumming and more on its untapped potential as one element in a polyphonic unity. This dissolution of the self into a wider melodic abstraction signifies Fox's real artistic accomplishment in The Gradual Progression, rendering percussion's dark matter as an invisible but essential element between rhythm and life.

Juice Aleem, the voice that launched Big Dada is back with what we feel is his strongest work to date. The new album Voodu Starchild features contributions from Roots Manuva, Mike Ladd, Blackitude, HPrizm and many more.

In Another Land Pt. I is the first part of a planned trilogy. It is more or less electronic music, generated through long processes of editing and sampling. It's experimental in terms of that its shape and its meaning were not planned, were unclear during its creation and still now are not evident but somehow hard to reveal. It is based on a strict concept which could be very well explained, which the composer decided not to do. Instead of that it is full of hints. It's not a riddle, it's just an invitation to listen closely and carefully. And an invitation to think, to reflect or to imagine if you might hear something which is worth doing so. Probably this music heralds nothing!

The two staples of Polish electronica are on it again. Mirt and TER, after solo releases are back together with their next offering.

Culled from hours of "live-in-the-studio" improvisation, these 45 minutes stand out among the contemporaneous albums with a one-of-a-kind mix of post-ambient electronica having as diverse roots as techno, minimal music, krautrock electronica and afrobeat.

Based on sounds created with modular synthesizers with a dash of Prophet 12, Mirt and TER venture on a journey into thick textures obscuring lace melodies. Instead of typical four-on-the-floor rhythms they draw inspirations from African music and translate them into rich yet subtle digital structure. Subtlety is in fact the key word here. Instead of immediacy of many present-day acts they prefer their music to unravel in a leisurely manner. Each of the five tracks here has a different focus. "Bacchus Theme" is a rhythmic-oriented, almost tribal 5-minute piece, whereas "Disaster Reworked" is a floating composition carrying dense drone structures. The centrepiece seems to be "Wooden Object" closing in at 14 minutes, where Mirt and TER seem to play with their toys, but at the same time not losing focus on creating a cohesive piece of work. You can say the same thing about the whole album: it's varied, each fragment stands on its own, but at the same time all five of them create one coherent record.

Limited to 100 - Vinyl Only- ! Sided

Brand new sharpshooter from Melbourne artist Nerve. Sequencer-driven, high-speed modern elektro mutation for the 6AM crowd. Super limited, single-sided 12 cut proper by Helmut Erler at Dubplates & Mastering. Vital Sales Points: - Sixth release on Australian label A Colourful Storm - Follow up release to last year's Power Relations 12, supported by the likes of Samuel Kerridge and My Disco - Moopie played it on Dommune last September

ONLY 100 UNITS

Four days before New York noise musician Margaret Chardiet was supposed leave for her first European tour as Pharmakon, she had a medical emergency which resulted in a major surgery. Suddenly, instead of getting on a plane, she was bedridden for three weeks, missing an organ.

After seeing internal photographs taken during the surgery, I became hyperaware of the complex network of systems just beneath the skin, any of which were liable to fail or falter at any time,' Chardiet said. It all happened so fast and unexpectedly that my mind took a while to catch up to the reality of my recovery. I felt a widening divide between my physical and mental self. It was as though my body had betrayed me, acting as a separate entity from my consciousness.'

Consumed by these ideas, and unable to leave her bed, Chardiet occupied herself by writing the lyrics and music that would become Bestial Burden, the second Pharmakon LP for Sacred Bones Records. The record is a harrowing collection of deeply personal industrial noise tracks, each one brimming with struggle and weighted with the intensity of Chardiet's internal conflict.

Bestial Burden was recorded at Heaven Street Records in Brooklyn, N.Y. with Sean Ragon (Cult of Youth, Venerence), who also recorded 2013's critically acclaimed Abandon. Ragon allowed Chardiet to experiment with a mix of live recording and tracking, and some of the vocals were recorded live with a small group of people packed into the studio so she could feed off their energy. The result of those sessions is the bar-raising follow-up to Abandon, and an invitation to go even deeper into the sometimes terrifying, always fascinating labyrinth that is Margaret Chardiet's mind.

For his premiere recording on God Records, Phill Niblock confirms his minimalistic musical approach and composes two monumental pieces for flutes and additional voices, respectively. Commissioned by Erik Drescher and Natalia Pschenitschnikova, Niblock again delivers an almost stripped, uncompromising one-way sound monolith. Tremendous, straight, and to the point...

Phill Niblock - composition
Natalia Pschenitschnikova - bass flute, voice
Erik Drescher - glissando flute

Recorded as part of an ambient set at Ostgut Ton Nacht 2016 in Berghain, afterwards remixed, recut and layered with some additional sounds. Clocking in at 35 minites.

Time and time again Stealth continues to pay homage to the underground and this forthcoming single will be no different. Take You There opens the lighter side of Stealth's discography, a liquid roller which plays on its vocals to draw out melodic undertones. Then comes The Ladder, more reminiscent of the genre's
darker roots and providing a contemporary twist on the murkier borders which separate the old and the new school. Colossal breaks and low grinding bass filters throughout the mix, manifesting a sub shaker that reverberates across the composition's entirety. Stealth takes you on a journey, one which reignites your love for the early 2000s but ends in the more modern sounds which represent the high-levels shown across
today's scene. And it's for this reason Stealth has been enlisted in the RAM ranks.
Stealth's output doesn't stop at this release. With a schedule planned for 2017 and a debut LP lying on the horizon, he's back with the standard which originally made him so infamous.

Six Rocks is the first full-length from long time collaborators GB and Yeofi, known collectively as The Steoples. With solo careers working across genres, this album stands as a statement and homecoming for the duo. Meet the Steoples — Gabriel Reyes-Whittaker and Yeofi Andoh. Gabriel is a longtime producer, under the name Gifted & Blessed a.k.a. GB, integral to the start of the Los Angeles beat scene. He recorded his fulllength debut album in 2004, which also marked the first collaboration with vocalist and U.K. native Yeofi on the haunting Love is the End' single. The two had met through mutual friends, drawn to one another through their shared appreciation for genre-defying creativity. Up to that point, there really weren't too many folks who were experimenting with bridging the genres in so many kinds of diverse ways like we were interested in,' GB says. They were both open-minded, and both reaching for good music instead of being locked into a particular style. When they met, something clicked. GB was working with certain musical colors and collages that resonated with Yeofi, and the result is Six Rocks, an exploration of sound that often emerges as a collection of unfinished ideas. In lieu of being incomplete, however, GB prefers to describe it as unresolved. There are no typical song structures or chord progressions, or any sense of normalcy here. And that's a good thing. Much is left to interpretation and imagination.

Brought together in 2005 for a performance at San Francisco's venerable The Luggage Store Gallery, Anla Courtis and Thomas Dimuzio are introduced through the raw power of amplified music. Brothers in arms the duo remained in contact and in time began a recording project from afar. With a nod to classic cassette culture the distant combo exchanged source recordings with each artist concretely preparing a long-form work. The two tracks contained herein are a result of this collaboration.

Seven yers ago, it was winter break at university in Madison, Wisconsin. There was a snowstorm that covered the city with a still white haze. Not a single person in the streets. I was sitting on my bed with a cheap keyboard and a computer, screaming into the void. I barely remember writing the songs. It was a chaotic point in my life. I had no time to think about process or intent. It was a purge. I do remember taking a break from recording, bundling up, and walking through the barren streets while listening to the demos I'd made. The world, at once, felt clear. After writing and producing what would become the Stridulum EP, I contacted a new friend, Alex DeGroot, to come over and record my vocals. He was studying audio engineering and had more knowledge and gear than I could dream of. He helped mix Stridulum, too, because all I had was a pair of headphones. (Since then, Alex has stuck by me, as a live bandmate, technical director, co-producer, mixer, and engineer.) These songs were a huge leap of faith back then. It was my first time singing without layers of distortion, echo, and reverb. It was the first time I peeled back the layers to find out what was at the core. I'm still on that path today, seeing how far I can push myself into unknown places, whether through clarification or destruction. It's like Stridulum's still here with me, underneath it all. Still, it's surreal to think that this record, made by a 19-year-old girl sitting on a bed in a freezing old house in Madison, would make its way into strangers' ears seven years later.'

* Moa Pillar returns with his second LP, 'Hymns', on Karelian label Full of Nothing. To be released on July 28th, 'Hymns' follows the epic album 'Humanity' (2015).

* Offering up five tracks of transcendental heavy bass and beats, Moa Pillar aka Fedor Pereverzev, slams the worlds of authentic folk, tribal music, forward thinking electronica and dark techno together, unapologetically creating illuminating effects on his latest LP. Refusing to follow convention, Pereverzev produces his own, soul elevating sound art with his eclectic textures and sounds.

* Each track on 'Hymns' challenges the traditional meaning of its namesake. Even the meditative 'And the Moon Stopped' has an undercurrent of darkness offering, itself listening like a sacrifice to the higher energies. Developing a niche sound the producer explains; 'my music is all about energy, no physics, it's about the spirit'.

* Pereverzev first rose to prominence during his late teens after setting new age trends in the Russian beats scene circa 2009. Two years after the excellent 'Hunting' EP, Moa Pillar began to experiment with harder sounds and different forms, leading him to the sounds he creates today. Outside of Moa Pillar, Pereverzev is one of Russia's leading sound designers and co-founder of audio-production studio, Monoleak - they have recorded music for the likes of NASA and Mercedes. He has also enjoyed great success with film Bonfires and Stars premiered at Visions du Reel Festival, which follows him to the Caucasus where he collaborated with local folk musicians.

Something special from camp Critical as two of electronic music's leading lights lock horns for a Vs battle of epic proportions. Taking the jungle fleck of 'Mind & Spirit' from Sam's 'Wasted Days' LP of last year and one of Breakage's most memorable cuts from way back when (2005), the results are as you'd expect from these two. Utterly essential listening.

Lost LP from 1977, rebuilt from original tapes, by the creator of BLACK DEVIL DISCO CLUB. The french electronic music pioneer behind Black Devil Disco Club, released three seminal library albums in the seventies: Suspense (1975), Cosmos 2043 (1977) and The Strange World of Bernard Fevre (1977). A fourth album called Orbit Ceremony, produced just a few months after remained in his home studio and never saw the light, sentenced to almost 40 years in the devil's vault. By chance, while working on the re-issues, Bernard Fevre recently found the original lost tapes of Orbit Ceremony, including the multi-tracks which he remastered himself. Spacy moogs, weird clavinet, and cosmic analog drum machines: it's all here. The quirky, cosmic library music found on this long-deleted 70s science-fiction-themed album is full of burbling synths and off-kilter melodies. There's only one man on this planet able to produce such a crazy sound. As soon as you press play you know you've embarked on a special and unique 'back to the future' trip. Don't worry, fasten your seat belt and relax. Captain Fevre is taking care of everything.

Raunachte huntsmen Die Wilde Jagd return to Jennifer Cardini's Correspondant. Previously spotted on the label's far-reaching 'Compilation 4' album earlier this year, the duo ride back into town with two more chilling tales.
Building on the immersive, otherworldly scenes they've painted on Bureau B - including last year's self-titled album - the duo, comprising Ralf Beck and Sebastian Lee Philipp, continue to paint lavish landscape scenery with thick oil paint synthesis
'Geisterfahrer' (translating to wrong-way driver or ghost driver) is all about the anticipation. The second those introductory cymbals splash and the sinewy synth bass texture start to loop there's an overwhelming sense of drama and suspense that pays off with every detailed ingredient.
We hurtle through the night to the sound of 'Drachenfels'. As its name suggests, it's a mountainous sonic hike which surges higher and higher into the clouds. Bar by bar, ripple by ripple the scenery and physicality grows with a sense of triumph as more elements are added. Reaching the summit the moment the beats finally kick in.
It's down to DFA's Factory Floor to close this vast atmospheric scene with a remix. And they do so with a beautifully blunt electro twist where chunky 909 drums punch a slo-mo break while immense dubby washes of drums scatter down across the analogue groove with a kilter-teasing defiance. A fittingly brazen contrast to the cinematica conjured by Beck and Philipp.

GourmetBeats 011 features four selections: "Stalactite' and 'Stalagmite' by E3, "Stalactite Remix' by Alter Echo and 'Stalagmite Remix' by Tetrad. All four tunes are available to buy on 12' vinyl and digital formats.

Alter Echo / AKA Sound Secretion (Josh Derry), has spent the last fifteen years working as a dub scientist of the highest order and performed in the United States, Mexico, Canada, France, and Senegal. Creating a highly distinctive sound and collaborating with DJ Spooky, Lee Perry, Mad Professor, Scientist, Twilight Circus, Dr. Israel, and Systemwide, he often works as the 'Hidden Hand', perfecting and alloying disparate materials into completely new dub forms. Alongside E3, he was one of the founders of world-renowned future-dub label BSI Records, and has released music on ZamZam, Khaliphonic, Moonshine, Lava Lava, BSI, M Records, Six Degrees, Thirsty Ear, Sub Rosa, and Bangarang.

E3 (Ezra E Ereckson) is a producer, DJ, and co-boss of the ZamZam Sounds and Khaliphonic recordlabels. A founding member of Portland's pioneering agit-dub band Systemwide and the president of now retired BSI Records, E3 has been collecting records since the age of 13 and DJing for over 15 years. Past Portland residencies such as Deeper Roots, Bassism, and Atlas (one of the earliest and longest-running global bass parties in the US), as well as regular rotation at Various and now Signal, have cemented his reputation as a sonic tactician without boundaries, borders, or genre constraints - all of it is rooted in a deep love of reggae and dub. E3 has remixed Ishan Sound for Bristol's Hotline label, and has 7' vinyl releases on 45Seven, Bella Union, and Boomarm Nation, and has represented ZamZam from Echo Chamber in Brooklyn, New York to Subdub in Leeds, England.

Alter Echo & E3 have extremely deep roots in dub and are in high demand in the world of underground sound system music since their first 7', 'Kufic Dub' backed with 'Dub Is Not Easy," dropped on ZamZam in early 2013. Their signature productions have varied tempos with thick, heavy atmospheres, masterful dubbing, vinyl archaeology, and loads of sonic detail and intrigue. Whether floor-filling or abstract, the Alter Echo & E3 sound is unmistakable. Their second ZamZam release, 'Nubian Dub' backed with 'Warning Dub' created worldwide appeal, championed by selectors from Dub War to Joe Nice, Pinch to The Bug—and received a glowing 9 out of 10 in Mixmag. Both tunes spawned remixes on Khaliphonic from Ishan Sound, Egoless and DJ Madd. A third 7" release followed in partnership with Young Echo's Rider Shafique, and the Bristol bonds grew even tighter with a B-side remix on Ishan Sound's 'Rush On The Tonic' 7'. In December of 2016 Alter Echo & E3 debuted their mutant dancehall hallucinations on Ossia's new Lava Lava label, and in January 2017, a 12' on Moonshine gained mass appeal.

Tetrad is the dubstep and bass music project of L.A.-based musician, producer, songwriter, and DJ, Cheyne Bush. A lifelong musician, Cheyne learned jazz on saxophone and guitar in school, and punk and experimental music at home. Gaining experience as a youth, starting a band called Issue 89, playing a fusion of street punk and ska, and joining a metalcore band MidMourn on vocals and synthesizers, he turned to electronic music when he experimented with music software, tinkered with Ableton Live, and began listening to Aphex Twin, Autechre, and Boards of Canada. Cheyne spent his first year of college at Berklee College of Music and completed his Bachelors of Fine Arts in Music Technology at California Institute of The Arts (CalArts) in 2012 and a Masters of Fine Arts in Film and Video in 2015. As he developed his style and listened to deep minimal techno, a new sonic influence came from his burgeoning interest in 4x4 and 2-step Garage music -- dubstep, most specifically Burial and Shackleton. Discovering the Hyperdub and Skull Disco artists, and listening to early DMZ, Deep Medi, and Chestplate releases, Tetrad shifted his sound in this new direction. Following multiple collaborations with Brukha as Friendly Strangers in 2007 and LMNOP as Cybertooth in 2009, Cheyne started recording solo as Tetrad in 2015 and released a clutch of deep and weighty dubstep tunes Sure State in the United States and Heavyweight in the United Kingdom. Most recently, he released his vinyl début with the 7' single 'Awaken Dub' on Portland, Oregon's vaunted ZamZam Sounds label, and a follow-up 7" with newly debuting Bay Area label Material Sound with his tune "Eazy Street."

Stefan Schwander aka Harmonious Thelonious is definitely not a newcomer. He has been around for a long time and has already released lots of amazingly varied music on labels such as Emotional Response, Italic, Meakusma and Diskant. He's also an integral part of the infamous Duesseldorf / Salon Des Amateurs axis that is an obvious hotbed of talent. He describes his style as "American minimalism vs. African drumming vs. European sequencing", a heady mixture which is clearly evident on this EP though with a definite Middle Eastern twist. Here at Versatile HQ we were introduced to this clutch of tracks by one of the members of Acid Arab and we were totally blown away. Stefan has a very unique production style, fusing all of the above elements with a hint of Gamelan, a dash of tweaked FM synthesis type sounds with a dose of warm ambience and finally his own singular touch on the mix. We are very happy to present you these 4 tracks to you, an essential EP from one of European music's true originals.

Hiroshima JAPAN based records label "Eurasian Suite" would be released their first 7inch 45 .

Koichi Ozaki who organized Eurasian Suite from 1990s has already released five 12inch records in Europe.

His songs often play in European radio program ( i.e. Gilles Peterson - BBC World Wide) and contained in European compilation CDs.

This 7inch record contains " Wayo Secchu " (means: the way in which Japanese style and Western style are blended together) Jazzy break beats and highly recommended for interlude for midnight.

Finders Keepers and Demdike Stare's Dead-Cert label unearth a record that has evaded collectors and online discographies for over 40 years - perhaps the rarest artefact they have reissued thus far. It's an impossible-to-find Italian library music oddity from semi-mythical producer and Fabio Frizzi collaborator Giuliano Sorgini, aka Raskovich, with a spellbinding collection of obscure and mind-bending oddities, Minimalist tape experiments, mechanical noise and musique concrète.

Best regarded for his groundbreaking electro-acoustic and concrète sound design input to The Living Dead At The Manchester Morgue and Zoo Folle, Raskovich is also linked to a wealth of impossible-to-find cult LPs with Alessandro Alessandroni's Braen, Giulia Alessandrini's Kema, and their mysterious supergroup The Pawnshop, all amounting to a catalogue which assures his place in the pantheon of library music greats.

Going deep into their under-the-counter channels, Dead-Cert have again outdone themselves with this outing, salvaging Science & Technology from total obscurity to reveal an innovator working at the full extent of his avant imagination in a sort of cybernetic symbiosis with his studio-as-instrument. Keening between sounds as much suited to a blood-lusting horror as a psychedelic, drug-fuelled thriller or some esoteric sci-fi, he penetrates and opens up vividly magnetising realms of abstraction that just beg to be explored by listeners who think they've heard it all before.

Erring closer to the kind of minimalist negative space and fractured dynamic favoured by Belgium's IPEM, or even pre-echoing the atonality of Maurizio Bianchi, for example, as opposed the fluffier lounge tendencies found on many recent reissues from his field, Science & Technology lives up to its title with impressionistic depictions of industry and plugged-in life evocatively animated under titles such as Fissione Nucleare and Biochemica, or accurately modelling processes in the mutant, polymetric patterning of Germinzione.

It really takes albums like this one to remind us of the prescient collective and individual genius of the Italian library music scene, especially at a time when the quality levels, in terms of musical intrigue and uniqueness, not just presentation, is being called into question by a swell of inferior, or just plain unnecessary library music relics. As Andy Votel explains, "this release is quite unlike the many projects that have recently flooded the reissue market and stands up as one of the truly unobtainable and wholly original records to come from this important era of European studio music by a composer whose reputation is slowly approaching monarchial status."

Simply, it's an engrossing example of the innovative technique and inventive imagination which made Italy a most legendary crucible of experimental music.

Following a killer split 12' w/ Djrum for the Zenker Brother's Ilian Tape label, new artist Struction debuts for R&S
Newcomer Struction joins the R&S family for a titanic EP of dystopian post-rave experimentation - the 4 track release, entitled 'Gefüge', effortlessly crystallises the best parts of R&S's storied musical heritage without coming off like pastiche.
From the jacked menace of opener 'Kreen', a dizzying percussive assault of breakbeats and 808 kicks, it's clear that Struction means business. 'Warrior' follows on with deep end breakbeats cut through with melancholic synth washes.
The flip side commences with 'Ai', all skittering percussion, swelling distorted pads and relentless kick drum thrum, while 'Dolly' rounds out the release in fine style, quickening the pulse with its hypnotic FM bass polyrhythms, scything cymbals and icy strings.With this release Struction marks himself as one to watch very closely for the future, as well as once again showing R&S's commitment to nurturing new talent, as well as releasing the best cutting edge electronic music.

'ELSEWHERE MCMXIII' is a compilation full of electronic textures with a unique character to it, analog, lo-fi, slow dancing vibes.

Compiled by DJ soFa for Débruit's ICI label, the record is a 12-track journey through future retro oddities, that navigate in disco, coldwave, kraut territories, with a taste for experimentation, while being great to dance to.
It showcases a scene well represented at clubs like "Salon des Amateurs" or close to labels like Antidote, Music From Memory, Macadam Mambo and Dark Entries.

12-track double vinyl. Digital version also available.

imited Edition custom stickered white labels - 1 year after the release of Von D's 'Daydreaming' album sees the release of the much anticipated remixes and the first producer to step up is France's Niveau Zero (Hench, Ad Noiseam, Lutetia) who tackles 'Maximum Boost' featuring the vocal talents of Foreign Beggars - A truly HYPE remix smashing up the dancefloors right now. On the flip Brighton's Riskotheque (Ninja Tune, Disfigured Dubz, Love Sick) comes correct with a superb remix of 'You're My', a Deep, Heavy rework garnering 15k+ streams on soundcloud, this is certainly a track for the heads. As ever, limited vinyl so don't sleep on this one.

Never to be pigeonholed, boxed if you will, Schro¨dinger's Box has once again come out of hiding (or is that once again became real) with a new artist of indefinable qualities. Steering her way through a busy marketplace of sounds and styles, Angela M Chambers selects from an array of influences. Indie. Wave. Electro. Punk. All are present in this six tracker of ambitious proportions. Tear jerking give way to emotional bangers, psy-dipped house fades into smoke shrouded experimentation as
The listener is lead through a 12' of exotic surprises and out-there ideas