Beats News

* Limited Edition Gatefold 2LP set with printed inner sleeves.

* Following their surprising debut on cassette tape in past February, Magamura put out the vinyl version of Supernaturals. Comprised of Eril Fjord and Laurine Frost, the Hungarian duo have carved out their reputation through live performances at renowned festivals and venues like Arma in Moscow, combining the formar's indie aestheric and the electronic music prowess the latter has proved on work for the Nervmusic imprint. Despite their huge influence from the 70-80s experimental music, Supernaturals is not so much retrospective as ominously dystopian. It captures and distils their well-known improvisational mutability into a testament to their promising potential, which will stand the test of time. This is Kebko Music's first instalment on vinyl. Following our tradition of carefully-wrought artwork, the LP comes in a gatefold sleeve designed by Damien Tran.

* Kebko Music is Tokyo-based Akiko Kiyama's independent music label focusing on releasing avant-garde music which is not bounded by any specific genres but embraces the whole range of techno, experimental music, field- & live-recordings and classical music. The label owner established her name by Richie Hawtin featuring her track in his well-known DE9 Transitions mix in 2005. Since then, her music style has gradually changed to explore the edge of electronic music. The core of the label is based on small handcrafted editions of cassette tapes. It aims to give a chance for all of artists and listeners to explore their musical experience and creativity.

Static motion. Joyous hope pierced by doubt and anxiety. The ever fading memories of life-changing experiences. Longing and craving for a moment long gone. An apothecary dream resembling pharmaceutical peace of mind. Originally released by Noorden in 2016 as a limited of run of only 50 cassettes, this release represents a more ritualistic, melancholic and intimate side of Neozaïre's ethereal ambient and post-electronica sound. This special vinyl re-release includes an exclusive remix by UK producer Synkro."

Vinyl tastes better...

Recorded in a single session at Berlin's Golden Retriever Studios on June 18, 2016, Nonland combines atmospheric, looping guitar with textural, polyrhythmic percussion. Having played together live only once previously, these sessions were entirely spontaneous and improvisational, intuitive and expressive...
Aidan Baker is a classically-trained multi-instrumentalist using the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from rock, electronic, classical, and jazz. A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects, like Nadja, B/B/S/, and Caudal, on such independent labels as Gizeh Records, Pleasence Records, Important Records, Alien8 Recordings, and his own imprint, Broken Spine Productions. Baker is also the author of several books of poetry. A regular live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, and Mutek, among others. Originally from Toronto, Canada, Baker currently resides in Berlin, Germany.
Karen Willems is a Belgium drummer who has performed with o.a , Zita Swoon Group, Jan Swerts, Novastar, Pascal Deweze. Currently, she is leader of the group Inwolves and regularly collaborates with Aidan Baker, Eric Thielemans, Dirk Serries, BARST, and Jean De Lacoste. Her mix of sounds, drums and percussion contains nectar for the soul and does not spin compromises between authenticity and cheap commercial considerations. Willems resides in Adegem, Belgium.

As Shadows Pass as the name suggests, reflects on a sound that has been around for years yet not prevalent in the present era. Shadows move and alter over time but their essence remains the same, as it is with the direction of ASP and the philosophy of the music it represents.

As Shadows Pass was implemented by Aural Imbalance & his team with one purpose. Release forward thinking, deeper D&B with an ear on the future - while keeping another on the heady sounds of days gone by.

The emphasis of ASP is to give our core Producers from the deeper sound of D&B a platform on which they can express themselves, without the fear of having to compromise on the depth & intellect of their Art.

As Shadows Pass believe this hand-picked selection of Artists have what it takes to bring the vision of the label to fruition. With that said we can now proudly present the NineTeaseEP by Aural Imbalance.

Nine Tease nods back to the days of 90's Atmospheric D&B. Heavy rolling beats that have you shaking with delight at their infectious quality. The main riff has an uplifting summer vibe with a kiss of sunshine. Full on flashback retro feels with a modern twist - spacey pads & detailed fx that ebb and flow throughout, managing to capture those golden age moments yet still feeling fresh and relevant.

Spiral Divide - Pure spaced out bliss, yet with bags of energy in all the right places. The flow comes straight from your favourite sci-fi world where gadgets and machines are king. Warm lush pads fill the palate, supported by a cast of delicate synths & FX that drift into the psyche with hypnotic effect. The beats are crisp modern rolling little beasts, shuffling a merry dance along those pathways of the mind, all bottomed off with that soul shifting analogue bass.

Alpha Protocol Continuing into the depths, this moody, broody little number has a colder yet more immediate presence. The soundscape has an almost clinical feeling that grabs you by the balls then drags you in an otherworldly direction. Rolling, filtered snares & shuffles are connected to crisp hats - solid kicks have a controlled frenzy about them. An oscillating bass evolves through the track, rising and falling through filtrated cycles creating whirlwind acoustics.

For all those who are already fans of the AI sound then this is a complete no brainer exercise - Splash the Cash to get his work on wax. For those new to his sound, this is a perfect introduction. Don't Sleep.

repress

REPRESSED !!
The producer behind the last years huge hit 'The View' teams up again with the same vocal duo to equally great effect. It's the lead single taken from his forthcoming debut long player. Over the past 3 years Luke Beavon's music has gained many admirers in the drum and bass world. His musicality, passion, ear for detail and production ability all shine through on his releases. These two tracks are no exception. Missing you is real heartbreaker, with lyrics written and performed by DRS and Tyler Daley it's a beautiful soul song for the all the people that have lost someone close. Tumult on the other hand is rough, fierce and devastating and shows the darker side of Luke's artillery.

We at Soul:r couldn't be more proud to present you with this single and the forthcoming LP...

Cosmic Bridge continues to move forward with a two-track release featuring the dynamic duo of Munich's Danny Scrilla, an early member of the label's roster, and Bristol's Sam Binga, a close friend and collaborator of the label's founder Om Unit. Created during a weekend session at Scrilla's home studio, the release sees this long overdue Anglo-German meeting of the future minded go deep into unexpected sonic terrains and fully live up to its title of Weird in Munich.

The trip begins on Side A with 'Frolic in Brine', a brooding roller that sets up the mood: deep, hypnotic and sweaty. The track unfolds from pulsating synths with a percussive rhythm underpinning a gentle procession of elements including synth arpeggios, languid guitar licks, and echoing sound effects. Ignoring dancefloor conventions, 'Frolic in Brine' instead opts for a minimal approach that delivers a shot of pure body music.

Things get a little more industrial on the flip side with 'Further Peaks', a tougher production with a sturdy kick-driven base, rough-hewn loops, and percussive bursts that seems submerged in a disorientating layer of distortion. Beautifully ugly, 'Further Peaks' sits somewhere between the futuristic sheen of autonomic beats and hearing techno reverberate in the darker corners of Berghain's dancefloor.

"We wanted to do something different than what we've done before," explains Danny. "I guess most people would expect a collaboration between us to sound different. Recorded in Germany and mixed down in Bristol, where it benefited from Binga's growing collection of outboard gear, Weird In Munich shows the range of these two producers and continues Cosmic Bridge's tradition of pushing dubwise, bass heavy music towards news horizons.

BJ Nilsen is a composer and sound artist based in Amsterdam. His work primarily focuses on the sounds of nature and how they affect humans. In 2015 he set off on a month long hiking trip in Gran Paradiso to explore the acoustic environments in the alpine landscape. Drawn to the monotonous and physical effort that mountains and high altitudes contributes, this became one of the main inspirations for the album, reflecting upon the perception of the landscape during several hours of physical difficulty, let alone rapid weather changes, horizontal thunderstorms and rock avalanches. It is also about the scope of details and perception of the path and the myth of the mountain as the accursed or sacred place

Swing jazz production (sax, trumpet, percussion, bass, piano) produced by Gianni Vitale (Nexy Lanton-You Too, S.M.S.-La Vie C'est Fantastique, Squeeze Up-La Isla Bonita, Jdstreams-Another Sun) and featuring Claudia Borroni, italian showgirl (Scorie, Buona La Prima, Uomini & Donne) recent star of the burlesque calendar 2011 De Nardi.

Killer release from this new Detroit artist and label that blurs the line between Detroit house and the current sound coming from the UK. Fans of Shake and forward thinking UK dance music will lap this up.

DDS prise another absolute gem from Japan's Shinichi Atobe, presenting 6-tracks of original,
previously unreleased material recorded some time in the last 20 years in Saitama, Japan which perfectly complements the sublime ambient house zen of his Butterfly Effect album.
The reclusive artist has seen a lot of justified, and somewhat overdue, praise surrounding the reissue of his sole early release, the Ship Scope 12' which was originally issued by Berlin's Chain Reaction, label in 2001, whilst the dispatch of his distinguished and subtly diverse Butterfly Effect LP arguably came as a surprise for many heads who had him pegged out solely as a dub house producer.
His new World EP will expand those preconceptions again, coursing a beautifully louche and debonaire vibe from the most minimal loops and motifs - the kind that one could play all day and would hardly ever tire of hearing them.
The supple, floating DX7 bass contours and vaporous jazz chords of Intro start up like some Chicago or NYC deep house classic lost in its own reverie, and could o n for as long as it wants,
before the rainy day piano house melancholy of World 1 promptly inverts that supple aesthetic with a fizzing, hazy sort of depth perception and World 2 switches again to a sort of trim dub momentum in stepping, swinging equilibrium, riding the groove like no other.
Turn over and the lingering, slowed downstroke of World 3 sounds like it got waylaid from a KGB MAN/0PN session with Wolfgang Voigt, whilst World 4 jettisons the bass altogether to thizz and skip away in the highest registers with an intoxicatingly heady, mesmerising appeal which also makes the uniquely brittle but spacious breakbeat trip of World 5 so narcotically seductive.
We hardly need to spell it out for you,- this is highly idiosyncratic, exceptional material, with highest recommendations to anyone with a or taste for house and ambient's refined, soulful and experimental echelons.

Faitiche announces the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner's tape archive

Berlin based Kashual Plastik (or Kashual), has quietly ploughed its own furrow over the last few years, with releases by Georgia, Bufiman (Jan Schulte), and a mixtape by DJ Richard, among other delights. The label returns with a new EP, combining industrialised electronics, organic field recordings and drone guitar trips.

MM/KM collaborator Matalla (Kann Records) lifts the curtain with a pick-up-sticks tropical percussion episode. Robert Bergman (Bakk Records), proves that industry is not dead yet, with a pulsing factory of sound, turning out objects we had not found the use for, until now. Ernesto González's prolific alias: Bear Bones, Lay Low provides a sci-fi spring reverb excursion into the wrong part of town. Frankfurt's Inkasso, oversees a session of metaphysical kraut-tinged loop therapy. Promoter / DJ and label boss, Herc E Rillen brings the show to a close with his mysterious, psychedelic machine.

The sleeves are handcrafted and screen printed, with a sticker and poster, only 200 copies made

* Vinyl is 2LP Gatefold with free 2CD set.

* Building on the success of sell out shows at Shoreditch's Village Underground and the mighty EGG:LDN, Spearhead Records bring you Spearhead Presents: The Soundtrack.

* 15 brand new and exclusive cuts from some of their favourite producers, alongside another 13 tracks that have been the soundtrack to your clubbing experience their nights. If you have been to any of their nights in the last few months then you may well have heard these being road tested.

* Highlights include the Spectrasoul remix of LSB's 'Rollings Sideways' and the sublime Vanguard Project rework of BCee's 'Lost & Found'.
* Support from High Contrast, LTJ Bukem, Fabio, London Elektricity, Rockwell, Etherwood, Technimatic and a whole load more...

Researched and executed by 31x artists - Twelve-inch vinyl and download code - Fourty page A5 pamphlet includes plantlore and illustrations from artists and herbal medicine section by herbalist Zoe Naylor. - Twenty eight page pocket A6 booklet Oak, Fern and Daisy: 'The Folklore, Culture and Magic of the Plant Kingdom' By Jez Winshi

I shall go to bed now - one day we shall all be shades. I adore you, I adore you, I adore you, but I'm fixated on making myself sick. Welcome to the centre part.

Hessle Audio's Pangaea reworks two 90s tracks in his own style for 2017 dancefloors.

Early DJ support from Ben UFO, Pearson Sound, Joy Orbison, Gerd Janson, Daphni, Call Super, Shanti Celeste, Kowton, B Traits on BBC Radio 1.

Vinyl only / no digital.

HOUSEWAX presents Einzelkind! The Frankfurt based producer is delivering full service with an outbreaking electro track called "Hide n Seak" on the A side and a serious piano house monster on the B side called "Jump n Run". "Game Over EP" is for us the strongest ten inch on this series so far.
Great job, Arno!

John T. Gast's 'Inna Babalon' was originally published as a cassette on Gast's 5 Gate Temple in 2016. An important offering int he British producer's output. Revitalizing Anglo-Saxon folklore through bassy dub magic.
Haunter Records is now remedying the physical unavailability of the album by giving it renewed life as a Limited double LP.

Freerotation resident Duckett lands on Facta and K-LONE's Wisdom Teeth label with a new 4-tracker, Gannets For Guano - the label's first single-artist EP, and Duckett's first for Wisdom Teeth. Having already released wonderful records on Galdoors, Greta Cottage and UntilMyHeartStops, Duckett's latest fits in perfectly amongst Wisdom Teeth's backcat - his malfunctioning rhythms and spoon-bent melodies occupying that sweet spot between order and chaos that the label has always done its best to occupy. More so than ever, Gannets For Guano sees Duckett exploring far-out territories. The melodies are psychedelic, the rhythms are disjointed and swinging - but always keeping just the right side of chaotic. Even at its most eccentric, the EP rolls with the functionality of techno, and boasts buckets of soul on account of Duckett's truly singular knack for melody. With Gannets For Guano, Duckett and Wisdom Teeth continue to establish themselves as go-to names for UK-rooted gear and tripped-out house and techno.

Marking six years of Rainforest Spiritual Enslavement's cultish, elemental output, Dominick
Fernow (Prurient) gives the project's first ever release a vinyl pressing for the first time, coiling up two extended tracts of impure, unnatural gloom ranking amongst his most cherished works.
When RSE was first conceived with Fallen Leaves Camouflaged Behind Tropical Flowers in 2011, the project was shrouded in a veil of mystery which left many fiends guessing to its provenance - it seemed too far reduced to be identified as Fernow's work, but also didn't easily resonate with anyone of Hospital Productions' usual suspects, instead holding a unique line of stygian slow
techno that sounded like some our bleakest, febrile fantasies come to life.
Soon enough RSE's creator and navigator was indeed revealed to be Fernow, and the project became regarded among his most prized golems by those in the know, not least because it was starkly defined in contrast to his myriad other pseudonyms - Vatican Shadow, Prurient, Christian Cosmos, Force Publique Congo, and so on - by dint of its perceived restraint and glowering minimalism.
Perhaps because of that stringent, meditative asceticism, the hypnotic grip of RSE has remained undiminished and perhaps as strong as ever on this new vinyl edition, where the Predator heartbeat and keening tonal groans of Life Would Transform sound more pensive and narcotically effective than ever, and the the borderland industrial chug and clag of Skull Covered In Moss seems to be seated deeper into its dank gloom, emulating a location recording of a burial-by-mud in some godforsaken no-man's-land, with lurking parakeets and mechanical birds awaiting their turn on your soon-to-be carrion.

Green Vinyl

This is the second in a reissue series of Dominick Fernow's early work as Rainforest Spiritual Enslavement, casting spells from the 'Green Amulet Crafts Supernatural Qualities' (2011) tape onto vinyl for the first time and steadily closing the gap in your RSE collection.
Something like the soundtrack to one of Ballard's prophetic visions of sunken cities, this second RSE incursion was initially released in an edition of 63 tapes in 2011 and found Fernow dwelling in a dread-fuelled, paranoid headspace.
In aesthetic, it forms an oblique inversion of Prurient's saturated noise assaults or a sort of chopped and screwed adjunct to Vatican Shadow, perhaps best located closest to his Force Publique Congo output, but with fathoms more negative space and those full sunken subbass charges.
A Slave Boy That Died An Awful Death For Not Keepng His Owner's Horses. He Helps People Who Are Looking For Lost Things fills the A-side, pinpointing a location that could easily be an overgrown traffic island as some Nigerian mangroves in oil country, overrun by local scallies or machete wielding pirates, both scared witless, who could well be the B-side's An Old Hag That Wears Shoes And Stomps Over People's Stomachs At Night Making Them Breathless, as is common to local
legends of Manchester's southern edgelands and the Niger Delta.
Thanks to Paul Corley's sensitive remaster and CGB's lacquer cut, the subbass has been perfectly translated to the vinyl for total immersion, sounding stronger, wider than the tape or digital versions ever did, and in the process rendering RSE's magick at its most tangible.
Ask many Fernow/Prurient/Vatican Shadow fiends and they'll likely cosign - this is some of the dankest, most precious work in Fernow's sprawling catalogue..

Daybreak tends to creep up on you. Emerging from starry darkness, the sun wobbles at first but proceeds on its scheduled arc. You can't help but wonder if it ever looks back in disbelief, or regret. This feeling of self-reflection—of looking back to see how far you've come—is precisely the sentiment of Thawing Dawn, the first solo record from A. Savage, released on Dull Tools.

The songs on Thawing Dawn form a guided tour through the romantic environs of A. Savage's mirrored mind. While some were written recently, other tunes were penned over the past decade. For one reason or another, these compositions didn't land with any of Savage's other groups, and instead are presented now as a distinct collection. Reflecting back, Savage says, Once I realized I had a small body of work that didn't fit anywhere else, I started to examine the commonalities: What's the common denominator of all this and how I can expand on it'

Savage is best known as the frontman for Parquet Courts, a duty split with fellow Texan Austin Brown. Their last record, Human Performance, delved into the emotional wreckage of a broken heart, to critical acclaim. But with Thawing Dawn, it's clear that Savage has matured. While assembling the record, he fell in love. Now, for the first time, we hear songs about being on the inside of love. Rather than lamenting the end of a relationship, we hear a voice trying, in the moment, to make sense of love's mysteries. Part of this maturity,' he says, is reflecting on something when it's happening, not just when it's gone.'

Thawing Dawn gives us honesty: We see the artist at home in bed, more singer-songwriter portrait than esoteric statement. Throughout his discography Savage has long abbreviated his first name as a kind of writerly gesture. He says, of the move, I am an uncivilized member of modern civilization--I'm just a savage.' Like Duchamp's R. Mutt signature on a urinal, the shortening embodies a mischievous directness, enabling this savage to introduce his slanted honesty into the universe.

I always like it when records are good representations of communities,' Savage says, and this one succeeds in this regard. These ten songs were recorded by a cast of friends in Jarvis Taveniere's Thump Studios in Brooklyn. Members of Woods, Ultimate Painting, PC Worship, EZTV, Sunwatchers and Psychic TV all lend their talents. Savage's voice, once shouted into mosh pits, now glides confidently above its backing band. Thawing Dawn marks the arrival point for Savage as a sensitive and skilled vocalist. A strain of rural inquiry tinges the soundscape, an ongoing trope in Savage's writing most powerfully felt on Parkay Quart's ballad Uncast Shadow of a Southern Myth.' On this record it is stronger, with a healthy helping of pedal steel guitar, a chorus of female back-up vocals, four familiar chords, and maybe the truth, all layered throughout these songs. Their titles also steer us this way, but don't fully convey the hidden intricacies. Buffalo Calf Road Woman' opens the record in a burst of C&W energy. The staccato pop piano of Eyeballs' lays crisply beneath a refrain of heartbreak. Wild Wild Horses' finds him confessing inside a Talk Talk bubble of guitar static and organ. The build-up of What Do I Do' yields a guitar freak out that Parquet Courts fans will recognize. You could two-step to the swing of Phantom Limbo.' Ladies from Houston' is a Leonard Cohen-like ramble through a party scene. Finally, the title track is a suite of three interwoven songs that closes the record in a beautifully cinematic style.

Throughout, A. Savage delivers one-off lines of razor-sharp observation that will stick in your brain, only to surface when you're least prepared to handle their insights. When you put your copy of Thawing Dawn on your turntable and drop the needle, you'll learn what A. Savage has to say about romance in our modern world. Keep your ears open--it's worth hearing.

This 12" presents two different flavours of the Jungle sound from producer Jim Morton, mixing a range of influences with heavy Beats and Bass. On Side-A is "NYC-DUB", characterised by plenty of atmosphere and weight in the Sub. And on Side-B, "Underwater Chord", is again on the Jungle vibes but with a Liquid feel.

Renegade ravers, Koehler and StabUdown Productions - a new alias of James Donadio (Prostitutes) - get loose and chaotic in a deadly stand-off for Diagonal, firing four barrels of belligerent electronic shrapnel and sawn-off techno following a slew of crushing solo 12"s spread around the wrongest rave houses over the last five years.
On Jim v Dan they offer a sort of snarky peer review of each other's tackle, with each producer offering an original cut to be sniffed, prodded and mauled by the other in an itchy, virulent process of rugged refinement. While it may be hard to tell who takes the points after four rounds, either way the rave comes out on top.
In round 1, Koehler makes the first move with Incoming Enemy, doling out a rictus tattoo of rail-gunning 'ardcore breaks and bleeps that bite down with the curled-lip attitude you'd expect from indulging any of his ramrods on Berceuse Heroique and Skudge White. In response, StabUdown's Jim Donadio gives back a sort of 2-stepped industrial shoulder barger nagged with gnashing breaks and dub-churned bass from the Valve playbook.
For round 2, Jimlad takes the first slap with a mighty twist of dancehall techno recalling the sick mutations of Demdike Stare's Wonderland LP, harnessing hardbody groove with sticky, stinging
electronics for one of the deadliest shots in his armoury, which Koehler duly hypnotises with a sort of drunken snakestyle inversion, diffusing its reticulated energy into a spaced-out reel of
bleeps and Uchronic AI techno - think B12 meets Orphan Drift.
Mad tings. Recommended to all mutant ravers!

Mark Templeton returns with the third instalment in his Heart trilogy. Following on the heels of Scotch Heart (2011) and Jealous Heart (2013), Gentle Heart is a fitting closure to this story, an album filled with bending, yearning phrases - sounds that feel like they are actually speaking to you from another time, as if they're being piped into the room where you're listening today.

There is a continued use of elements that hearken to tape machines and older technology combined with acoustic instruments and modern studio techniques and sensibilities, squarely centered in the contemporary moment. Loops stumble and fall off their track, then regain their footing, breaking the concentration enough to remind you that someone is here and paying attention. In both structure and emotion, Templeton captures time in a novel way - connecting points that don't immediately lend themselves to such a connection, deftly balancing qualities that are both haunting and inviting. This music is one of imagined memory, capturing moments that never happened, but could have.

An example of this can be seen in how the track titles suggest a sense of Western tropes, but the music is anything but, not intentionally misleading the would-be listener but rather nodding to a set of ideas and images that drive the artist's intentions in this album, and through his interpretations the tracks become far removed from any assumption of what these words or images may mean. It speaks to what is happening in the background and lets the listener think about how one point moves to another. It is not a strict form. It is a flexible guide that allows the music to touch things that it doesn't hold on to tightly - playing with mood and tone while veering into its own direction.

Much in this vein Gentle Heart closes with two pieces that make one think of a vast prairie, one that has been rearranged in a computer and put back together - not to make it more digital but to make it new through the perspective of today. Twangy guitar strums filled with hisses and fuzz roll into clipped phrases that are nostalgic in their specific way, a modern imagining of a past time that may hold a sense of simple peacefulness, of space, of a long view that goes forever. * Ezekiel Honig

clear vinyl in printe PVC sleeve, ltd. to 350 copies, incl. mp3

For The Modern Institute's self-titled first vinyl document, the practices of audio technicians Richard McMaster, Laurie Pitt and James Stephen Wright are brought into sharp focus, the initial analyses of a project which examines the rituals of performance, the signifiers of bourgeois culture and the absurdities inherent in the middle class art gaze. While undoubtedly disturbing in execution, it's a succinct reminder of the tension between lazy, electronic music tropes and the essential, quizzical attitude frequently lacking in the technoid culture, yet abundant in Glasgow's agent provocateurs.
Seen through the frame of primary music generators McMaster and Pitt's previous music projects - Golden Teacher, General Ludd - The Modern Institute's recorded output is an oblique, strategic examination of rhythm and the spaces between.

Rhythm is often re-defined and re-formed through out The Modern Institute, with the easy 4/4, communally cohesive beats of the Teacher and the Ludd some way off. Opener Black Blood is a case in point, with a elusive pattern providing a warped, skeletal framework for Wright to smother. The atmosphere is austere, aggressive, clinical as a gallery wall after the exhibition has failed. The yawning, sub-bass of False Beards and Diamond Hooves hacks at the exhibition floor opening up punishingly alien chasms. The narrator's deadpan poesy, battling against the brutalist backdrop, reminds the listener of early industrial pioneers Cabaret Voltaire, not least in the unmistakably northern accent. Side A closes out on the first attempt by The Modern Institute to break into a recognizable pattern, though rendered on Destroy Logic as a dry destruction of a Bashment rhythm. Arabic Eight is nightmarish, a Normal deconstruction of art music. A nonsensical, Dadaist mutation of electronic dance music, Intelligent Dance Music with no intelligence, dance or Music. Wright intones when I was younger you used to say you weren't in it for the money,' taking down conceptions of artistic integrity, inspiration and muse. On Springloaded, we're still deep in an alien lifeform's insides, viewing the tropes the art industry uses to sell itself, splashes of digital distortion and burps crossfiring across the stereo field. Shiver And Quiver ends The Modern Institute, sounding like all the cities' alarms simultaneously set off to the beat of the LPs only 4/4 beat, here juddering and unnaturally fast. Ask questions, just don't ask for answers.

Fat dancefloor delux cut and printed sleeve edition... The Melting Pot reach the level of Noisia : production is bloody good and music is PERFECT ! A bloody fat Hard Drum electric sound to boost the dancefloor... Banging stuff !!!! MUST HAVE !

Black Truffle is honored to present a new issue of Annea Lockwood's classic 1970 tape piece Tiger Balm, unavailable on vinyl for over thirty years, accompanied by two exquisite unreleased works for percussion and voice.
Created while Lockwood was living in the UK, the side-long Tiger Balm is a singular work within the cannon of tape music. Inspired by research into the ritual function of music, the piece explores the possibility of evoking ancient communal memories through sound. Breaking entirely with the dynamic language of the musique concrète tradition, Lockwood uses a select palette of mainly unprocessed sonic elements chosen for their mysterious and erotic characteristics (a purring cat, a heartbeat, gongs, slowed down jaw harp, a tiger, a woman's breath, a plane passing overhead), presenting at most two sounds at once. As one sound flows organically into the next, their shared characteristics are highlighted, opening a space of dream logic and mysterious associations between nature and culture, the ancient and the modern.
The B-side presents two pieces for percussion recorded here for the first time. Amazonia Dreaming (1987), performed by Dominic Donato, uses unaccompanied snare drum and voice to evoke the nocturnal soundscape of the Amazon rainforest. Unorthodox techniques and materials (marbles, chopsticks, a plastic jar lid) transform the snare into a resonant field of sensual textures.
Immersion (1998), performed by Donato and Frank Cassara, is a slow-moving exploration of gentle beating tones, performed on marimba, tam tams and gong. Like the other two works presented on this LP, it provides captivating proof of Lockwood's belief in the complexity that deep listening can reveal within seemingly simple sounds.
Francis Plagne
Presented in a stunning deluxe gatefold sleeve with archival pics and liner notes by Annea Lockwood including the score to Amazonia Dreaming.
LP design via Stephen O'Malley
Mastered and cut by Rashad Becker at D&M, Berlin February 2017

imited 180g vinyl version of album released digitally by Wall Of Sound. Includes digital download card
Lisbon Kid, exceptionally popular throughout the Balearics and the East London Electronic music scene, a unique production duo of Rui da Silva & Danny de Matos, whose most recent credits include Chloe Howl, have become a pioneering force in the world of digital arts. Hailing from Portugal with a unique, identifiable sound that combines pop sensibility and emotional lyrical content with curious ambience and sonic soundscapes. Many of their singles can be found on notable compilations such as Café Del Mar, Balearic and Golden Lounge. The band spend Summers touring a hybrid Live-A/V DJ Set that has seen them play shows in London, Ibiza, Cannes, and Lisbon.
When Lisbon Kid decided it was time to start recording an album, in the sunshine of Azeitão in Portugal, they found the resultant songs explored many common emotional and narrative threads. The album became a subtle blend of electronica and acoustic instruments, with elements of sound design, added to a huge song-based pop sensibility and emotional lyrical content. A consummate debut record, as diverse as it is adventurous. The melodic songwriting craft employed gives it it's unique personality and becomes obviously radio friendly. Invited guest vocalists include indie stars; Sarah Cracknell, Hafdis Huld, Lisa Billson and Queen of Hearts. Lisbon Kid album 'Lisbon Kid' will be released through Wall Of Sound as a limited edition of 300 numbered pressings only

The Lavel 'Moods & Grooves' welcomes Athens based rising star Phaze Dee to it's roster of well respected and established artists.

Approaching a decade of work - Phaze had appeared on several popular labels as a producer and in demand remixer.

'The Game of Life EP' is a mixture of raw, deep, and soulful tracks featuring Phaze Dee's signature warm synth chords and deep hypnotic grooves. The diversity of this EP will allow it to stay in the bags of DJ's for years.

Be ready for the first release of the brand new parisian label Disques Flegon. This various, from House to Breakbeat, present its new producers : Greta, Dj Stalingrad and Malohne.

Raw and cold and full of wanted or unwanted mistakes : are the characterizing elements of this new release, coming straight from the right bank of Paris

Following their much-acclaimed surprise debut album VERMONT from 2014, Motor City Drum Ensemble's Danilo Plessow and Innervisions' Marcus Worgull reunite for more synth daydreaming on the suitably titled II'. The new outing continues where the first full-length left off, strolling further down the luminous and undulating path that the duo turned into, influenced in equal measures by kosmische, krautrock, minimal wave and synth soundtracks.
This latest batch of instrumental cuts opens with the strictly balearic vibe of NORDERNEY, a softly swinging, light-footed recording with a keen sense for structure. Featuring a guest performance from Robbert Van Der Bildt (aka Kaap) on guitar, it's a telling starting point for the album that - similar to Vermont's self-titled debut - successfully navigates between economic, careful studio arrangements and playful, incidental exploration further pushing into jam session territory. Van Der Bildt's guitar returns on the plucky, curious UFER, where Vermont showcase a renewed sense for jazz-like improvisation - same as on the cuts DSCHUNA, CHANANG and WENIK, which also include contributions from Dermot O'Mahony and Tadhg Murphy on strings.
Still, Vermont's synth contraptions remain the album's main attraction, with the extensive array of gear encompassing an entire panopticon of analog bling - from Arp Oddysey and Moog Prodigy to Fender Rhodes, Juno and Prophet, list-studying gear heads will find lots to drool upon. Consequently, tracks like CHEMTRAILS, UNRUH or GEBIRGE err on the machine side of things, expertly interweaving arpeggiated sequences for maximum atmospheric effect. Foreboding, slightly menacing synth motives as on SKORBUT or CHEMTRAILS are perfectly balanced with the casual ambient of HALLO VON DER ANDEREN SEITE and the nostalgic warmth of DEMUT - while the gentle push of the masterful KI-BOU even carries a whiff of classic deep house, linking the Vermont project to Plessow and Worgull's main careers as dance floor movers and shakers.
Continually intriguing, immersive and texturally rich, each one of Vermont's new pieces betray the experience, precision and determination of the producers involved - while opening up Worgull and Plessow'a vocabulary for patient experimentation and subtle discoveries. A musical treat for synth aficionados - and everyone else, if you ask us.

The result of a febrile fantasy cooked up after 2015's Moss Side Carnival, Prosthetics is the grim af first release nested by Croww, a bold new outlier from the edgelands of south Manchester.
Croww's debut for The Death of Rave features a pack of obscure, pre-Roadrunner Slipknot samples which have been painstakingly gerned beyond recognition, concatenated and uchronically folded into a fxcked-up session owing heavily to grindcore and '90s D&B and flashcore as much as modern, vantablack stripes of club music or rap instrumentals. It sounds like nothing out there right now, and, 20 years since Slipknot's emergence, can be heard as an unimaginably distant echo of what became a proper subcultural phenomena.
Harnessing detailed, flash-it blast beats and psychoacoustic shockwaves punctuated by samples from Iowa public access TV and visceral wretches nodding to Slipknot's dead crow-sniffing rituals, the uniquely brittle but mercurial Prosthetics (MechaMIx) and its four constituent digital Prosthetic parts, form a sort of stubborn study on the stifling nature of nostalgia.
Through a stoic process of parsing his sincere, formative obsession with Slipknot along with contemporaneous samples and other extreme forms of music which never entered the band's original equation, and then scrying the whole thing thru a hypermodern, street or bedroom level prism, Croww soberly inverts their source codes to extract a mutable expression of individuality from collective delirium in an era saturated by mimetic, populist clones trapped in an ever decreasing feedback noose of influence and reference.
It blurs distinctions between mixtape, imagined soundtrack and demonstrative showreel with an unflinching guile deliberately blinkered to melodic or percussive convention owing as much to the weightless inference of Total Freedom as the disciplined, shattering rage of Black Mecha, or the devilish metrics of La Peste's flashcore hyperstructures.
It's club music if you want it to be, or a portal for total, detached immersion and transcendence,
if that's your thing. Either way, it's a brutally uncompromising and compelling expression of cybernetic body horror and private ecstasy, nailing unique ground in the shifting sands of modern culture's temporal flux - ultimately as a record which could only really emerge in 2017.

HLRECS001 is the first 12inch release of russian hardcore drum & bass label Harder & Louder Recordings.
These 3 tracks represent our view on modern hard electronic music. Famous Hungarian hitman Mystification strikes uncompromisingly with the schranz & bass banger 'Recovery', Tugie (UK) increases the offensive concept with the hip-hop hardcore crossover 'Bad Motherfucker' and Spanish warriors eRRe & Hardlogik blast us with their unique 'bumba' style's clanging snares and violent kicks from 'Perfect Hunting Machine'. That's we are, and we'll not dwell on this.

Crafted between the years 2000-2008, 'Immerse' is a massive selection of some of the finest deep pulsating dark ambient tracks that we have ever heard. Together they create a journey through depth and darkness with a gripping emotional hook that almost stand unprecedented.


This is how Periskop described the advent of these enthralling pieces of music in a recent conversation:
'Immerse' is partly the subtle deep repetitive pulsations of the early dub techno scene and partly the dark ritual emotional/cathartic approach of the industrial soundscape movement of the 80s and 90s. I was compelled to combine the two approaches in a personal space or sound to overcome states of alienation and emptiness. The layer-on-layer compositions are a result of more or less meditative explorations of these states in symbiosis with the music making equipment. Some of the sounds are field recordings and vocals/voices/breathing and some of them are synths and sampled drum machines, but I have tried to blur the line between the two types of sources to avoid too many references to existing music or phenomena from normal human experiences.'


Antonio Vazquez: "The whole album is a dream!! Really fine sounds which makes you float in a calm and peaceful trip through the vacuum."
BLNDR: "Perfect release."
Cio D'Or: "Some amazing components fpr special moments!"
Deepbass: "Great sounds, feeling it"
Elle: "For me and for now probably the best listening of 2015."
Eomac: "Some lovely stuff on here. Thanks"
Eric Cloutier: "fantastic ambient excursions. really nice stuff."
Giorgio Gigli: "Immerse is AMAZING!!! I'll play and chart for sure, can't wait to play the vinyls Thanks for your music ;)"
Jonas Kopp: "it deserves a careful listen , sounds great. thanks."
Luigi Tozzi: "Probably one of the deepest work I listened lately. Totally in love with all the tracks, very hard to find a fav!"
Mattias Fridell: "Happy to see this massive project launched. Well done fellas"
Modvs: "Impossible to pick a favourite. 10/10"
Oscar Mulero: "Loved it. thx!"
Rasmus Hedlund: "Very submerged sounds, excellent trip!"
Samuli Kemppi: "Quite amazing sounds. Really like it. Thanks!"
Shaded Explorer: "This is one of the most beautiful and immersive music I ever heard, totally love it and into it!"
Skymn: "This album is going to be one of the best in 2015. No doubts. You have my full suport!"
Stephanice Sykes: "Very profound journey!"
Takaaki Itoh: "full of deepness. will play for first part of dj set. full support."

Recluse joins the Version Collective family with his dubby melodic Rastaman Seen.

Subtle Mind, Melle and The Illuminated join the heavyweight 12" on remix duties.

Sub required material!

* Spearhead Records label boss Steve BCee returns with his 4th studio album, and it's safe to say that it's his best one yet. Not just a solo affair, BCee has also drafted in some of the finest vocal and production talent around. With features from two time best d&b vocalist winner Riya and d&b legend Logistics being just the start.

* 'Northpoint' is BCee at his most diverse. From the early 90's hardocre influenced 'Keep Moving On' to the Jungle roots of 'Hollow Eyes' this is an album that really showcases how broad the D&B spectrum can be while still keeping to the Spearhead ethos of being uplifting musical d&b packed full of heart & soul. BCee said 'I wanted to make an album packed full of d&b that would work in a club just as well as it would in the car. No fillers, no showcasing how I can produce house or hip-hop or whatever, just pure no nonsense drum & bass'.

* With BCee's Spearhead Presents brand regularly selling out shows at clubs like the legendary Egg in Kings Cross & Shoreditch's Village Underground, plus his growing DJ & production schedule and 'The Vanguard Project' his alias as a duo with fellow d&b produced Villem, it's safe to say that even though BCee has been in the game for 16 years, he's only just getting started.

* Support from Friction, Mistajam, Metrik, Technimatic, S.P.Y, Nu:Tone, Logistics, London Elektricity and a whole load more...

You can't make sense of this, clicking through mp3s, on tin-pan computer speakers. Put the record on, though, and set the controls for the heart of the bloke next door, and it's terrific. The drum-less, throbbing, droning, wailing, sawing, twinkling reconnaissance of Nothing, with massive, unnerving swoops, throttling and surges.

The new Jerusalem-based label Raash Records opens its doors to spread the city's heavy mind-bending sound.

The label kicks off with a debut 7inch by producer/musician Ilia Gorovitz. It's an explosive mixture of raw drums, gut-shaking riffs and head-swirling synths, influenced by the 1970's horror film soundtracks and today's bass-heavy electronica - a combination that makes it appeal equally to psych and beat heads alike.

Side A's "Turmoil" is a dirty and aggressive mid-tempo slasher, backed with a krauty crawling horror downbeat of "Simmering with No End" on the flipside.

Recommended for fans of Mophono, The Gaslamp Killer, Drumetrics and Goblin.

Enter Tsuruda. Championing one of the most innovative and heartfelt collectives in the Los Angeles area, this Salt Lake City native has a very bright future ahead of him. Expertly combining the hard-hitting percussion of trap, the swagger and depth of hip hop, and a style of sampling and melody creation all his own, Tsuruda truly brings a unique and gripping sound to the stage. In a scene where true originality and heart is often difficult to find, Tsuruda follows a similar path to artists like Ta-ku and Mr. Carmack. He understands his love for music and his own struggle, and brings them into the light for his listeners. Following his extensive body of work be sure to look out for his album 'Move', dropping on Noisia's DIVISION imprint soon.

World-renowned as one of experimental music's most vital and impressionistic composers of the past few decades, William Basinski's tape loop works have been especially influential, particularly on the historic series, The Disintegration Loops, where distorted, orchestral tape samples burrow deep into the listener's psyche through meditative repetition. On his new album, A Shadow In Time, Basinski plunges deeper than ever for the plaintive, solitary eulogy to David Bowie, aptly titled For David Robert Jones.' Conversely, the title track, A Shadow In Time,' is a subtle, celestial escalation of melody and drone. The result is one of the most truly transcendent pieces of music he has ever committed to - or wrung from - tape.

- Code' ist das Debütalbum des Berliner Produzenten Answer Code Request auf Ostgut Ton. Ob seine DJ-Sets, die zunehmenden Auftritte als Live-Act oder mit eindrucksvollen Releases auf Marcel Dettmann Records und seinem eigenen Label ACR - Patrick Gräser zählt als Resident-DJ im Berghain zu den spannenden, neuen Gesichtern des Labels. Nach der - Breathe EP', seiner Debüt-Veröffentlichung auf Ostgut Ton, ist sein erster Langspieler nicht nur eine Frage der Zeit, sondern gar der logische Schritt gewesen.

- Code' ist ein Statement, denn es spielt und kokettiert nicht nur mit der Gretchenfrage der elektronischen Musik, welche Aufgaben und Perspektiven eine Techno-LP demonstrieren sollte, sondern stellt auch unsere gängigen Hörerwartungen in Frage. Denn während zumeist das Primat der Funktionalität als Paradigma in Stein gemeißelt zu sein scheint, kehrt ACR der bloßen Ansammlung von Dancefloor-Tracks den Rücken zu. Allesamt im letzten Jahr entstanden, stellen die zwölf Tracks ein originäres, andächtiges und erwachsenes Soundkonzept vor, das sich wie eine nebelverzogene Zeitreise präsentiert - sowohl durch die Einflüsse und Geschichte von Gräser, als auch durch Teilgebiete der Tanzmusik: von Detroit-inspirierten Elegien über den UK-Sound mit seinen Breakbeats und IDM-Bezügen bis hin zur warmen Seite des Berliner Techno der 90er-Jahre. Trotz der mitunter nostalgischen Tiefe, umweht - Code' eine geheimnisvolle Aura sowie mystische Stimmung, die sich wie ein roter Faden durch die Stücke zieht.

After releasing Bakradze, Transfigured Time returns with 4th release yet again from a Georgian artist Nika Machaidze aka Nikakoi aka Erast. Tbilisi based musician who started his career in 90s early 2000s. Nika is a member of electronic art group GOSLAB alongside Tusia Beridze, Gogi Dzodzuashvili and others.

* 'Raise Your Head and Smell The Air' EP includes 5 original tracks and 1 remix from another Georgian producer HVL.

* Photo on the cover is by a Georgian photographer David Meskhi.

ONLY 1 LIMITED COPY PER CUSTOMER !

Die New Yorker Techno-Produzentin Umfang veröffentlicht ihr Debütalbum auf Technicolour/Ninja Tune! Umfang ist waschechte New Yorkerin, Labelgründerin und Techno-Feministin. Mit Discwoman, ihrer eigenen Plattenfirma, setzt sie seit 2014 der männerdominierten Clubwelt eine weibliche Alternative entgegen, in dem sie elektronische Musik mit feministischen Ansichten vereint und das Talent von Cis-, Trans- und Genderqueer-Frauen fördert. Ihre amorphen und polyrhythmischen Techno-Produktionen erfreuen sich schon jetzt großer Beliebtheit, und mit ihrem Albumdebüt "Symbolic Use Of Light" auf Technicolour, welches Mitte Juni erscheint, wird die Männerdomäne im Nachtleben endgültig gebrochen werden.

For the second part of Osiris' 50th release celebrations, we get another new track, 'Regret Was Never So Sure', from head honcho Simon Shreeve in his Mønic guise: a piece that nods to his past but looks firmly to the future of bass-driven music.

The track then gets some very special treatment on the B side from Regis, who blends its core textures with his own unmistakable percussion, before Mønic returns to close things out with 'Forbidden Memories': an ambient piece with high-hats that seem to dance delicately on ice, and claps layered with reverb in true Mønic style.

Sound Mirror presents the debut release of another new talent from the Orson Wells clique. Hailing from the deeper westside of Frankfurt (South Hessia), please welcome: Gerait, head honcho of Bockenheim Housenation. Sweet ambient sounds slide into an epic deep house stomper on side A, followed by an atmospheric and lush minimal synth disco track on B1, plus a bass heavy, slightly eery and sort of tribal rhythm track on B2. Another great eclectic and well rounded 12 EP.

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

Through the Sparkle is a collaboration between French ensemble Astrïd and American pianist and composer Rachel Grimes.
Rachel Grimes is best known for her chamber music project Rachel's, a hugely influential group formed in 1991 in Louisville, Kentucky, releasing six studio albums between 1995 and 2005. She has also released a string of contemporary classical works in recent years on labels such as Temporary Residence. Astrïd is a collective of four musicians based in Nantes, releasing records on Rune Grammofon and Home Normal.
After years of mail and email back and forth over the ocean, from Nantes to Kentucky, astrïd invited Rachel to come for a residency to make music together and play shows in France. They gathered for a few days, here and there, in 2012 and 2013 to write songs in Cyril and Vanina's home studio in the countryside.
The compositions found on Through the Sparkle glow with a unique, connected energy and a pure, instinctive musical understanding. Considered contributions from all sides allow the pieces to unfurl naturally. Each note and phrase feels like it simply couldn't be placed anywhere else in the album.
Charming, gentle and cinematic sounds are found here in abundance. Melodies circle and reveal themselves without force, allowing the listener to focus and explore the depths of what is on offer. Musically, Through the Sparkle is an expansive and evocative album. There is a presence to be felt throughout, from Cyril Secq's emotive tremelo'd guitars of M5 to the darker, more haunting mood of The Theme, to the tension in Mossgrove & Seaweed. Strings and woodwind coalesce around intricate piano and guitar movements creating a wealth of harmony and melancholy.
Through the Sparkle is a record of miniature symphonies, of elegant restraint. A gracious and generous offering from a group of musicians at one with each other and at the top of their game.
- Artwork by Gizeh's in-house art dept. SmilingPaperGhosts
- Rachel Grimes - previously of The Rachel's - this record will certainly appeal to fans of the band
- Astrïd will tour in October to support the release
- Both artists have released on such labels as: Temporary Residence, Nome Normal, Touch & Go, Rune

Dj Overdose brings us Higher and Higher with this new versatile 5 tracker on the rising Dutch label Pinkman. Cinematic soundscapes combined with sinister electronix. Comes with beautiful artwork on a disco sleeve. Tip!

As Morly, the Minneapolis-born LA-based musician, Katy Morley, creates brooding, otherworldly songs that are soulful and polished. Her first material debuted on Ryan Hemsworths celebrated Secret Songs label, her singles have amassed millions of streams online, and she was selected to support XLs Lapsley on a key U.S. tour in 2016. Now, after releasing two EPs with Cascine, Morly returns with her Sleeping In My Own Bed 12. These three new tracks again showcase Morlys refined take on pop, as well as her impressive vocal prowess. Sleeping In My Own Bed is coupled with b-side The Wetness and an alternate mix of the title track.

The long-awaited debut album by Noer the Boy is released on DJ Shadow's imprint Liquid Amber in late August.

The Wisconsin-born, Portland-based artist continues his experimental excursions with new album 'Mechanism', following his critically acclaimed 'SPILLEDNOISE' EP in 2016 also released on Shadows' label, and his previous releases on Noh Life and Courteous Family.

'Mechanism' shows the unleashed talent of a musician influenced but unrestrained by IDM, jazz, and classical compositions. Across the 10 tracks Noer explores the futuristic realms of bass music, skillfully mining fragments of drum and bass, hip hop, and dubstep to weave into his sound excursions. The result is modernistic, high energy, and full of unique character.

Caroline and Eduardo scoured the scenes of Europe and Latin America for over 12 years with their post punk band PANICO. Ten albums later, Caro and Edu launch a new project: NOVA MATERIA. NOVA MATERIA was born from the willingness to consider music as a direct derivative of the natural and industrial elements that surround us. More electronic and experimental than PANICO, the duo uses raw material to transform and recycle: scrap metal tubes, stones rubbed on metal, drum, beat boxes, bass, electric guitars used as percussions....To rene their sound Caro and Edu fetched parisian DJ and producer CHLOE, a real expert in turning raw elements into gold nuggets. Their rst EP "APARECE EN SUENOS" released on Paris based label Kill The Dj is a concentrate of wild energy, live act ferocity and sound experiments magnied by CHLOE. Their second EP "ALL THE WAY" will be released through chilean label BYM and will feature remixes from Alejandro Paz, Föllakzoid and Paul Thomson from Franz Ferdinand.

After 2 successful, reputation forming EP's (The Descent Chapter I & II), enigmatic musical entity Pact Infernal re emerge with their debut LP 'Infernality' for Horo. Equal parts horror and simmering mysticism, the Pact Infernal sound has collected a base of devoted listeners including musical contemporaries like Lucy, Samuel Kerridge, Trepaneringsritualen, & Oake.

'Infernality' is an accomplished coming of age for Pact Infernal, a conceptual LP that brings together the elements that worked so well on both their EP's into a robust, coherent statement. Beckoning, sinuous rhythms combine with smoky ambience and subtly anthemic riffs. The haunting percussion that has been a highlight of their past work often takes the lead, and in 'Death & Rebirth', Pact Infernal have come up with their most infectious music so far. Album closer 'Rites Of Passage' is a time capsule Pact Infernal track, perfectly combining their stylistic signatures into an essential bookend.

'Infernality' marks the beginning of another chapter in the Pact Infernal tale as they undertake their very first live and DJ performances, as well as firmly establishing they have carved out their own singular stylistic patch within electronic music, tenuously tied to many strains, but ultimately incomparable.

Cvlt Nation Interview - https://www.cvltnation.com/rare-cvlt-nation-interviews-mysterious-dark-entity-pact-infernal/

Ex Thaum Promo Mix - https://soundcloud.com/horolabel/pact-infernal-ex-thaum

Mix support so far from Samuel Kerridge, Ancestral Voices, Killawatt.

"Fantastic album. as per usual I love the eastern vibes, skilful production. love it from the start to the end." Ancient Methods

"Production quality and ideas are insanely good. Will play parts at very special events." Paula Temple

"One of the best albums we heard this year just got released on Horo and is by Pact Infernal. We highly recommend you check this one out and play it on repeat since we are truly in love with every single track on that LP." Oake.

"Amazing LP from beginning to end, impressive stuff." Kwartz

"Sounds like a nice collection of waves from hell - thanks!!" UVB>

"Super nice LP." Svrec

Prolific and understated musician Shane English delivers a follow up 12 inch for L.I.E.S. after his powerful "General Dimensions" lp from 2016. Once again the Austin based artist taps into the outer edges of the electronic world falling in a grey area somewhere between Muslimgauze, creeped tribal electronics or the tense beat experiments on Seico Corp Recordings. This is downed tree split open wire music, live to the touch.. free form open ended recorded music from one of the most interesting and best kept secrets in American electronics these days. Unending tension with every turn, this is not a record to miss.

* Over the past six years, Dimensions has become a leading name in the underground, with its festival, International Series, DJ Directory and Dimensions Soundsystem. Now, Dimensions extends its influence with the start of its label - Dimensions Recordings. The label launches with a 12-track compilation across three separate discs. 'An Introduction' makes a huge statement in setting out the label's intent and breadth. With artists established and new stepping up to present 12 exclusive tracks.

* Dimensions Recordings explores its darker side on An Introduction Part 3 with intergalactic oddities and twisted techno constructions, the release is definitely ones for the late hours. 'Crosstalk' from gear heads London Modular Alliance opens; a squelching, electro, hardware excursion demonstrating a small snippet of what's to come from the talented trio. Next, French artist, Upwellings steps up to demonstrate his purist approach as he unites elements of dub and techno to create the beautifully spacey 'Soft Shadows'. The third offering comes courtesy of Fachwerk label boss and prolific techno artist, Mike Dehnert; who presents raw but melodic track in 'Tokio,'which maintains his minimal and stripped back aesthetic beautifully. Chicago's Steven Tang in his Obsolete Music Technology rounds off the release with 'Comb Freq,' a devastatingly powerful mix of acidic, bleeping dance floor energy!

* Brazilian legend DJ Patife return s to V Recordings in combination with the infamous SUNANDBASS festival to present a collection of some of the finest Brazilian producers in the scene today.

* Directly from the sun soaked beaches of his native Brazil, SUNANDBASS & V Recordings are proud to bring you DJ Patife Presents - Viva Brazil: SUNANDBASS Sessions.

* Patife has compiled new and exclusive music from some of the most exciting producers in Brazil including names such as L-Side, Alibi, Drumagick & DJ Chap along with new music from himself and guest appearances from top class talent such as Command Strange & MC Fats...

* This project is an important one. Its represents Patife's re-found love for the game that was re-ignited by a trip to the SUNANDBASS festival. In his own words, DJ Patife tells how and why he felt so inspired.

* 'From 2009 to 2013, I was away from the industry due to marriage, kids and other personal stuff, but also I'd stepped away from the scene because at that time I wasn't so happy about the music that was out there. A lot of things was changing and I it seemed like a natural time for me to take a break.
Then in 2014, I had my first SUNANDBASS experience, it was a game changer for me in so many ways! As a Drum & Bass lover, it was hard to believe that for a whole week an event took place in a paradise named San Teodoro in Sardinia (Italy). An event full of people who love this music from all around world, all alongside those legends who've been in this scene since the beginning'
As a person who loves to share, I thought about my boys in Brazil who have been following and supporting D&B all these years. I was trying to find a way for all of them, or at least a few of them to come to SUNANDBASS, and to see and feel what I was feeling'

After issuing some 200 or so tapes in the last five years, artist collective Ascetic House have finally deployed their first salvo of vinyl editions, now available in Europe for the first time.

Deep Pill: Vinyl debut from notoriously reclusive Marshstepper and Ascetic House member D. Pupillo, feat hi-fidelity tracks soaked in acid, written in isolation and anxiety.

Mastered by Joshua Eustis and Giuseppe Ielasi, with artwork design by JS Aurelius, these LP's are housed in reverse board full color jackets lined with high gloss black flood printing.

After issuing some 200 or so tapes in the last five years, artist collective Ascetic House have finally deployed their first salvo of vinyl editions, now available in Europe for the first time.

Glochids: A melancholy and wistful suite of patchwork electronics, field recordings, acoustic and midi percussion, something like K. Leimer and Marc Berreca via Bellows or Basic House.

Mastered by Joshua Eustis and Giuseppe Ielasi, with artwork design by JS Aurelius, these LP's are housed in reverse board full color jackets lined with high gloss black flood printing.

Don't shoot me, I'm only the piano player.

The Scene: The Welsh mountains, remote and harsh, a special place. A good place to produce a special album. The characters: Volker Bertelmann in his friend Adam Fuests' studio, equipped with only a piano and a laptop. The Project: To record a album of piano music. Title: Hauschka.

Piano music is highly personal music, which is the reason why piano solo albums occupy a particular place of importance in a musician's work - not that Volker Bertelmann wants to hype his first foray to that extent, hence the pseudonym. Nevertheless Hauschka is personal music, simply because it has accompanied him for so long, because it has always been there in some shape or form, because it has always been important. The title points to the fact that it is dealing with something of import, not just a few finger exercises or background ivory-tinkling.

Substantial' is a snapshot of a life spent with the black and white keys, and is simultaneously both moment and history, thought and feeling, yet without turning into a unduly meaningful concept album. Rather, Substantial' is based upon the least conceptual of all concepts: Improvisation. Each track is based upon an opening sequence, the theme of which is extended, modulated and varied with, as far as form or length is concerned, no specific objective in mind. What has come out is music of a differing, well, substance: Eleven atmospheric pieces in which a variety of different techniques overlap and rhythmical images with narrative depth unfold, in which further instruments, such as double bass or vibraphone make a fleeting appearance, at once lending a hint of pop, but at no time detracting from the piano as central instrument, in which experimental and electronic music is accessed without compromising the directness and ease of the improvisational approach.

The confluence of Bertelmann's multiple musical personality can be apprehended here: Whilst the pop-oriented musician plays the melody, the electronic producer gently experiments with sounds, leaving the pianist quite literally to manipulate the piano, - plucking the strings with a plectrum, dampening them or bowing them lengthways to achieve a variety of percussive effects. Following the recording, the tracks were adapted, supplemented and finalized. Using multi-tracking, up to four piano tracks were superimposed, electronic sounds from the laptop added, as well Stefan Schneider's bass (Mapstation, To Rococo Rot, Music A.M.) on three tracks.

Henrik Rylander's music has been inside the spine of iDEAL since his 2004 album "Traditional Arrangements for Feedback". Rylander's music now and then, is uniquely made out of feedback, and feedback only. His no-input mixing desk rituals ends up in a sharp, cold, powerful and rough beauty. Listening to "Feedback Overload Unit", we draw lines to the unfrieldly works of electro-acoustic masters as Pierre Henry and Gordon Mumma but also to contemporary, like minded spirits as Mika Vainio (RIP) and CM von Hausswolff. Henrik Rylander makes stripped down, minimal, intelligent, raw electronic music that will be your new obsession.

Rylander (b. 1966) was involved in the Radium 226.05 crew in Gothenburg back in the late 80s/early 90s as the pulse for the infamous and tragically reunited garage rock outfit Union Carbide Productions, he then formed the shortlived band Sulky before he started to study photography and enjoying a deep interest for sound art and electro-acoustic music. He nowadays works as a forensic photographer working side to side with solo exhibitions of his art, and recording feedback music for iDEAL!

A pounding kick, majestic horns and the powerful chanting of Iration Steppas' Dan Man anchor "This A Sound". "This A Version" strips back the horns & voice, opening up reverb-drenched wells of darkness.

'Arrival' premiered at the Venice Film Festival and has received widespread rave reviews. It stars Amy Adams, Jeremy Renner and Forest Whitaker, with Adams playing the lead role of a linguist who attempts to communicate with aliens that ominously appear at sites across the globe. As mankind teeters on the brink of global war, she and her team embark on a race against time to peacefully find out why they've arrived. More than a conventional sci-fi thriller, this is a thoughtful, intellectual drama with a genre twist.

'On The Nature Of Daylight' was originally featured on Max's landmark album 'The Blue Notebooks', which with its strong anti-war sentiment gels perfectly with the pro-unity theme in 'Arrival'.

When I wrote 'On The Nature Of Daylight' in 2003 I conceived it as the opening of my upcoming record, 'The Blue Notebooks'. At that time (as now) I was troubled by the political and humanitarian circumstances of the Iraq war and, like most of us, felt powerless to do anything, 'The Blue Notebooks' was a protest record. 'On The Nature Of Daylight' is also a reflection on my own childhood, and that fantasy space that children sometimes retreat into - an alternate reality of safety, quiet and sanity. I never imagined that the piece would have a life outside this context: It was so personal.

However, since life is very strange, the music took off in all sorts of unforeseen directions. Choreographers and film makers especially have connected to the work's emotionality, and so its second life began.

When I was contacted by the makers of 'Arrival', I was initially cautious. Having allowed the work to be used in two outstandingly powerful films, Martin Scorsese's 'Shutter Island', and Henry Alex Rubin's 'Disconnect', I was doubtful about granting another use. 

But Denis Villeneuve called me and described the integral nature of 'On The Nature Of Daylight' to the architecture of 'Arrival' - it starts and ends the film - and, as he described the film I was drawn into his powerful world. So, in the end it was an easy decision.'  Max Richter

The 'On The Nature Of Daylight' 12' includes both versions of the music, the original quintet recording, and the later recording for full string orchestra.

After issuing some 200 or so tapes in the last five years, artist collective Ascetic House have finally deployed their first salvo of vinyl editions, now available in Europe for the first time.

Orgonon Pit: '90s style industrial and IDM recalling Coil, µ-Zig and Trent Reznor, like a familiar sound that's just crawled back up the piping as a mutated version of its original self.

Mastered by Joshua Eustis and Giuseppe Ielasi, with artwork design by JS Aurelius, these LP's are housed in reverse board full color jackets lined with high gloss black flood printing.

Post-minimalist American composer Rafael Anton Irisarri makes his Umor Rex debut with his new album, The Shameless Years. Inspired by a troubled socio-political climate, buried melodies punch their way through a bleak cover of noisy drones, periodically veering into some of Irisarri's most eerily pertinent music to date.

One of Rafael Anton Irisarri's most thematically and sonically cohesive records to date The Shameless Years came together in a relatively short burst of creativity starting at the end of 2016. Rediscovering some relatively older tools - namely Native Instruments' Reaktor, Absynth, and Kontakt software - Irisarri combined them with his collection of guitars, pedals, amps, and analogue processing gear, turning his Black Knoll Studio north of NYC into a powerful writing tool. Completed quickly by Irisarri's standards, let alone during a period of social upheaval in American society, the record faces down several key personal themes. The title, suggests Irisarri, could in fact be seen as a reflection of the era of shamelessness we're currently living in, a time of fake news and alternative facts.

Two tracks were completely remotely between Irisarri in New York and Umor Rex veteran Siavash Amini from his home in Tehran, Iran. This music came together at the peak of all the anti-Muslim and anti-immigrant rhetoric happening in the USA, not to mention the banning of Iranians from entering the country, explains Irisarri. The diptych with Amini, 'Karma Krama' and 'The Faithless', seems bathed in additional waves of sorrow and dread. The wash of symphonic stormclouds of synth drones and processed notes on the latter gradually appears and disappears over the course of thirteen mournful minutes.

'Rh Negative' marches gigantic guitars through towering valleys of scarred ambient noise dealing with Irisarri's own heritage, many of his ancestors having come to America to escape poverty and oppression. The refusal of modern America to extend similar sanctuary to refugees escaping turmoil weighs heavily on the composer. Elsewhere an emotional onslaught of notes buried in mounds of greyscale noise on 'Sky Burial' aims to deal with Irisarri's very own mortality - something he was recently confronted with following health scares, an accident, and a near-death experience in 2016. Pushing 40 as this album was being made, the composer is constantly aware that he's already outlived his own father, who died at the age of 32. Facing down both intolerance and the void, the epic soundscapes of The Shameless Years are a vast cry of emotion from Irisarri. The clock is ticking - gotta make the most out of it while you still can.

All songs written and performed by Rafael Anton Irisarri, except #5 & #6 written and performed with Siavash Amini. Design by Daniel Castrejón, photos by Camilo Christen. Mastered by James Plotkin.

The briefest encounter with Sandro Mussida's latest release - Ventuno Costellazioni Invisibili, leaves the ear wondering why its creator is not more well known. It is a stunningly beautiful work. Mussida is an Italian born, London-based composer and cellist, who also works within the filed of electronics. Over the years he has performed and written extensively within orchestra, chamber, and solo instrumental contexts, as well as working with Oren Ambarchi and Mark Fell. His composition In Memoria, also notably graced the first side of Alessandra Novaga's brilliant Movimenti Lunari, released by Blume last year. Mussida's work centres around the consequences of compositional choices on musical matter, and questions surrounding the identity of musical languages and traditions. A bubbling conceptualism in sound, which has brought Ventuno Costellazioni Invisibili into the world.

Ventuno Costellazioni Invisibili, a composition for violin, flute, clarinet, electric guitar, piano, percussion, and computers, was realized by an ensemble made up of Enrico Gabrielli, Yoko Morimyo, Susanne Satz, Alessandra Novaga, Giulio Patara, Sebastiano De Gennaro, Giovanni Isgrò and Mussida, during the Spring of 2015. Presented in two distinct realisations on each side of the LP, it is a work defined meditative depth and space, built from a focus on transfiguration of perceptual time - pitches played at different speeds, musical cells generated by the rotation of triangular figures distributed in time and space. The result is a sonic world of startling intricacy and beauty - one marked by the same openness, experimentation, and elegant restraint, which has long been the hallmark of the Italian sonic avant-garde. It is a near perfect image of minimalist Classical music blowing off the dust, shedding the past, diving toward countless optimistic possibilities of what it may become. It's rippling sonorities, the inheritors of the ground once sketched by Franco Battiato and Giusto Pio, taking a radical step into the unknown.

One of the most elegant and beautiful albums we've heard all hear, made all that much more thrilling by the diversity and possibility, presented by the differences between its two sides.

Ventuno Costellazioni Invisibili is presented in a limited and numbered edition of 300, with artwork by Mark Fell, a digital binaural download which slowly rotates through the piece, two visual works by visual artist Rebecca Salvadori, and an original print of the score on transparent sheets of acetate paper.

After issuing some 200 or so tapes in the last five years, artist collective Ascetic House have finally deployed their first salvo of vinyl editions, now available in Europe for the first time.

Somali Extract: some of the rudest fusions of trap, footwork, trance and grime-influenced sonics with industrial tang that we've heard from North America in a minute, something like Kenji Kawai via M.E.S.H.

Mastered by Joshua Eustis and Giuseppe Ielasi, with artwork design by JS Aurelius, these LP's are housed in reverse board full color jackets lined with high gloss black flood printing.

After issuing some 200 or so tapes in the last five years, artist collective Ascetic House have finally deployed their first salvo of vinyl editions, now available in Europe for the first time.

Soren Roi: Manic bliss with contrasting lush tones and unsettled micro-percussion...

Mastered by Joshua Eustis and Giuseppe Ielasi, with artwork design by JS Aurelius, these LP's are housed in reverse board full color jackets lined with high gloss black flood printing.

Double LP of new material from New Jersey musician, Unearth Noise. The album compiles selected compositions made over the last three years.
As a kid Roger Berkowitz was inspired by the celestial sounds of Ravi Shankar's strings, an album that was introduced to him by his father who was an engineer for RCA. In his youth he played in various punk bands and dabbled in experimental music after being exposed to the likes of John Cage, Harry Partch, Brian Eno and Mahavishnu.

Around 25 years ago while experimenting in his basement with tapes loops, his 1/4" reel to reel and a 4-track, the name Unearth Noise was born albeit shortly lived as over the next decade his focused turned to songwriting and playing the guitar and drums in various ensembles. He wrote and recorded songs that mixed rock and folk influences in an experimental manner. These were made available online under various monikers Sugar Skulls, Ancient Aliens and Shadowface.

A few years ago Roger began exploring the forms of the instrumental pieces he had created, mixing these with elements of eastern music and rock aesthetics, which had influenced and inspired so much of his sonic journey.

"I remembered my tape loops and the unearth noise episode. Recalling this, I changed my project name to Unearth Noise and set about trying to create something which I considered totally unheard in music. I delved back into the world of pure sound attempting to create a sonic experience that could challenge or subvert reality. I am a firm believer in the idea that what we take for reality on a day to day basis is a facade. Having experimented a bit with hallucinogens, I could see clearly that there is far more here than meets the eye. Listening to people like Alan Watts, it is gratifying to know that I am not alone in this belief. So, what I'm attempting to do with music, hopefully not in a forced or pretentious way, is open the mind to an alternate or deeper reality beyond this world. To this end, my compositional techniques and forms are non­traditional and often non­linear. I use instruments of my own design and construction, and blend them with source tapes, electronics, and sometimes conventional instruments'.

2x12"

Atmospheric and ambient dub master Yagya serves up Stars and Dust, his seventh full length album and second on Delsin. It finds the Icelandic artist perfectly pair melody and minimalism to create ten more tender tracks that will sooth both body and mind with a range of very real emotions. Electronic but organic, it is another complete work that encourages you to lay back and get lost in sumptuous sound.

Remastered vinyl with colour innersleeve + download code card.

Originally issued by Crammed in 1987, this is one of the most sought-after releases in their legendary 'Made to Measure' series.

Known for his numerous albums, soundtracks, and collaborations with the likes of Ryuichi Sakamoto, Van Dyke Parks, Pierre Barouh, Bjork and Elvin Jones, composer and saxophonist Yasuaki Shimizu wrote and recorded this brilliant and inventive collection of short pieces, initially conceived for Japanese TV commercials (and bearing sweet titles such as "Seiko", "Sharp", "Honda" etc).

This album has achieved near-mythical status in the last few years, which have seen artists such as Oneohtrix Point Never sing its praise.

Aeon Seven, DJ and producer for more than 15 years and former member of french electronic duo Christine, is now again running solo and had recently joined the mighty 45 live crew.
His productions celebrate the golden age of analog music, that he restyles into a retrofuturistic Hip-Hop concept.
When it comes to turntablism, he is anything but a beginner, as his very first vinyl release Beyond The Time Barrier' (2000) was aimed at turntablist.
For his first collaboration with Beatsqueeze records, he comes with 10 classic and unusual skipproofs combos that will electrify the 7inch scratch game.

Limited Edition 7" vinyl (Clear Blue)

Another utterly brilliant salvo from Friedman — after the Future-classic Masque, and the Pestle EP for Latency.Six kinds of musical occultism — transcendent and nocturnal, geometric but intuitive, like a djinn testing a logic map — nodding to Solomon and West's compendious book about near-death experiences.

DJ Dlux of 'Brain Records' fame, emerging from the Jungle scene in the early 90's alongside Persian Prince, Bizzy B & T.D.K, proudly shows his roots with this exclusive must have collector's 10 inch of Jungle Goodness! A)'Interferance' a classic golden era Jungle Tune with Dancehall samples from the 'those days' 'sound tapes' we na waaan get tooo dark' being cleverly used over a Heavy Bassline, Frantic drum choppage, Time Stretching & Vocal Infusion that says Its too much for me'!

B) 'False Alarm' a hard stepping, drum twisting, Reggae infused Jungle Riddim with super lush strings at the intro. This is Jungle at its best! Ring de Alarm - which Sound aah dead' Listen carefully, you can hear the 'Amiga', being put to good use by this talented Artist, Producer, DJ, Engineer! Don't sleep on this Limited x 100 Press 'collector's' 10 inch Jungle Vinyl.

Off-world Colonies is a label set up by myself, martianMan to release tunes under two aliases, DJ Gaff & Cityspeak. This is another outlet for me to continue being creative. While the concept is heavily influenced by the film Blade Runner, it is also influenced by the industrial future that most science fiction depicts, While remembering the music from the past were are able to shape the future.

A1 - DJ Gaff - Technology is a soap opera in a tune. It's a journey into the future with it's feet firmly planted in the past. From the beats to the bass to the strings, through the switches and changes and programming - this tune is one that I'm quite proud of. I hope you enjoy it too.

A2 - DJ Gaff & Cityspeak is the one I call Digital Tune' in my head because it reminds me a bit of his style. Layered breaks and deep bass are moving right along with nothing to stop them. The cool breakdown at the last drop is a nice touch, I think.

B1 - DJ Gaff - Dream Mechanics is very much influenced by the reinforced sound that I remember. Donnie Darko samples are a nice touch and the percussion the comes in on the last stretch before the end is what sets this off.

B2 - Cityspeak - Skinjob is an old school style amen jungle tune. That's just about all i need to say. If you like old amen jungle then i'm sure you're going to love this.

Jacob Long's newest recordings under the Earthen Sea moniker deepen his compelling synthesis of shadowy rhythms and opaque atmospherics, drawing on the most potent qualities of melancholic ambient and dub techno.

An Act Of Love' follows 2015's Ink,' released via Ital's Lovers Rock imprint,
and was inspired by internal tribulations and the experience of exploring an empty nocturnal metropolis. Careful waves of tones drift and decay, beats materialize and pulse across twilit landscapes, a noir mood reigns.

Given Long's background as bassist for revelatory tribal-punk trio Mi Ami, An Act Of Love' showcases a musician in the midst of transcendent redefinition, crafting an immersive language of texture and motion.

From Jacob Long:
This record was made over the course of the most emotionally difficult and stressful year in my life thus far. As such, it is both a reflection of that experience and also something that gave me space to begin working through issues to see a way forward, to a better place both psychically and physically.

An idea that was also central to my thoughts while creating the album was the concept and reality of being out in the city at night, wandering around a large urban area after dark - the contrast of empty streets but with life still going on all around, and the openness and possibilities that can bring. This music was an attempt to capture that feeling.

* Merging two of the finest technical wizards this genre has to offer, we are pleased to present the long awaited joint release from Hybris & DLR, entitled 'A New Tomorrow EP'.

* Sharing a mutual respect and support for each other's music from the very start, the duo collaborates for the first time; in a demonic tech step title track, setting off the EP in fine style.

* One solo track apiece follows the collab, as the EP develops into a soundclash of technical prowess, with each artist unleashing their own original strains.

* A fusion of tremendous skill and two unique, well established sounds, we proudly welcome a joint release from two of our favourite producers of the decade so far.

Collection of classic Skip Proof baby !!!

Lag Records are delighted to announce our first official release, a reissue of the 1986 single Neo-plant by Koharu Kisaragi and Ryuichi Sakamoto, licensed by King Records Ltd co,. Japan. The first and only single taken from Koharu Kisaragi's Tokai No Seikatsu LP, was cowritten and produced by the Academy Award winning musician, composer and producer Ryuichi Sakamoto, best known for his contribution in the pioneering electronic group Yellow Magic Orchestra and has musical scores for Merry Christmas Mr. Lawrence, The Last Emperor and The Revenant.
Singer, songwriter, dramatist and theater director Koharu Kisaragi sadly passed away 14 years after her very short musical career, single Neo-plant and her LP Tokai No Seikatsu her musical legacy. Ryuichi Sakamoto after featuring on over two hundred different releases over four decades is still creating music in varying capacities. His most recent 16th solo effort async has been met with fantastic reviews.A-side Neo-Plant is a sample heavy, avant-garde, synth pop piece driven by early hip hop and dancehall rhythms. The B-side is a completely different affair, Traumerei a minimalist piece takes more from Japanese folk with Koharu's voice swooning over bassoon melodies, finally Tail is a new age gone in a flash instrumental.Neo-plant has been cut using the original master tapes by King Records engineers in Japan. The record comes with all its original artwork including the obi and insert with English and Japanese lyrics on standard black 12' vinyl.

This is the first vinyl issue of the classic third loscil album originally released in May of 2004. From the original onesheet:

First Narrows is the third Loscil album and the first in which Scott Morgan uses real instruments and input from other musicians. Using sound sources that ranged from sampled instruments to miscellaneous lo-fi mini-cassette recordings, Morgan generated music on computer by custom programming sequencing and processing designed so that no two performances of the patches would be exactly the same. In turn, Jason Zumpano on fender rhodes piano, Tim Loewen on guitar and Nyla Rany on cello improvised over those electronic sequences. Morgan then edited and mixed the live and premixed sections together.

First Narrows is named after the first gap to the entrance of the Burrard Inlet, over which the Lions Gate Bridge spans; the main entrance into Vancouver from the Pacific Ocean. By including a loscil track on their compilation of Canadian electronica alongside artists like Tim Hecker, Polmo Polpo, Ghislain Poirier and Thomas Jirku, the intr_version label confirmed that Loscil deserves placement among the unique practitioners of electronic sound arrangement.
*bonus track

Next up on Polytechnic Youth, is the ace new album (a first on vinyl following online only releases previously) from the fabulous MORPHOEX.

Based in Rouen, France, and started in 2000, Morphoex is the project of Isthmael Baudry- a musician and photographer (his sleeve artwork adorns the jacket here, adapted by PY chum Nick Taylor) who presents the mighty Soviet System' for Polytechnic Youth this August.

Beautiful synth soundscapes that fluctuate between -on one hand- the icy synthpop edge of early Mute, yet build into ominously darker, beat driven, industrial rhythms that recall Throbbing Gristle and early Cabs, though with a succinct French flavour that tips it's hat towards some of the work of Heldon / Richard Pinhas via the revered sounds emanating from the Berlin School.

Describing his music, Isthmael says 'Soviet System' incorporates compositions that arose from the combination of analogue, organic and composite sounds, without any intervention of computer, sampler or sequencer in it's creation. It's goal: bruitist and melodious, atmospheric yet dancey, ice-cold yet mesmerizing. It is a concept album, each individual is prisoner by a system: a bureaucracy, the family, the technology....We are not free....The freedom has a cost...But the dream is non paid...'

The album is released on vinyl by Polytechnic Youth, this August in a pressing of 300, (sure to go quick) and digitally via the Morphoex bandcamp page.

Eine limitierte Farbvinyl-Edition des Debütalbums der Nordic Folk/Black Metal-Band Myrkur aus dem Jahr 2015.

- Specs: Deep Purple & Metallic Silver Merge

Two years on from the release of his debut album called 'Natureboy', Dario Rojo Guerra, aka Natureboy Flako, is back with a new six-song Mini Album EP on Five Easy Pieces.

Two years on from the release of his debut album called 'Natureboy', Dario Rojo Guerra, aka Natureboy Flako, is back with a new six-song EP on Five Easy Pieces. 'Natureboy Flako' is a self-titled collection of music culled from over 200 recording sessions since Guerra moved from London to Berlin in late 2015. It's the first work that unites the artistic identity of Flako with that of the Natureboy persona at the heart of his debut album, and is the debut for a new artist name: Natureboy Flako. Moving away from the live instrumentation of his debut LP, 'Natureboy Flako' is the most electronic-sounding record he's made, using old analogue equipment such as Korg's MS-20, ARP Odyssey and Roland's SH-2000 synthesisers, as well as new instruments such as Arturia's MiniBrute. Where previous songs relied on overdubs, most of these songs were recorded in one take, with little overdubbing, making it his most live record to date. As with 2015's album 'Natureboy', the six-song EP sees Guerra searching for musical balance. Both sides of the record offer contrasting energies, with the A-side featuring some of the heaviest tracks he's made and the cinematic B-side made up of more reflective compositions. However, both sides are equally propulsive, with driving arpeggios forming the backbone of much of the EP.

Dark Fat is a celebration and documentation of 10 years of NWW shows but to call Dark Fat a live album is far too simplistic. It is an entirely new recording constructed by combining the most interesting moments of the past decade into unique tracks. We have M.S. Waldron to thank as he is archival commandant of the NWW oeuvre and since 2006 has recorded everything and we mean EVERYTHING. He has recorded all the live shows, sound-checks, rehearsals, off-stage events and even covertly recorded the private conversations of the band. These recordings have been studiously and lovingly crafted into a unique sonic tapestry by Waldron and Stapleton with delicate embroidery and filigree added by Liles and Potter. This is now spread over six sides of luxurious vinyl and encased in a box with a gatefold insert, all featuring the art of Steven Stapleton aka Babs Santini. Listen in the Dark and soak up the Fat.

Over the last twenty give years Robin Rimbaud - Scanner has traversedthe experimental terrain between sound, space and image, connecting a bewilderingly diverse array of genres - a partial list would include sound design, film scores, computer music, avant garde, contemporary composition, large-scale multimedia performances, product design, architecture, fashion design, rock music and jazz.With a catalogue busy with commissions, soundtracks and studio releases it's extremely rare to find a new studio recording, so The Great Crater stands out by measure of this. Invited by the label Glacial Movements to create a new album he focused on the tale of strange circles appearing in Antarctica. Flying overhead in 2014 a group of scientists spotted a circular formation of 2km diameter. For a time it was thought that it could be the scar left by a crashing meteorite but in fact it was quite another story. Investigating the circle on foot in January 2016 scientists found a 3metre deep depression, with vertical well-like shafts in the middle. Drilling into the ice they found multiple lakes beneath the surface, as part of a 'hot spot' or melting ice sheet. There is growing concern that it could lead to further disintegration. The album explores an immersive, fragile and moving exploration of themes inspired by this simple tale. At moments the ice moves and a sonic scar if formed, at others the chill wind blows across the exposed water. The Great Crater offers up the voice of a unique composer in an ever unsettled global landscape.

Robin Rimbaud, alias Scanner (1964, London, UK) is a composer whose work traverses the experimental terrain between sound, space and image, creating absorbing, multilayered sound pieces that twist technology in unconventional ways, connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music.Committed to working with cutting edge practitioners he has collaborated on projects with Bryan Ferry, Wayne MacGregor, Merce Cunningham, Mike Kelley, Miroslaw Balka, Torres, Michael Nyman, Carsten Nicolai, Steve McQueen, Stella McCartney, Laurie Anderson and Hussein Chalayan, amongst others.He scored the hit musical comedy Kirikou & Karaba (2007), designed the sound for the Philips Wake-Up Light (2009), and campaigns for Nike Hyperfuse (2011), Chanel (2012), Sprint Telephones (2012) and Stella McCartney (2016). For the UK Olympics Scanner scored The Big Dance in Trafalgar Square for 1000 dancers and the re-opening of the Stedelijk Museum, Amsterdam, in the company of Queen Beatrix. He continues to tour his show Live_Transmission: Joy Division Reworked, a striking audiovisual show with Heritage Orchestra. In 2014 he was Visiting Artist at MIT in Cambridge USA. In 2015 he premiered his score to Dutch National Ballet's and ISH's new production Narnia: The Lion, The Witch and the Wardrobe, and in 2016 installed his Water Drops sound work in Rijeka Airport in Croatia, Ghosts at Cliveden National Trust UK, and scored the world's first ever Virtual Reality ballet with Dutch National Ballet in summer 2016. His work can be heard on permanent display in the Science Museum London (Sound Curtains), the Raymond Poincaré hospital in Garches, France as part of the bereavement suite (Channel of Flight), The Darwin Centre at the Natural History Museum London and the Northern Neuro Disability Services Centre in Newcastle UK (Turning Light). Sedition Artworks distribute his digital film works online. He has presented projects throughout the United States, South America, Asia, Australia and Europe, and performed and created works in many of the world's most prestigious spaces including SFMOMA USA, Hayward Gallery London, Pompidou Centre Paris, Tate Modern & Tate Britain London, Palais des Beaux-Arts Lille, Kunsthalle Vienna, Bolshoi Theatre Moscow, Hanoi Opera House Vietnam and the Royal Opera House London.

12" whitelabel, limited to 200 hand stamped and numbered copies

DJ Krush commemorates his 25th anniversary with Kiseki, a brand new collaborative album which reaffirms his status as Japan's original beat master. There's every-thing we've come to expect from the man, heavy breaks with fierce raps, serene soundscapes and seamless pro-duction. All tracks produced by DJ Krush. Disc One