Beats News

REPRESSED !
'On 8 January 2015, the day following the Charlie Hebdo murders in Paris (the city I have called home for the last 8 years), I started a week long tour of Norway. During this jaunt I faced the toxic reality daily of the horrible blossoming events intermittently via television. These sense of distance was both fortunate and
painful ... a fortunate sense of partial detachment both welcome and shameful. The Trondheim concert on 9 January (depicted here) happened on a particularly intense day in this timeline ... and was personally a true example of the purging power of immersion in music. Through a web of emotions resolving distance,
disintegration, the intense power of the moment and the brutal fundamentalist, cultural and psychological aspects behind ... And today the recent horror of 13 November in Paris we experienced... to say many of these thoughts intensified is an understatement. The seemingly basic outrage of the title I chose for this album
seemed more apt as a cry of liberty, a small, crude attempt at the spirit of Darkthrone's timeless statement «
With my art I am the fist. In the face of god. » . Like most of us I have also sometimes fallen for the constant baiting toward anger, outrage, paranoia and fear in the daily life, often but not always misdirected, but it is not debilitating by any means.
It's clear that as an experimental guitar player I have absolutely no political power (or even ability to articulate in those forms) but it's important to take the opportunity to say « fuck you » in these situations. To the facist & fundamentalist movements. To the absurding of the worst sides of monotheistic belief systems. And not only the perpetrators behind these events but also on other sides including the reactive and opportunistic.
Those with most to gain are the underlying authoritarians in our own societies who have opportunities to implement and increase their control even further for their gains. The « security » changes we face in fact may also result in yet further increase in the loss of liberty and freedom. The reactions aimed toward increased separation of cultures, xenophobia, nationalism, and especially racism are highly regrettable. I hope these recordings offer a small sense of solace in the time, even for the few hundred who hear them. I know they (and this text) are ultimately useless but ... I am moved and shaken. I sincerely hope my point of view evolves out of what I have written above. For the concert on this record we had a massive backline with beautiful vintage Hiwatt amplifiers, and two PAs (including a Funktion One) in the small venue Blæst, the night hosted by Nymusikk. Immersion. Bliss. This record is actually the third part of a trilogy of live solo guitar records we intended to be released on iDEAL during spring 2016... but we were able to fast-forward due to the timeliness and by personal request.

Onwards and downwards - T.A.R's debut vinyl release takes Rarefied deeper into a world of distortion, compression and the macabre. Bon Ding Ding - time for round three!

Deluxe vinyl with gatefold sleeve with 8-page booklet & printed inner sleeve

* Labels like Horizons Music act as a foundation for the drum & bass underground, giving prominence to newcomers against the tides of commercialism which have flooded the scene. Since their beginning, Horizons have prided themselves on being at the genre's forefront, sifting through the vast musical offerings dropped into their inbox and selecting only the best for their extensive catalogue.

* Although relatively unknown, their next artist Beta 2 has already been making himself felt throughout the community. With tracks off this forthcoming EP finding themselves in sets across the club circuit, interest is beginning to pique around the producer. However, with such an impressive sound design, pedestalling the standards which Horizons ensure all their roster meets, Beta 2 is sure to become a renowned name within record collections.

* The EP is a generous offering which centres around Beta 2's minimal prowess. With clicking percussion and quaking bass underpinning its stockier segments, 'Manufacturism' featuring Eva on vocals is a warbling, stuttering metallic engineering with a bassline that is drivingly fierce. Eva's voice falls ghost-like between the mix, never overstating itself and creating a creeping, brooding edge. Chopped up sample midway gives it a tenser feel, only adding to its jaunty atmospherics.

* 'Voices in the Static' follows the same creeping, minimalist vibe. Beta 2 is unafraid to step into a territory which is impressively complicated, yet still able to draw you in with every drum pattern. Powerful breaks hit out like punches, underpinning the powerful subs which quake throughout its composition. 'Voices in the Static' has sonic which rages with every hi-hat, clicking into life before each stab of bass shakes the speakers. Beta 2's delivery pulls together both the intricacies of drum & bass, plus its heftier values, opening a vast reel of musicality.

Mixing abstract hip-hop and house, Blutch's style is mind-blowing and striking, with touches of groove and heat. Borrowing from Pépé Bradock, Francis Inferno Orchestra,Cuthead, Andrés, Shigeto and Massive Attack, Blutch has forged a unique musical identity all along his career, always with this strong desire to combine several universes into a single entity.In January 2015 Blutch revealed his creative genius with his first EP, Equilibrium. He will soon revisit a voluptuous set mixing trip hop, the softness of electronica and a hypnotic deephouse. (r)equilibrium unites 9 artists in one project that representsBlutch' diverse musical spectre.Friends, idols, people who we loved to collaborate with, spend time with, get to know better. The (r) stands for the remix, the reinterpretation of Blutch' EP Equilibrium.Each artist gives new life to one of the tracks, spicing them up to their liking. Cutheadtransforms « Skyview » in a straight-up house floor killer while Maxime Dangles takes « Chocolates & Hamburgers » to gloomy, cold electronic heights. Between these two extremes the music gradually and cleverly evolves track by track. Melodiesinfonieopens up in complete serenity with his take on « A. » which takes us straight into summer with our feet in the sand. Tito Wun follows up perfectly with his version of Wildstar' that is stacked with groovy samples. Next up is Keroué, member of the band Fixpensill. He puts his rhymes on a stellar edit by YWNWA. Jenovah choses to take Deep Diving' on a bass-driven path while Pavane sees and raises that with an orchestral version of Anyoma. It's up to the brothers Ark & Pit Spector to close out the EP by taking « Elis » into deeper territory.The tracks subtly follow each other up to tell a consecutive story. Thanks to the music ofBlutch, these 8 tracks stay connected on this diverse but coherent EP. Driven by our sense of partying and our willingness to meet the people we have been sharing our music with over more than a year, we decided to throw 4 release parties, hostingCuthead, Pit Spector, Tito Wun and Jenovah, who we hadn't met before. Sold out nights, balloons, jokes, fun and groove. Really proud of the project in general, the artists' work and our flawless casting. The project has forged bonds between artists that wanted to continue their collaborations, Blutch and Cuthead will now even be playing back2back at Festival Astropolis July 2nd .

Tools of My Purpose goes hard. The new 12' by E-Saggila - solo project of Rita Mikhael who co-runs Summer Isle Records - is beautiful, raucous and engaging. Prior to exploring techno, Mikhael has been rooted in the Toronto Noise scene. She implements the hostile themes of power electronics into bass heavy ear-splitting techno. Across four discordant yet melodic tracks, we catch a glimpse of E-Saggila's potential as a future artist to be reckoned with.

After a successful first collaboration for a 12" in 2016, Zimbabwean mbira maestro Jacob Mafuleni and his wife percussionist / singer Martha THom have teamed up once again with French electro-funk producer Gary Gritness, this time for an album recorded in Paris during the last RED BULL MUSIC ACADEMY festival.

Introducing Klorin, a collaboration between Kenton Slash Demon and Norin, also known as the lead singer of Swedish synth-pop trio Lust For Youth. Their debut EP 'Noncompliance' floats inbetween industrial hypnotic techno and dark ambient, created in a number of early morning sessions in Kenton Slash Demon's Copenhagen studio. "We were fascinated by the idea of combining something that was almost primal or tribe like rhythmically with an atmosphere that felt tecnologically advanced and futuristic - aiming to capture a feeling of being detached from society in an industrialized, achromatized and modern world.

The 16th vinyl release on Pinecone Moonshine presents four Drum and Bass tracks with elements of jazz, dub, and ambient. Drums range from live percussion to sampled break beats.

Martsman returns to Pinecone Moonshine bringing his signature basslines and hinting at jazz and dub influences for two Drum and Bass tracks. Starting with pleasant jazz chords, a few guitar strums, and rolling percussion from sticks and light hi-hats, Capital-K switches to a stuttering, pulsating bassline. Several layers of percussion create a live feeling over the highly syncopated drum loop. Zeezer's squelching bassline and high pitch sound effects are offset by warm, echoing dub stabs. The drums mostly focus on a dominant kick drum and 4/4 hi-hats in a dub-techno style. The progression is guided by excerpts of break beats including the Amen break in the second half.

Dissident's Stuck in Texture combines one break beat and sparse percussion to carefully control transitions in this ambient roller. The optimistic tone builds through the intro and focuses on repetition to create a calm, atmospheric vibe.

* In the midst of his recently accrued status as a 'Masterchef' finalist, long-standing Dispatch stalwart Survival returns to the label with a highly anticipated new solo album, 'Take It Back'.

* Inspired by working with Script on a Metalheadz album as 'SCAR' last summer, Survival went straight back into the studio, with a renewed hunger to focus on his own solo material.

* 'Take It Back' represents the first Survival album since his 2009 debut on Exit Records, re-engaging with his core sound and this sampler demonstrates both sides of his sound today.

* Harking back to the 90s, 'Original Silencer 2017' revisits the breaks and samples on one of his first ever releases, before collaborating with Break for the inimitable stepper 'Catalyst', another stone-cold classic from the duo and a track exclusive to the album sampler.

* With a fresh outlook on his artform, with exciting plans to link his music and his cooking, Survival takes things back to the source, rekindling with his most celebrated DnB moniker.

"Kosmos Gets Harder" series brings a new alternative sound of the label and shows dark sides of the artists you might thought you knew. Tougher, harder, banger!

Incl. 45 + 47 vinyl
full CD
and bonus disc (KOSMOS037)

Since '87 a 13 year old Jan Svensson AKA Villa Abo has been the back bone of Swedish electronic experimentalist group Frak and behind one of the biggest inspirations for Butter Sessions, Borft Records. As always, Jan keeps pushing the boundaries on this 4 tracker.

' Kicking it off, 'Just a 309' is a stripped-back rough and ready house track in true 90's Borft style.
On 'Mission Just Pam Pom' we are blasted with space zaps and bizzaro chords melted together with an irresistible beat and SFX from tomorrow.

The weird-o-meter is stepped up a few notches on the B Side with the sluggish yet hypnotic burn on 'Separated Together'.
A bonus collaborative effort on 'Pony-Flute' by Jan and another Frak member Duo J encapsulates us with a dramatic introduction of flute like synths and dark atmospheres taking us into the underworld...

Bjork. Babyfather. Internet. Comes In A Hand-Stitched Fishnet Sleeve. 100 copies...

This is the first ambient release from ASC on Auxiliary, since 2011's collaborative album with Sam KDC - Decayed Society. As with the majority of ASC's recent work, this release continues the theme of his fascination with space. The term 'Trans-Neptunian Objects' refers to dwarf planets and asteroids that lay beyond Neptune, and are usually found in the Kuiper Belt. With that being said, you can fathom a guess that this album is seriously deep space ambient, and you wouldn't be wrong. A total of eight tracks spanning 73, which take you to the deepest regions of our solar system.

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

The grandaddy of ambient and electronic chill out

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

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

Transparent vinyl LP, download card included. Whether their muse lies in 60s sci-fi soundtracks, The Radiophonic Workshop, the prototype electronic sounds of The United States Of America, the retro-futuristic edge of Broadcast, the dream pop ambience of Angelo Badalamenti/Julie Cruise, or the shimmering shroud of Mazzy Star, will doubtless be raised in countless interviews. But what matters more is that Death And Vanilla have woven a stunning tapestry that envelops all that preceded them, into a literally head-turning album, of kaleidoscopic proportions... Formed in Malmö, Sweden by Marleen Nilsson and Anders Hansson, Death and Vanilla utilise vintage musical equipment such as vibraphone, organ, mellotron, tremolo guitar and moog, to emulate the sounds of 60s/70s soundtracks, library music, German Krautrock, French Ye-ye pop and 60s psych. They revel in the warmth of older analogue instruments to create a more organic sound, each loose wire and off-kilter noise adding to the rich atmosphere. After a handful of successful releases including a debut EP in 2010, their self-titled LP in 2012 - which sold out on pre-order - and a beautifully designed 7' single, the experimental pop duo were invited to compose a live soundtrack for the classic horror film, Vampyr (1932), for the Lund Fantastisk Film festival in Lund. Now, newly signed to Fire, the band return with 'To Where The Wild Things Are.' Named after the Maurice Sendak children's book, the album is comprised of pop music with a wild, dreamy and experimental edge, celebrating imagination and the ability to travel to stranger recesses of the mind. 'Where the Wild Things Are' starts off with some of the most pop' songs they've ever recorded, typified in the sweet and melodramatic Arcana', and the classic pop inspired Time Travel'. Like Sendak's book of the same name, the album then proceeds into stranger and stranger territory, resulting in some of the most experimental material Death and Vanilla have produced, such as the six minute Something Unknown You Need to Know' and the machine-like, surf-guitar track The Hidden Reverse'. The band recorded the new album themselves in their rehearsal space, using just one microphone - a 70's Sennheiser - which they bought at a flea market for a tenner. It is this unconventional recording process that gives Death and Vanilla their unique personality, using a trial and error approach to recording has rewarded the album with a strangeness that would not have otherwise been achievable. Creating deliciously enticing soundscapes, full of moody moogs, swirling melodies and breathless vocals, their influences on 'To Where the Wild Things Are' are apparent and diverse, ranging from Ennio Morricone to Scott Walker, Tom Dissevelt to Norman Whitfield, The Zombies to Sun Ra, and Bo Hansson to The BBC Radiophonic workshop. Death and Vanilla's sound is like an elaborate dreamscape composed of foggy visions and mind-altering notions.' Redefine Magazine // Death And Vanilla are a Swedish haunted-pop duo who have found themselves caught in the vortex of retro-futurism circa 1969... they've got a good grip on the baroque psychedelia of the United States Of America and Free Design,' Aquarius Records

Depone is gathering momentum in the Dubstep scene and with this vinyl release on New Zealand based label Dubwar, its sure to stand him in good stead for 2011. 'The Arcane' is being smased worldwide making speakers all over the world beg for mercy and it's been getting support from Sukh Knight and Funtcase to name a few. Flip this 12 over and you'll be greeted by a sub note so low it'll blow your birds clothes off. Seriously big release so watch out for this

Vinyl edition limited to 250 copies. RIYL: Clark, Colin Stetson, Pye Corner Audio, James Holden, Sarah Neufeld, Daniel Avery. 'We've All Been Swimming' marks something of a shift for Fieldhead. Previous releases have seen Elam take a detached view from the hillsides of West Yorkshire and Western Canada, but with his latest full length release the subject matter is closer and more immediate. Tensely wound synths lead throughout the album, shifting from the breathless momentum of the opening track through to pulses reminiscent of Colin Stetson on 'Ton'. The unique violin playing of Elaine Reynolds glides sparingly across the record, tempering the constantly shifting arpeggios and accentuating the human elements within the record's machine-like core. The haze found on previous releases still hangs, but now it's the haze of a crowded street or the last train home. 'We've All Been Swimming' is a concise and inspired attempt to reduce electronica down to the things that matter, with a narrative and sense of longing pervading the album reminiscent of Clark or Boards of Canada. It's the sort of work to be devoured in one sitting - that rarest of modern day beasts - where the tracks flow effortlessly into one another and finish leaving you wanting more. Paul Elam returns with a suite of immersive, pulsating, electronic reductions. Shifting arpeggios and minimal beats generate the forward motion, whilst the captivating violin playing of Elaine Reynolds helps to provide the narrative thrust.

Acid-S and Roughnic met in late 90ies through producing and DJ-ing. They organized undergroundparties and developed their skills in music.

Acid-S worked in studios like Akropolis (EMI, BMG), X.1 (WDR, Kraftwerk) and Sinsport (Groove-Attack, Interworld) as producer and engineer. Roughnic is a member of the Riddim Box Crew and played bookings from Poland to New York, represented IASI on his supportgigs for SBTRKT, Zed Bias, Benga, Chase & Status, Example and Skrillex.

The science of pattern, drums and futuresounds are their common sense. In 2012 IASI release their first EP 'Vision' on the berlin-based label SUPERB recordings.

A somnambulant journey through psychedelic bedroom fantasy-scapes, Glare is Roe Enney's first proper LP after only a few under-the-radar cassette releases on Phaserprone, Discriminate and Piero since 2011. Recorded over the last couple years, Glare unfolds like a manifesto on the devolution of communication. An experiment of thresholds: electronic, political, poetical, Roe Enney touches on the likes of Tara Cross or Anne Clark but only briefly before hurtling into a subterranean world of closed-off obsessions.

"The electronic artist is always enmeshed in a battle of thresholds. What does one do This is because she, the electronic spirit, is always in the process of change. This spirit is never stable, it is tenuous. It is a moving hierarchy, a royal island with a v. real topography, with its own guard, observation deck, casino. The music on this record firmly pledges allegiance to this island, and yet it is out somewhere on the shore, perhaps 'dreaming of elsewhere.' Yet one cannot help what one is. Perhaps the record is cast-off."

Mastered by Sean McCann and cut at Dubplates & Mastering, Berlin.

Roots In Heaven is a Berlin-based act that could very easily capitalize on his past accomplishments within the world of intrepid electronic music. As a label owner, resident DJ at cutting-edge clubs, and accomplished solo artist behind a number of conceptually unique full-length albums, the conceiver of this project won't likely need any introduction to the intrepid fans of electronic music. As an extension of this artist's already solid commitment to deep sound, Roots in Heaven represents a new voyage without the help of biographical cues to his listeners: hidden behind an evocative mesh mask lined with obsidian feathers, Roots in Heaven ignores the need to provide 'social proof' or self-justification. He communicates purely through the language of concentrated sensory impression, for which reason he has titled his debut, 'Petites Madeleines,' after one of the most memorable descriptive sequences in literary history (the famous meditation on the madeleine from Proust's À la recherche du temps perdu). Built on a chassis of pure analog electronics, unaided by computers, 'Petites Madeleines' presents a single sprawling track whose immersive, meditative quality initiates participants into a realm of reversed energy currents. Using a sonic technique which, for example, drapes the listener in darkness until it becomes light (and vice versa), this piece provides a pervasive feeling of other realities opening up that complement the already familiar. The looped pulses and frequency sweeps hover and expand with all the assuredness of, say, early-'70s Cluster, but without anything consciously 'retro' or overtly referential in their presentation.

Much anticipated series of 3 new 12's from SBTRKT - SBTRKT launches 'Transitions', a collection of six instrumentals written and produced over the past year that reference the creative process that led to his debut album

"This is music written over the last year, whilst recording for my second album. Much of the music I released before my debut album was instrumental and I want to continue to share this side of the music I make. This series of tracks is titled TRANSITIONS. " - SBTRKT

Pioneering music producer SI BEGG is set to release his sixth studio album, BLUEPRINTS, on Berlin's legendary label SHITKATAPULT. His first LP in four years, BLUEPRINTS is a celebration of raw electronics welded to the 'romance of engineering'. The project was inspired by the discovery of an old diagrammatic notebook that belonged to Begg's grandfather, George, in his lifetime a cutting-edge engineer.

Dubbed 'visionary' by The Who's Pete Townsend and widely considered a producer's producer, BEGG has been making genre-defying electronic music for more than two decades. Backed over the course of his career by the likes of John Peel, Thom Yorke, Leftfield, The Glitch Mob, Bassnectar and Mouse On Mars, he has carved a reputation as a recording artist, DJ and sound designer, and in more recent years as an award-winning composer for television and film.

BLUEPRINTS sees BEGG's passion for contemporary score collide with his love of electronic music. Since the release of his last LP, 2013's Permission To Explode, BEGG has written scores for four feature films as well as for Netflix Original series, Lovesick, and Battle Rap documentary, War of Words.

The concept for the album sprang fully formed when BEGG came across the notebook, a beautifully preserved leather-bound volume, annotated in his grandfather's precise hand. The book was filled with meticulous diagrams of compressors and parallel air ducts, graphs recording comparative noise levels at different factories, statistical information detailing the thermal efficiency of power stations, alongside blueprints for futuristic machines yet to be built.

At the same time, BEGG was reconnecting with his own back-to-basics studio machinery, the voltage-powered hardware instead of the slick high-end software used to create most electronic music today. The parallel discoveries felt like synchronicity and BEGG began producing tracks using analogue synthesizers recorded live in one take, augmented by circuit bend effects units and the electro magnetic field noise created by mobile phones and hard drives. In his characteristically uncompromising way, rather than try to hide the cogs and gears and remove the excess distortion, BEGG decided to champion these idiosyncratic machines. In putting them centre stage, he aimed to demonstrate that not only were these unique tools to create art, they were simultaneously works of art in their own right. Like his grandfather's designs, they had an aesthetic beauty all of their own, form following function.

The pieces on the album evoke the beauty and romance of great engineering, often overlooked in a landscape of post-industrial gloom - the breathtaking geometry of vast gasometers, the sweeping grandeur of a suspension bridge, the finesse of circuit diagrams, a precisely laid-out city viewed from the air at night. From the hums and sparking pops of Heat Resistant Alloys to the relentless subsonic sine waves underpinning Resistance Is Expensive, raw electrical signals pulse through the heart of the music.

This is a work of complex, evolving mathematical patterns, circuitry bent out of shape. It is a hymn to the voltage-controlled oscillator.

We are proud to announce the third release of the Tony Allen & Africa 70 (Disco Afro Series): featuring remastered original versions of Jealousy' and remixes produced by Loya (Reunion Island).

Multi-instrumentalist, initially playing jazz as well as African music, Sébastien Lejeune discovered electronic music when he was living in mainland France. This was the golden age of Warp Records figureheads IDM who had a huge effect on him, in particular the naïve melodies of Plaid and Boards from Canada. During a trip back to his homeland Sébastien became Loya. From that moment on, he started to mix Réunion maloya, Mauritian séga and Indian music with footwork tempo. He blends traditional maloya drums, beatboxes and synths, harmonizing the powerful vocals of Indian Ocean Island singers.

Tony Allen Afrobeat groove inspired me a lot to create the patterns with my drums machines which is the basic of my production work. The Indian Ocean Rhythms formerly coming from Africa recover the true sense on this beats.'

In 1975, Tony Allen recorded his debut album, Jealousy, the first of three made with Afrika 70 and produced by Fela Kuti. Jealousy is according to many still the highlight of his 4 solo-albums, featuring 2 afro-beat gems Jealousy' and Hustler'. Recorded at Decca's 16 track Abule-Oja studio in Lagos, Nigeria. Originally released on Soundworkshop Records in 1975.

Label regulars Ulterior Motive present two finely cut pieces of drum and bass, both of which are full of the usual hypnotic funk and production prowess that the duo are now synonymous with.

'Step Change' is the monster of the two, with a twisted reese running throughout combined with heavy hitting, tightly tuned drums - a signature Ulterior Motive creation. It's the funk that bursts to the forefront on 'Get Close', sitting over an eerie foundation and completing a stellar double pack for their first original tracks on Metalheadz in almost 2 years.

This collaborative project between Mats Erlandsson and Yair Elazar Glotman draws on their respective musical backgrounds to create an imaginary, dislocated "folk" music for the current dark ages. The project brings together instruments out of their historical or national contexts and focuses on local sounds that have lost any connection to locality or folk and transforming them through current production techniques.

Negative Chambers feels completely timeless in its quiet minimalism and is made up of an array of instrumentation such as gimbri, violin, karkaba, miniature cymbals, cello, harmonium, steel string acoustic guitar, zithers, transistor radio, tibetan singing bowl, amplified plate & piano frame, partly led by a slow, almost spiritual contrabass. There is some incredibly detailed and wide sound design encompassing the pieces, from the pictural stillness of Orchid Sedation to the unnerving mass of dissonant strings on Ceramic Relic. Glotman & Erlandsson are masters in creating a sound filled with solitude, anxiety and intrigue.

Recorded both independently and in very close correspondence between Stockholm and Berlin, Negative Chambers is a dialog between the two composers and manages to be both a meditative reflection on the past while also presenting a surreal and detailed piece of contemporary music.

For it's seventh release, Banlieue Records showcases the work of Budapest-based producer AIWA through a mini album full of dreamy and ethereal sounds. With a subtle nod to the sound design of previous decades, AIWA is channeling inspiration from some of the more cosmic genres but never compromises on a forward thinking attitude that means this release can't be pinned down to a specific genre, rather, it is another example of the unique music Banlieue Records is currently nurturing. From beatless tracks that are anything but static to cuts with a more club-oriented groove, AIWA's sound is on the surface a stripped down, no frills a air. Without compromising on sounding lush, his productions invite the listener to dive deep into the worlds evoked in each track. These often convey the sense of upwards motion, while pulling the listener into a whirlpool of emotion.

We like to let our artists speak for themselves about their music whenever possible so asked Penelope to tell us about her album -

'In 2016. I rented out a small piano studio in East London for nearly the whole year and set out to write an introspective, trendless, and mostly beatless album. Inspired by albums from This Mortal Coil and Scott Walker, who also sought freedom to work outside of the expectations of their previous work, I limited the instrumentation to mostly an acoustic piano and effects, which left space to expose a lot of emotional vulnerabilities about myself and people close to me. Writing lullabies about being a mother in a dystopian world, with pensive words about swimming against the current as a female artist, I felt free enough to tell untold truths that I've never felt comfortable talking about within music. Free, liberated, empowered. naked.'

Tangerine Dream hatten seit ihrer Gründung Ende der 1960'er in Westberlin einen massgeblichen Einfluss auf die Entwicklung der elektronischen Musik und galten als einer der führenden Vertreter des Krautrock. In den 1980'ern lieferten sie beachtliche Soundtracks zu Filmen wie "Firestarter", "Risky Business", "Near Dark", "Thief" und Sorcerer" ab, ihr musikalischer Einfluss auf den Soundtrack der Netflix-Kultserie "Stranger Things" ist enorm. Ihr neues Doppelalbum "Particles" ist eine Mischung aus brandneuem Material und Reinterpretationen, darunter des Titelstücks ihres Albumklassikers "Rubycon" (1975), Liveaufnahmen u.a. des Titeltracks des "White Eagle" Albums (1982), sowie eine eigene Coverversion des "Stranger Things" Theme.

REPRESSED !!
"Another spot on the map of the Weevil Neighbourhood: after our latest excursion into the intensely droney yet fragile and unstable musique concrete of Repetition/Distract's 'Old Weevil Neighbourhood' (Cat.No: PICNIC), we continue mapping the terrain with our eyes closed and our ears wide open.
BLINDFOLD (Cat.No) comes as a mid-tempo two-tracker from an artist who wants to stay anonymous. A side 'All Those Colours...' is a Dubtechno inspired piece that contrasts its laid-back soundscapes with a broken beat and hectic highhats that converge with large rooms of reverberation. '...We Cannot See', the counterpart on side B, contrasts static drumwork with shuffling breaks and early hardcore sounds with noisey drones that cold-warmly cover more or less the whole piece.
Official release date is set for the 20th of June 2011."

We eroded pre-existent structures constructing an open heterotopic space, a horizontal and vertical thinking found its way through physical- and cyberspace, Here, nothing manifested instantly - flippancy left space for any kind of interaction and appropriation. Within (or well beyond) economic pressure points which diluted production, this was our opportunity to try out different potentials with no restrictions to the public, while simultaneously scrutinising the general framework of institutions and human behaviours.

Two new productions from John T. Gast. A remix project gone awry / gone to road. 'wygdn_bashmenttk9': high-tech dancehall battering ram with an ethereal, mournful edge... rhythm and blooz for the sentimental gun man dem. 'wygdn_tryagen (5)': deep and desolated pop-ambient. Canonbury After The Rain. Vocals from the source squished, hacked and splattered across an infinite horizon of vaporous, funereal string-pads.

All limited, numbered copies come with a download code and will be shipping for release on the 9th June 2017.

'Autres Directions' is his third album for Clay Pipe Music and took inspiration from experiences, feelings and emotions garnered from time spent in Brittany and Normandy. Brooks transforms synths, programmed percussion, drones and various field recordings of wildlife, people, ferries, trains and unconventional environmental spaces into a flowing sustainable piece.

Kid Drama's debut Metalheadz release is one that is set to shake up this 4-year-old alias as he heads in a direction that's slightly more focussed on the dancefloor, whilst managing to subtly retain some of the elements that have seen him become so loved in the deeper and more experimental side of drum and bass.

The 'Trife EP' proves how much of a talent Kid Drama is, from the savage bassline in 'Brutal D' to the late 90s techstep vibes of 'Articulation' all the way to 'Payback', which is a track that could have easily come out under his and Boddika's Instra:mental moniker.

This is an extremely well-rounded project and one we're delighted to be releasing on Metalheadz.

A skyscraper extending its fingertips upwards, outstretched and pointing towards an unmarked ceiling that extends even more itself, spinning and slicing its way through the horizontal and the layers that are see through and infinite and stacked one on top of the other. Currently getting plays by AFX and more...

The album attains a unique harmony while drawing from a myriad of beliefs and practices. Syncretism appears not only in the name but in the artwork and the music itself. The independent tonal passages draw on aspects of varied genres while creating a remarkably coherent yet homogeneous work.
Lvis Mejía explores in his second album, topics of the Christian religion and the history of man. Deftly placed style and tempo contrasts express the various antagonisms found in this discourse. With the use of contemporary music in combination with hints of jazz, Mejía designs spherical soundscapes', therefore allowing for musical deformations, hence the title AformA'. The result is an experience that evokes abstract musical impressions.
A reference to Christianity is also embedded in the track order as the first piece ‚Patefactio' opens the musical event much like a Christian mass. The travel proceeds through the lurking clerical chants of Æternus-The Final Trial', whilst the bells are then calling us to mass with the track In Dissonata Apocalypse' and continuing with the ontological concept of belief in In Ghost We Trust'.
Everything comes full circle with the history of ‚Homo Errata' as a conglomerate of human errors'. This final piece serves also as a link to the second part of the album ,Anthropology of Amnesia' - a musical description of repression and forgetting as a condition of life, which has emerged as a theme of human existence since the beginning of recorded history.
With this opening piece artist and musician Lvis Mejía has created a magical musical experience, leaving us eager for it´s sequel.

Nadia Struiwigh is an electronic music DJ & producer from Rotterdam, Netherlands.

Sitting somewhere between Biosphere and Boards of Canada, Struiwigh's refined downtempo electronica takes you on a journey full of synthesized soundscapes that flirt with ambient techno.

Awash with melody and warm electronics, Lenticular is an expertly crafted piece from an artist who has found her sound and is now effortlessly outputting inspiring compositions.

Reminiscent of Warp's Artificial Intelligence series, this is electronic listening music for quiet nights and club drowsy dawns.

Both tracks are taken from her forthcoming album of the same name.

Philippe Hallais returns to Modern Love with a new album, the first under his own name following his label debut as Low Jack with Lighthouse Stories in early 2016.
It's by some distance his most important work to date, setting aside the squashed dancefloor productions of his Low Jack Alias for an album of emotive, indefinable ambient pieces.
After working through different subcultural musical languages as Low Jack, this time Philippe takes inspiration from the TV biopics of high-performance athletes for an album of exceptional
emotive impact; somewhere between pastiche, tragedy and electronic futurism.
Fascinated by the sports documentaries mass-produced by the US TV channel ESPN, Hallais transcribed and amplified its dramatic recipes. These form the material of tearful soap operas
which develop the same narrative ad nauseam; the rise to the top, the betrayal, decline, salvation, comeback and, ultimately, nostalgia and regret. The TV formatting reduces the life of these high level athletes to a generic tale, transforming them into impersonators of their own lives through extreme use of editing, slow motion and musical themes.
Divided into four sides (and eleven tracks) acting as parts in a greek tragedy, the album delves into the dislocations of the mythology of sports and its achievement in mass entertainment; whereby the hero becomes a dispensable and mimetic body. Hallais delves into this unusual portrayal of triviality and disaster, naivety and cynicism that make the real life and ordeals of the hero indistinguishable from their scripted form on TV.
This obsession with storytelling and the creation of bigger than life characters forms the narrative of 'An American Hero', a parable for our times.

Pure Berlin-school bliss from synthmeisters Thorsten Quaeschning and Ulrich Schnauss. Synthwaves pays homage to the masters of the past, yet feels fresh and enchanting. Crisp, interlocking patterns are modulated and mutated with mathematical precision into eight pieces of pristine, post-kosmische sounds to float away to. During two intense weeks in Berlin, Quaeschning and Schnauss - both students of the great, late maestro Edgar Froese - locked themselves in a studio full of vintage synthesizers, analog sequencers and drum machines, and the result is a gorgeous set of purely electronic music. As the title suggests, a bit of tongue-in-cheek playfullness was allowed during the process - however, all of these pieces sparkle with real emotion and warmth. As with the finest Tangerine Dream soundtracks it's the kind of music that paints vivid pictures on the canvas of the listeners mind: synth plucks hang in the air like glaring neon in metropolitan dusk, and zero-gravity pads hover like ghostly morning mist travelling over empty coastlines. Poly-rhythmic patterns are allowed to build - slowly but steadily - bar after bar, until synth-Satori is reached. By the time the last track on this

album runs out, it's obvious these two producers have themselves become masters of their craft.

Initially coming from a background in the musically raucous worlds of 2 Step and Garage, Synkro has, over time, developed a sound that is altogether more introspective, more emotive and more emotionally complex. Stepping up here with his second release on legendary Apollo Records, Synkro delivers eight tracks that - while retaining some of the stutter and swing of Garage, are far more rooted in the textural world of ambient music for which Apollo is famed.
There is a consistency in Synkro's work throughout this release that suggests an artist who is heading in a singular direction and very much crafting their own sound. All eight tracks come drenched in thick layers of smoky reverb and make use of long drawn-out, drone like textures to set up these atmospheric musical canvases within which Synkro then crafts his rhythmically complex, emotionally mournful sound sculptures. The use of vocals is sparing but effective and skillful, as evidenced in the spoken word samples and pitched up R&B vocals on Acceptance and Spirals, and the beautifully pitched effected voice on Don't Want.
There is a move towards more organic textures, too, with a genty played acoustic guitar featuring prominently on Mutual Divide (a track that features fellow Apollo artists Indigo), and broad, open guitar strums forming the backdrop to another of the tracks here, Disappear. The use of these sounds and timbres again points to an artist crafting music that transcends the nightclub obsessed world of modern electronic music and creating music that has a more time-worn, grown up feel to it.
Listening to all eight tracks in their entirety, the listener is transported into a parallel aural universe of late night, reflective states that feel weighed with a certain sadness but still retain an unmistakable underpinning of hope. Within that, there's something very current about Synkro's output - a kind of expression of how fractured and disparate life in the early part of the 21st century has become - where hyper modern production technology rubs shoulders with virtually untreated guitar and sad, distorted voices; where the constant chatter of electronic communication fails to distort the isolation of the modern world. To be able to distill these sensations and emotions into music, as Synkro does, is a rare skill and guarantees that Synkro is an artist who we'll be hearing a lot more from in the future.

A new piece by Australian artist Tarquin Manek, devised in collaboration with poet Martina Quake of Canvey Island, UK and recorded at M.E.S.S. (Melbourne Electronic Sound Studio), utilising EMS VCS3, Oberheim OB-Xa and ARP 2600 in combination with cheap, contemporary consumer electronics. It is, to all intents and purposes, a short, cautionary story about love. It is also a folk-tale, a science fiction, a suicide note. Unusually for a long-form spoken word piece, it is immediate in its impact, and lasting in its effect. Our narrator is damaged and unreliable: Quake's voice, digitally processed into a flat, AI affectlessness, conveys this all too well. Is this the vernacular poetry of the Uncanny Valley, or is it just that loss makes robots - numb and listless not-quite-humans - of us all Locks revels in the space between the spontaneous and the programmed (what is a poem if not a programme). It's part Tales Of The Unexpected, part Susan Howe, part Ruth Rendell, part HAL (or Holly). Manek's music is widescreen but understated...a becalmed landscape populated by distant drones, just-out-of-focus field recordings, and phased, minimalistic, Rhodes-style keys. A sort of sombre, lunar jazz. Space-age bachelor pad music, maybe, for a bachelor at the edge of space and the end of his tether. Just as Quake's words are cumulative in their tragedy, so the music grows more agitated and turbulent, at certain points harking back to the smoked-out psycho-acoustics of Manek's 2015 Blackest Ever Black LP, Tarquin Magnet, and his work in F ingers with Samuel Karmel and Carla dal Forno.

2x12"

Optimo Music are delighted to present the second full-length from The Golden Filter, "STILL // ALONE".
After relocating to London and playing shows around Europe for a year and a half, self-imposed pariahs Penelope Trappes and Stephen Hindman delved into creating a two-sided existential opus by renting out old studio spaces around the UK and using mostly analog 80's instruments, machines and effects.
An album about being in love with pure solitude, when STILL // Optimo Music are delighted to present the second full-length from The Golden Filter, "STILL // ALONE".
After relocating to London and playing shows around Europe for a year and a half, self-imposed pariahs Penelope Trappes and Stephen Hindman delved into creating a two-sided existential opus by renting out old studio spaces around the UK and using mostly analog 80's instruments, machines and effects.
An album about being in love with pure solitude, when STILL // ALONE is separated into two distinct sides, record one, STILL, is a hypnotic meditation for the nightclub. Wavy patterns of sound and light bounce off of Penelope's literary vocal bursts, layered over the ominous deep synths and arpeggiators, held together only by a strict 4/4 beat. The rhythm, ironically forcing the body to move, however internally focused and mindful, still.
Record two, ALONE, takes the club offline and into the fringes of raw, odd pop.

Ever-prominent drum machine beats rule, while love and loss permeate the four atmospheric goth songs. Music for dancing alone.
"Behind the cotton wool is hidden a pattern... the whole world is a work of art... there is no Shakespeare... no Beethoven... no God; we are the words; we are the music; we are the thing itself." - Virginia Woolf

Hemlock founder Untold is back on the label with his first vinyl EP since 'Doff' on sub-label HBLK back in 2015. This release follows appearances on last year's #savefabric compilation, and more recently on 'Magic City III' compiled by Mixpak boss Jubilee.

HEK029 follows a rewarding period of A&R for Hemlock that has so far delivered EPs from Bruce and Parris, with several more scheduled to drop throughout 2017.

This EP's two winding tracks are a natural progression from the fiercely textural drum work of Untold's previous singles and album 'Black Light Spiral.' Here the material is given more space to breathe and released from the grid creating a lighter more footloose feel.

'Tear Up the Club' carries the weight of DMZ era half-step using a loose web of elasticated breaks and builds to reveal a striking melodic line.

On 'Watton Res' exotic tones are further compressed and expanded in sequence, encasing drum machine, keyboards and guitar work within a delicate shell.

South Africa's Escapism Refuge returns to London's Smokin' Sessions with the On The Fence EP, following his previous effort for the label - the highly acclaimed 'Vol. 31'.

A-side and title track 'On The Fence' is an understated and subtle effort, carrying with it an introspective and moody set of harmonies and chord progressions. It's a quietly uplifting start to the EP, and the track's lead melody will remain stuck in your head for days. The B1 - 'Almost Eight' - does things differently by incorporating elements of classic Ruff Sqwad-era grime with an updated and crisp set of modern day production techniques. The EP's last track, 'Dust', uses a deep and propulsive bass line, which is augmented by Escapism's now signature use of fleeting vocal samples. It's a powerful ending to a heavyweight and emotionally-charged EP from Escapism Refuge.

Escapism Refuge's previous efforts have gained impressive DJ support from across the scene, from figures such as Compa (Deep Medi), Synkro, Gilles Peterson, Lefto, Joe Kay (Soulection), Don Letts, Tim Parker, N- Type, Phaeleh and many more.

The On The Fence EP will be available digitally and on 12' vinyl soon.

Second in the Diving Bird series, a dubwise informed trip into the mind of Cornish producer Andy Mac. Picking up where the first well recieved 12" left off.

Dub-Stuy links Bukkha with UK grime stalwart Killa P for a dark, sound killing anthem.

Dub-Stuy expands on their vision for 21st century sound system music with a new 12' that brings together resident producer Bukkha and one of grime's most recognisable voices, Killa P . The result is a deadly cut that takes no prisoners and is backed by an equally heavy instrumental.

'Death Chat' is arguably one of Dub-Stuy's most ambitious collaborations to date. Bukkha crafts a dub meets grime riddim that builds from filtered keys into a ten-ton heavy monster. Killa P, who has collaborated with The Bug and is fresh from a turn on Sir Spyro's 'Topper Top', delivers cutting lyrics in his instantly recognizable patois-inflected style, with each bar building tension toward a sonic climax.

Backing up this dancefloor sureshot is 'Ethiopian Dub', an instrumental that samples its vocal and melodic hook from an obscure dubplate and whirls both around a steady beat and bass line solid enough to punch through walls.

With this latest 12' for Dub-Stuy, Bukkha shows his versatility and delivers an anthem that no sound can test..

REPRESSED !!
Pressed as a limited edition of only 300 copies on 10' transparent orange vinyl, featuring unique artwork by up and coming artist, 181. Inneractive Music brings you the second in it's highly limited vinyl-only series from Spirit. 'Disconnected' goes on a deep journey through revolving synths and striding subs before reaching it's nervous climax, while 'Clak' goes a stage further through glitching rhythms and cavernous tones, riding underneath an echoing dubbed-out soundscape. This is music to listen as well as groove to.

This is the last chapter of the Full Force recordings camp. After 15 years the label has decided to release one last ouput. We hope you all enjoy this last release from us:-)

REPRESSED !!

(Jamie Boston Remix)

Italian producer Alfredo Mazzilli presents us with Logical Strength, his second EP on Weekend Circuit. Across 4 tracks he expresses his own unique take on the deepest strains of Techno and it's outer reaches.

EP opener 'Logical Strength' is a throbbing piece of driving, menacing wormhole music with heavy arpeggiated sounds and rock solid, incessant drum-programming, leaving nothing standing in it's wake it is a firm statement of intent. 'Nuvole' see's the pace change slightly, adopting more of an eerie, borderline hallucinatory feel. The track unfolds beautifully with heavenly pads and synth swells draped across some tribally infused drums.

On side 2 we have a stellar remix of 'Nuvole' from eminent Swedish producer Evigt Mörker who travels a more subdued, sedate path with his interpretation. Finishing off this 4 track excursion we are drawn into the beatless, introspective terrain of 'Parhelion'. A beautifully nuanced and subtle way to close things. Washes of synth and atmosphere embrace us as we travel onwards, deeper into the night. Alfredo Mazzilli shows us once again his own individual and unique style on this EP, another essential chapter in the Weekend Circuit story.

Ekin Fil is the acclaimed drone-pop chanteuse working with the sparest of materials in her ethereal, shoegaze deconstructions. Her sound developed out of a healthy obsession with Cranes, Cocteau Twins, Slowdive and many other bands that she discovered in the tattered back issues of NME and the home-dubbed tapes that were passed around when she was growing up in Turkey. Upon a fortuitous invitation to perform alongside Grouper in Istanbul in the late oughts, Ekin Fil (nee Ekin Üzeltüzenci) began producing a series of hidden gems in the drone-rock underworld through releases on Root Strata, Students Of Decay, Bathetic and No Kings. Ghosts Inside continues to find Ekin coaxing somber melodies out of echo, shadow and whisper, even as she expands her arrangements to include piano and keyboards to accompany the guitar, voice and array of pedals that had been front and central on her previous recordings.

Ghosts Inside stands as her most arresting recordings to date, written during a period of personal despair with an oblique poetry of sadness cascading through the songs. Her father battling cancer. The end of a romance. It's an introspective sound, completely turned in on itself and tuning out the socio-political tumult of her native home in Istanbul. In confronting psychic distress, heartache and depression, Ekin Fil blocks out the rest of the world to concentrate on the immediate issues of human relationships and their many complications. Allusions to catharsis flicker through the sullen, narcotized beauty of Ghosts Inside, updating the mood found on those classic 4AD albums of the '80s (i.e. Garlands, It'll End In Tears, Lonely Is An Eyesore, etc.) orbiting the spheres of Grouper, lovesliescrushing and Stars Of The Lid.

7th Storey Projects is immensely honoured to present a new, limited edition collaboration EP from two Dutch masters, FFF & Coco Bryce - Double Dragon EP.

FFF (Myor Massiv, Criterion Records, Diamond Life) needs no introduction as he has been blazing a trail on the jungle and breakcore scene for nearly 20 years now - so we are truly honoured to add him to our roster of talent. Here he contributes both tracks to the A side of the EP, the dark, amenistic roller 'The Return', and the epic 'Krisp Biscuit'.

The B side sees a welcome return to 7th Storey Projects for Myor Massiv head honcho, Coco Bryce. After the success of his limited 10" press - Raid/JBB on the label earlier this year - here he teams up with FFF for their first true collaborative, co-produced track to see vinyl - 'Double Dragon'. One word sums this track up - DARK! Full of horror film samples, butchers block beats and menancing hoovers! The EP is rounded up with Coco Bryce's solo track 'The Mother Goddess', a tune which has been doing the rounds on dubplate for a while and built up a firm favourite status with those that know!

REPRESSED !!

Born in a cave in Bordeaux, Radiante Pourpre is one of the many children of Simple Music Experience, a collective and label floating somewherebetween Marseille, Paris and Bordeaux and which inexorably attracted to itself many outsider experimentalists from the French electronic scene for the past few years. Antinote is now reissuing a long out-of-print tape that the duo recorded in 2014 in Brussels' art space Komplot.
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Alex & Léopold, the two halves of Radiante Pourpre, learned in some smoky basement how to give life to their own desolated mental landscapes - only populated by the ghostly figures of the likes of Muslimgauze and Genesis P-Orridge - and to merrily loose themselves into them during long sessions surrounded by Korg synths and cassette players. Ghostly, their music is indeed: by suffering the many manipulations that the two are applying to their huge collection of samples, these fragments of sonic material, little by little, loose their consistency to become nothing more than a faint reminder of their previous life, a dilapidated version of their past-self.


Manipulating the very essence of the sounds sampled, the duo is lurking on dub as well as industrial or musique concrète. By their multiple tape manipulations the two musicians reshape our world's map, as the whim takes them, fostering the most improbable meetings: faint synths crash themselves against a solid wall of Irakian percussions while Brazilian voices melt into field recordings of fearsome machineries.
payback 6 euros - limited hand print silk + insert

2017 Reissue of "Succubus" - the second work of The Mount Fuji Doomjazz Corporation (the improvisation alter ego of The Kilimanjaro Darkjazz Ensemble) from 2009. Not existing anymore since 2012 The Mount Fuji Doomjazz Corporation now finally makes all long-time sold out releases available again on all formats (cd vinyl digital).

Seductive but perilous, The Kilimanjaro Darkjazz Ensemble's session under the Mount Fuji Doomjazz Corporation name is a new combination of drones and jazz. Creating sensual, murky and dark atmospheres, Succubus' the evolution of this band, with stronger horns and a focus on hypnotic, soundtrack-like material. A deep, dark and yet seductive trip again for the corporation. After the corpses, the succubus. Faithful to the original The Kilimanjaro Darkjazz Ensemble concept of drawing inspiration from movies, they recording what later became Succubus' while watching Jess Franco's film of the same name. This iconic 1969 movie, with its strong erotic mood, fragmented story line and oneiric photography encompasses perfectly the goal and means of TKDE / TMFJDC, in the way the band builds mesmerizing, deep and otherworldly atmospheres. More jazz-oriented than their heavier first album "Doomjazz Future Corpses", Succubus' leaves more room to Charlotte Cegarra's vocals and Hilary Jeffery's trombone, while the narrative is still led by Gideon Kiers's drums and Jason Kohnen's bass. Additional improvised charm by Eelco Bosman on guitar and Sarah Anderson on violin. Succubus' displays the corporation' in its most macabre yet entrancing side. Audio cinema has seldom sounded so lustful like on this album.

Currently founding member Jason Kohnen is paving the way with his new dark jazz project "The Thing With Five Eyes", continuing the mystical and occult universes people got to love from the "Here Be Dragons" period. In a parallel corner - founding member Gideon Kiers and trombonist Hilary Jeffery are conjuring up a twenty first vision of spiritism with Inconsolable Ghost, working together with artists such as the cellist Anthea Caddy, the viola player Zsolt Sorés Ahad and the filmmaker Makino Takashi. Vocalist Charlotte Cegarra went on to explore her ambient and lyrical vocals as part of Psychedelic-Pop duo Charlotte&Magon.

Together with "Bohren und der Club of Gore" and "The Dale Cooper Quartet", The Kilimanjaro Darkjazz Ensemble and The Mount Fuji Doomjazz Corporation through the years have succeeded in creating a brand new genre of music. Time to get absorbed again by this unique and fresh sound.

Globex Corp are back with a bang! Featuring four untitled killer cuts from Tim Reaper & Dwarde, with guest productions from Worldwide Epidemic and Dev/Null. The second volume in the series picks up where the first volume left off, with tunes covering a gammut of jungle and hardcore styles, from deep amen rollers, to dark 1993 style tearups!

Since the millennium 2raumwohnung unites electronic sounds and pop melodies in a variety of ways. The early singles 'Wir trafen uns in einem Garten' (2000) or '2 von Millionen Sternen' (2001) playfully communicated the life-style of a new Berlin. The duo, consisting of Inga Humpe and Tommi Eckart, started as a studio project and continued to develop via eight album productions. At the same time, an important impulse included developments in techno or house music. Their most successful album '36 Grad' stayed in the German album-charts for 33 weeks; 2raumwohnung continued to expand their stage range as well.

During Kris Baha's migration north, an introduction with Berlin cult figure Dane//Close has led to Power Station's latest offering and debut mini LP 'The Miniature Industrial Complex'. Originally released on limited cassette via Noisekolln tapes, the LP brilliantly displays the Sameheads resident's appetite for all things wave, industrial and weird, with an eye firmly to the floor. Opener 'Rockbox' plays like a forgotten B-side dub, 80s drums chug as brazen noises bounce off a delicately nostalgic lead. 'Fourth Voice' slings low, incessant bass drones as sci-fi vox and metallic hits to the Rhein. 'Mercy Mercy' increases the tempo, an arpeggio leads the way as intensity rises, unnerving samples introduce a flurry of gunshot snares. Flip over to 'Ancient Rome', a dancefloor musica lirica complete with a forward baseline, air raid sirens and raw drum workouts, the fall of the roman empire! Not part of the original cassette release, 'Beard' maintains the energy, wild guitar shreds in a neurotic ritmo frenzy - Alan Vega crossing into 2016 dance floors faintly comes to mind. And lastly rounding out with fine experimental ender 'Thunder' ...Mayday

Bill Laswell is one of the most prolifc, infuential and innovative musicians of the end of the last century: bass player, record producer, label owner, his carrier escapes every classifcation.
Starting from the enormous hit Rockit' by Herbie Hancock, Laswell boasts an outstanding artistic portfolio which includes, among the others, collaborations with Johnny Rotten, William Burroughs, Pharoah Sanders, Julian Schnabel, Sly Dunbar, Ryuichi Sakamoto, and Yoko Ono.
Baselines' is the artist's debut solo album, a jazz-funk experimental release that came out in 1983 via Celluloid Records, the legendary label that Bill Laswell contributed to making glorious. Audiophile edition 45rpm pressed on virgin vinyl 180gr.

New wave mezcalero, Thomas Bullock, has linked London based new artist Dave.I.D. to his STD label while Thomas himself is reaching for the outer spheres on his quest to release his new book steeped in authentic mezcal culture in Mexico and its production.

Dave.I.D's Gore LP is a haunting combination of industrial and soul stylings.
Let that take you where it must, there's no other way to put it.

If you know Thomas from the Rub-n-Tug days of yore, and the subsequent vibes from Whatever We Want and STD, then you know the compass goes in all directions way beyond North, South, East, West.

* Back with the heat, Chicago native DJ Jana Rush kicks off Objects Limited's 2017 with her debut album 'Pariah'. Jana Rush received attention for her mind-bending drum acrobatics on last year's 'MPC 7635' EP also released by Objects Ltd. Jana started djing aged just 13, releasing her first record on Dance Mania back in 1996 but having a hiatus from music between 2000 to 2013. With 'Pariah' she has created an album rooted in Chicago's footwork sound, but with a myriad of influences, such as jungle, acid, soul, jazz and house, developing her sound on from 'MPC 7635'.

* We kick off with 'Midline Shift' whose breathy, clipped erotic vocals intertwine with a pulsing bass and dry 808 rims creating a shimmering robotic effect. Moving on, the frantic 'Beat Maze' confuses the mind with white noise rushes and interlocking snares. Changing the scene, 'Divine' is sweetly soporific and charming, a beautiful, almost eerie track. The pace picks right back up with ' ', whose warbling jazz clarinets cut into a juke bounce. The stripped back beats of 'Break It' give one room to breathe before the croaking bass and distorted acid of 'No Fuks Given'. 'Old Skool' is exactly what you'd expect, its sample syncopated around a feverish rhythm throughout. Both 'Rapid Fire' and 'Acid Tech 2' are bangers, hitting you deep in that sweet spot. Jana brings it back down with 'CPU''s computer noises and sub bass hits. 'Chill Mode' gives time for reflection after all that fire, but its no ambient track, theres still that Chi-Town vibe. We finish with 'Frenetic Snare' whose Amen breaks will have Brits thinking of jungle, but it's a different beast altogether.

The 2nd part of Leyland Kirby's uniquely prescient dark ambient masterstroke, Sadly, The
Future Is No Longer What It Was (2009) finds us returning to Kirby's draughty corridors
of processed '78s and midnight keyboard meditations is a sublime, haunting experience
like no other..
We can read his melancholic diagnosis of capitalist malaise, deferred futurism and
thwarted social utopianism as a genuinely uncanny foresight of what has played out
in contemporary society, in an age when FaceBook and Twitter have become an all-
encompassing filter for daily life and effectively assuaged the rich analog ambiguity of
collectivism in favour of cold, hard, binary politics and reflexive, unthinking emotional
responses.
Especially in the wake of Mark Fisher's tragic passing earlier this year, Kirby's
hauntological sentiments, embedded quite literally in titles such as When Did Our Dreams
And Futures Drift So Far Apart, and figuratively perfused thru its stark negative space,
now feel to resonate stronger than ever; using shared echoes of the hive mind such as
classic film scores from Vangelis and Lynch/ Badalmenti - both quite literally omnipresent
in imminent sequels right now - as cues for sorrowful elegies and meditations which
aesthetically resonate as much with Deathprod's liminal scapes, as a sort of mildewed
modern classical flocking to Satie's tasteful ambient wallpaper.
Yet it's not all doom and gloom. There's a sense of underlying sense of resilience, of
resistance to Kirby's hushed, ribboning expressions which flows with a considerate
pathos and open-ended emotional curiosity which belies the narcissistic reaffirmations
of social media's echo chambers and dialectic cul-de-sacs, quietly striving to wrench
something beautiful and affective from the clutches of a manipulative mainstream.

Amazing new offering from master composer Mats Lindström. Remember MIG a few years ago on Ideologic Organ This one might be smaller in size, but it holds up to it. Promise!

Recorded live at G R A D Belgrade from One/Scratch Memory performance with Anna Koch. Belgrade of Light Festival 2009. Thanks to Aleksandra Stratimirovic, WELD, Fylkingen, Rikskonserter, Moderna Museet & Elektronmusikstudion EMS.

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

The three sides of Audrey and why she's all alone now/No one is looking at U Recorded in New York City between 2011 - 2015

In the woods there is a bird, his song stops you and makes you blush. (...) And finally, whenever you are hungry and thirsty, there's someone who chases you away (Arthur Rimbaud).

IN THE WOODS THERE IS A BIRD... is both an ongoing sound and publication project by Olaf Nicolai, published as a contribution to documenta 14 and the documenta 14 radio program.

IN THE WOODS THERE IS A BIRD... is based on archival sound material extracted from radio reports, employing radio as a source (rather than a medium of transmission): background sounds of demonstrations, riots, rallies, originally recorded for radio stations all over the world, are used as source material for a soundtrack composed of these various 'ambiences'.

The 'real sounds' are defined by a lack of reference that is usually added by the auditive or written indices that surround and date them. The affiliated artist´s book IN THE WOODS THERE IS A BIRD... reflects not only the process of detaching, mixing, referencing and re-referencing in a visual essay. It also offers for this new composition an index and frames the recorded sounds by presenting a list of the places and dates the events.

N THE WOODS THERE IS A BIRD... is conceptualized to generate further interpretations by various collaborators in the form of concrete sound objects and events, ranging from broadcasting to live performances and installational settings. For example, greek viola player Ilias Sdoukos, performed his improvisation on the 6th of April, for the occasion of the opening of documenta 14 in Athens.

The artist´s book IN THE WOODS THERE IS A BIRD... is published by Koenig Books.

In the Woods There Is a Bird... Limited edition on vinyl (500 copies), published by Public Possession. PP024.

IN THE WOODS THERE IS A BIRD...
Sound Production / Arrangements: Olaf Nicolai, Frank Bretschneider
Sound Editing / Mixing: Frank Bretschneider
Length: 31:00 min

12" x 12", 12 page leporello on heavy paper

In the woods there is a bird, his song stops you and makes you blush. (...) And finally, whenever you are hungry and thirsty, there's someone who chases you away (Arthur Rimbaud).

IN THE WOODS THERE IS A BIRD... is both an ongoing sound and publication project by Olaf Nicolai, published as a contribution to documenta 14 and the documenta 14 radio program.

IN THE WOODS THERE IS A BIRD... is based on archival sound material extracted from radio reports, employing radio as a source (rather than a medium of transmission): background sounds of demonstrations, riots, rallies, originally recorded for radio stations all over the world, are used as source material for a soundtrack composed of these various 'ambiences'.

The 'real sounds' are defined by a lack of reference that is usually added by the auditive or written indices that surround and date them. The affiliated artist´s book IN THE WOODS THERE IS A BIRD... reflects not only the process of detaching, mixing, referencing and re-referencing in a visual essay. It also offers for this new composition an index and frames the recorded sounds by presenting a list of the places and dates the events.

N THE WOODS THERE IS A BIRD... is conceptualized to generate further interpretations by various collaborators in the form of concrete sound objects and events, ranging from broadcasting to live performances and installational settings. For example, greek viola player Ilias Sdoukos, performed his improvisation on the 6th of April, for the occasion of the opening of documenta 14 in Athens.

The artist´s book IN THE WOODS THERE IS A BIRD... is published by Koenig Books.

In the Woods There Is a Bird... Limited edition on vinyl (500 copies), published by Public Possession. PP024.

IN THE WOODS THERE IS A BIRD...
Sound Production / Arrangements: Olaf Nicolai, Frank Bretschneider
Sound Editing / Mixing: Frank Bretschneider
Length: 31:00 min

Pye Corner Audio return to Death Waltz Originals, with 6 brand new and exclusive tracks featuring his trademark sci-fi electronica. 'Do You Hear Them' pulses with a dance floor verve you've not yet heard from PCA bouncing along a killer 4/4 beat with a super melodic bass riff on top, 'The Spiral' begins with a riff on the classic Axel F bass synth and it's super hyped drums and refrain could be placed in any classic 80s action movie you already love. The other tracks are more contemplative and will sound familiar to anyone that owns any of the PCA Black Mill Tapes series.

Pye Corner Audio return to Death Waltz Originals, with 6 brand new and exclusive tracks featuring his trademark sci-fi electronica. 'Do You Hear Them' pulses with a dance floor verve you've not yet heard from PCA bouncing along a killer 4/4 beat with a super melodic bass riff on top, 'The Spiral' begins with a riff on the classic Axel F bass synth and it's super hyped drums and refrain could be placed in any classic 80s action movie you already love. The other tracks are more contemplative and will sound familiar to anyone that owns any of the PCA Black Mill Tapes series.

Brand new full-length by modular synth experimenter Robert Aiki Aubrey Lowe (Kranky/DDS/Type/Holy Mountain), with this one revolving around the concept of a soundtrack for African science-fiction. It's an alien trek of a record, soundtracking emotions of wonder, fear and transcendence. "Lowe has made some of the most transcendent music of recent times ('cerebral music in the best sense of the word')" - Music & Literature Vinyl limited to 500 copies and packaged in a gatefold sleeve with an insert of original artwork by Robert Lowe.

The first release in a series of 12 records developed in collaboration between Research and Waves and ZCKR Records.
Constructed from 800 sampled lead out grooves, each lasting for 1.8 seconds, Sebastian Reuschels piece Blank Out is an intense texture of sound, converging repetitive rhythm and constant change.

180g vinyl + picture disc !
Second studio album by the infuential music band Tangerine Dream, Alpha Centauri' is the milestone of the psychedelic era. Originally recorded in 1970 at Stommeln's sound-lab Studio
Dierks and released via the Ralf-Ulrich Kaiser's Ohr imprint, this album is an extraordinary trip into a dark sonic universe, where the overall quality has little in common with the luminescence recalled by its title.
Organ acoustics and fute lean on mesmerising textures, created by employing the new VCS3 synthesiser. Deluxe 2LP edition with 'Big Hole' Jacket containing the original LP in black vinyl 180gr
and a picture disc with bonus tracks from the same recording sessions.

Digital Dub masterpiece !

The sferic label bubbles up from Manchester city centre with Echium's debut suite of charming ambient gestures, neatly expanded by empathetic, weightless house remixes
from local cuties, Perfume Advert and Space Afrika.
Their mutual first move, Synthetic Space (sferic 001) positions both Echium and sferic within a well rooted tradition of Berlin kosmische, dub and Detroit techno-informed electronics emanating from the rainy city, convecting a wistful spirit that resonates with Martin Hannett's work for The Durutti Column as much as J.S. Zeiter's mutable dub techno and the humbly mannered moves of the CCO and meandyou. labels.
Its eight original tracks oscillate between effervescent tones and grained electronics with a carefully realised, cybernetic nuance, locating a lush balance of haptic nudge and detached process that really gets under the skin in altered states. It's active in the opening cut, Blended Textures' swirl of arid chords and frothing acid, and smudged deeply into the glowing pores of Juum and the noumenal bleep space of Looum, and aching with a
lovebot sentience in the Shinichi Atobe-esque title track, all on the A-side, whereas the the B-side subtly edges up the bass to tactile, insistent degrees with the air-stepping
Ethereal and Activation beauties giving way to the arabesque vignette, Jazz Interlude.
Special mention, then for the remixes, with Salford's Perfume Advert playing to their Anxiety Support Group tendencies with nervously deferred but soothing results, and the ascendent Space Afrika duo hustling a rolling, heads-down Tribalist Dub version that leaves the disc simmering for another spin ahead of their debut LP, as promised for sferic in the near future.

British artist Gazelle Twin presents her new audio visual performance show for two vocalists, 'Kingdom Come'. Three tracks from the AV show, created in collaboration with video directors Chris Turner and Tash Tung, are now available on limited edition vinyl via The Vinyl Factory. Artwork by Jonathan Barnbrook.
The conceptual performance for two vocalists is staged in six chapters, incorporating electronics, film, and the brand new soundtrack from Gazelle Twin, created from samples and live vocal manipulation. With the piece set on treadmills against a manic, illusory landscape, Kingdom Come places heightening physical demands on the performers, resulting in an exhausting, otherworldly climax.
Taking its title from J. G Ballard's final novel, Kingdom Come will play with notions of feralness, displacement and the uncanny in the contemporary British, urban landscape.
The artwork for the EP has been designed by Jonathan Barnbrook whom has used the track and A.V video for 'Metro' as his inspiration. Jonathan recently featured in the new Design museum exhibition, 'Designs Of The Year', with Jonathan's design for David Bowie's 'Blackstar' album.

* Four years after their debut album, Hybrid Minds return with a brand new 15 track collection of sublime Drum & Bass. Not just a solo affair, the duo have enlisted the help of a league of talented vocalists to help bring their vision to life, with contributions from Tiffani Juno, Rocky Nti, Charlotte Haining, Linguistics and long-time collaborator Grimm amongst many others.
* Due for release on their own imprint Hybrid Music, the first 3 singles from the project, released throughout 2016 have gathered millions of plays online and have ensured them a busy summer playing shows and festivals all over the UK, Europe and beyond.
* "We're very excited to bring to you our second album Elements'. We've been working hard for the last 3 years trying to perfect it in every aspect, we hope that the time & effort has paid off and we cannot wait for everyone to finally hear it.
We'd like to thank everyone who has worked on the project with us, they did a fantastic job & without them this would not be the same. There was so much talent involved and it really was an honour to work alongside such a diverse & talented bunch of people. We hope you enjoy this album as much as we enjoyed making it!" Matt & Josh

Having previously released on the Metalheadz main label as well as Platinum and METHXX, SB81 completes a full sweep by appearing on Razors Edge with his much sought after remix of J Majik's classic - 'Your Sound'.

On the AA side is another SB81 remix, but this time it's a remix of one of his own tracks as 'Blueprints' gets the rollout treatment.

A stellar addition to the Razors Edge catalogue.

early 80's.
While Bob Marley was out conquering the world, Dennis Brown. Gregory Isaacs and Johnny Clarke were winning the hearts of the Jamaican people.
Johnny Clarkes use of the 'Flying Cymbal' sound took the island by storm and produced a run of hit singles few could match.
Another phenomenon that was happening in the early 70's was the version cuts to vocal tracks.
This is when the tunes were cut back to the boss and drums and the vocals were dropped in and out in a dubbed style and the reverb and echo and various effects were added to these tracks.
The main exponent to this style was King Tubby himself and as was the fashion at the time, each vocal track would carry a version on its B-Side.
Producer Bunny Lee lead this style working closely with King Tubby and all of his singles from then on would carry a dub cut on its flipside.
As Johnny Clarke was one of Bunny's main singers at the time we would hear a great selection of songs getting the Dub treatment and in many cases the single was bought for the more exciting Dub cut.
We have compiled some of the best Dubs from this time, hope you enjoy the great voice of Johnny Clarke alongside the productions of Bunny Lee and the creative genius of King Tubby.
A great combination, we are sure you will agree.....

The Motionless Present is a collection of unreleased poems and soundscapes by the Philadelphia-based artist and activist Camae Ayewa, who performs as Moor Mother.
Reverberating and rumbling through the thoracic cavity, few records spoke to the contemporary black American experience quite like Moor Mother's 2016 protest album Fetish Bones.
Her first new material since that visceral and political work,The Motionless Present is a statement towards understanding the disconnect between humanity and injustice.
The release features various new collaborations and previews of upcoming projects: Black Quantum Futurism, Moor Jewelry, Mental Jewelry, 700 Bliss and more.
The Motionless Present was created in collaboration with The Vinyl Factory ahead of Moor Mother's CTM festival performance at Berghain. Artwork designed by BCMH using the collage artwork of Grassi.

Philippe Hallais returns to Modern Love with a new album, the first under his own name following his label debut as Low Jack with Lighthouse Stories in early 2016.
It's by some distance his most important work to date, setting aside the squashed dancefloor productions of his Low Jack Alias for an album of emotive, indefinable ambient pieces.
After working through different subcultural musical languages as Low Jack, this time Philippe takes inspiration from the TV biopics of high-performance athletes for an album of exceptional
emotive impact; somewhere between pastiche, tragedy and electronic futurism.
Fascinated by the sports documentaries mass-produced by the US TV channel ESPN, Hallais transcribed and amplified its dramatic recipes. These form the material of tearful soap operas
which develop the same narrative ad nauseam; the rise to the top, the betrayal, decline, salvation, comeback and, ultimately, nostalgia and regret. The TV formatting reduces the life of these high level athletes to a generic tale, transforming them into impersonators of their own lives through extreme use of editing, slow motion and musical themes.
Divided into four sides (and eleven tracks) acting as parts in a greek tragedy, the album delves into the dislocations of the mythology of sports and its achievement in mass entertainment; whereby the hero becomes a dispensable and mimetic body. Hallais delves into this unusual portrayal of triviality and disaster, naivety and cynicism that make the real life and ordeals of the hero indistinguishable from their scripted form on TV.
This obsession with storytelling and the creation of bigger than life characters forms the narrative of 'An American Hero', a parable for our times.

After "Star Alliance"'s initial release as a limited six tape-box set late last year, it was apparent that there was a need for a reissue, which now comes in the form of this remastered double LP set with a selection of the best work and even a few new tracks added. The story is the same but the narrative has been sharpened. Over the last few years, Varg has manifested himself, not only as one of the most productive new voices in European electronic and techno music - with countless releases and projects - but also as one of the most interesting of the lot. Completely free from any concern of genre notions towards his music, he moves freely between fields and does this in such a fluent way that it is hard to think of anyone that can match him. With the music that makes up "Star Alliance", it is clearer than ever before that Varg - while being an extremely talented techno producer, at the same time is much more than that. "Star Alliance" has tracks of spacious acid standing next to heavy industrial rhythms, piercing abstract modular synth work, beautiful soundscapes, piano pieces and field recordings. And while the techniques, qualities and styles differ with almost every track, they stand perfectly together and shape a beautiful narrative. Thematically "Star Alliance" deals with movement. The heavy melancholia that is present throughout the entire release, reminds us that when traveling to any destination, we will have to leave somewhere else behind. "Star Alliance" that takes its name from a point system between airline companies has a sort of sad restlessness about it. Wherever we are traveling to, it is clear that we won't be there for long, the people are faceless and the cities nameless, The airports, night clubs and company blur, but Hilton always looks like Hilton and Ecstasy is called Ecstasy everywhere.

Here's a glorious selection of 12 bright and sun-drenched moments destined to be heard daily at the world's coolest beach clubs this summer and inevitably soundtracking a million gorgeous sunsets in Ibiza.

This edition features exclusives aplenty. There are two album-only tracks, Tommy Awards gets an Ambient remix from Balearic's Jim Breese. Then The Madrigal blasts off with 'Ride To The Moon,' a completely unique track that's refreshing to hear.

Three tracks were previously unavailable digitally, including the debut from Nancy Noise, Olefonken's spacey remix of Hubbabubbaklubb, and Steve Cobby's tropical-jazz remix of Penelope Antena's Tradewinds.

Other highlights include Cantoma's 'Abando,' plus an incredible, modern interpretation of the 80's classic Southern Freeez from Paul Murphy.

BALEARIC 3 captures the ineffable spirit of Ibiza - perfectly accompanying that unique moment when the golden sun meets the gleaming sea. It's destined to be a classic, go-to album you'll reach for again and again.

The debut LP from Ancestral Voices now repressed for 2017 in an all new vinyl colour.

The birth of Ancestral Voices represents a new path for an established and highly respected producer.Liam Blackburn carved out a singular musical voice as Indigo, and also more recently as half of acclaimed duo Akkord. Inevitably a new approach to creating music has developed into a new identity: seeping with textures, loaded with a taut energy that whispers tales of shamanism and transformative life experiences.
Stripping back an already unique creative process proved a challenge that has paid off, and Blackburn's evolving sound has no immediate sonic comparison. With distinct resonances of his musical heritage flowing through a more mature filter, there is a mystical atmosphere that resounds through the LP as you hear Ancestral Voicesemerge triumphantly into the world.
The Ancestral Voices debut LP is an insight into a subconscious journey; fully formed as one accomplished 'Night Of Visions'.

Tim Burgess' curated imprint O Genesis Recordings present VELD, a new solo album of luminous pop incantations, electroacoustic music and shimmering drones from composer and multi-instrumentalist Daniel O'Sullivan. Whether solo or in his varied collaborative projects, O'Sullivan's work is remarkable in the way it infuses familiar everyday experience with traces of the uncanny, the secret and the magickal. VELD distils these tangled realities into a wonderfully rich and complex record — one of O'Sullivan's most immediate and moving pop albums to date, yet one that's strikingly dense and allusive, alive with enticing sonic diversions, hypnotic mantras and eerie biomechanical rhythms. 

Having felt restrained by the limits of traditional instruments and the techniques tied
to them, composer, music producer and artist, Konrad Sprenger (b. Joerg Hiller), spent
years developing various algorithms and custom instruments to realize his work. His
recent focus has been on rhythmic patterns based on the Euclidean algorithm, using a
computer-controlled multi-channel electric guitar.
Hiller has long collaborated and performed with minimalist Arnold Dreyblatt, and
musician/instrument builder Ellen Fullman amongst others, and first built primitive
acoustic mechanical instruments, gradually developing a more complex, digitally-
controlled system. Early on, Hiller realized that the harmonically complex sound of
strings are impossible to reproduce digitally, and therefore became interested in the
development of mechanical instruments, visiting European collections of Pianolas,
Orchestrions in Belgium and Holland. Within his live performances and on this new
recording, his music is influenced by the insistent rhythms from Minimalism, Krautrock
and Techno, and their shared focus on transcendence through a propulsive, full-spectrum
sound.
Informed by early American folk music and its descendants (John Fahey et al), his new
album presents a selection of recordings over the years from residencies and live
performances, such as 'Opening', an early live performance of the digital guitar system
recorded in New York and composed at Phill Niblock's Intermedia Foundation Loft, whilst
'Rondo' consists of recordings of the guitar played by a motor with shoelace exciters,
horns, and piano harp. In 'Largo', he utilises the software Melodyne to generate midi notes
from a original guitar system recording.

Disconnect Connect is the second release from Leo James, and the second for his label Body Language.

Beautiful advanced electronix tracks in the new Testtoon release! Oubys's SQM part II is 1 half of the SQM album release split into two parts. Part 1 saw the light in June 2014, and was equally stunning. Stylistically on the same plan, SQM Part II again delves into abstracted melodic and harmonic grandiosity, counterpointed with integrated blurbs of noise and static. Oubys has a fearless and often unattached approach to composition and sound. Although there's definite references to the claustrophobia of dark science fiction and his approach to melody hints at an inspiration beyond electronic music, his music stands firmly on its own and shuns every sense of political correctness. SQM Part II shares the same futuristic feeling as its first installment. A throbbing undercurrent defines its tracks and gives them structure, a structure that is just as easily abandoned in favor of of noise and harmonic exploration. Great listening trip! (comes in an small edition, so won't be in stock forever!)

Roll the Dice are back with a new full length album, 'Born to Ruin'. The Swedish duo, consists of Malcolm Pardon and Peder Mannerfelt, both established musicians in their own right.
Pardon's background producing scores for film and television is reflected in Roll The Dice's cinematic aesthetic., while Mannerfelt's acclaimed third solo album 'Controlling Body' landed in 2016 and follows on from his acclaimed work as producer for Fever Ray.
In 2013 the pair contributed to the Blanck Mass-curated score for the Belgian horror movie 'The Strange Colour ofYour Body's Tears', while last year they composed part of the score and end
credit theme for the drama series 'The Last Panthers'. The duo have performed live at Sonar,
Unsound, Primavera, ATP, Mutek, Norberg, Roskilde and Semibreve festivals as well as alongside an exclusive orchestral setting at Norrlands Opera.
Compared to the epic, sweeping compositions of the duo's earlier records, Born To Ruin is stripped to the bone - a collection of concise, sharply evocative, jazz-infused music that's more smoky
basement than orchestral hall.
Following the stately orchestral explorations of 2014's Until Silence, the music here is lithe, hollow and furious, evoking a fractured world of economic and political instability.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- BRAND NEW ALBUM
- FEATURING THE HIT SINGLES HUMAN' AND MARILYN MONROE'
- NUMBER 1 IN US ELECTRONIC ITUNES CHART AND TOP 5 IN ELECTRONIC CHARTS AROUND THE GLOBE
- LIMITED EDITION OF 1.000 COPIES ON WHITE IVORY VINYL

ISON is the debut album of Iranian-born Dutch artist Sevdaliza. After releasing her latest Edison nominated visual masterpiece HUMAN, and her acclaimed short film The Formula', next to worldly known
3D experiences for That Other Girl' and Marilyn Monroe', Sevdaliza is defining art with her mystical audio-visual experiences.

So far Sevdaliza already amassed millions of plays on Youtube and Spotify. She recently collaborated with A$AP Ferg and was also featured on Parisian producer STWO's latest single Haunted'.

As much as ISON is about the human experience, it is mostly about Sevdaliza returning to her spirit guided by past lives. By following her intuition, her unconscious guided her on a path which one present form might never reproduce. All the knowledge that is not of the senses, not of the intellect, not of the heart but is the property that belongs to the deepest aspect of your being.' ISON is an experience of that being.

Sevdaliza's melancholic visceral voice floats over beds of thumping trip hop dubs, married with classical harmonies and cutting strings setting an enigma. Rhythmic tensions build slowly into chaotic climaxes. ISON has been described as genre- bending', drawing on various genres.

Her writing, influenced by intuition and experiences in past lives, has a philosophical questioning character, subjects like spirit diversification and perception of emotion are strongly present. Divine energies blend harmonically within. Sevdaliza plays with the simulation of lives that can hardly be distinguished from truth. Creating a reality where everything is possible. To Sevdaliza, expression comes forward in designing every detail in sound and imagery.

The moving artwork of ISON was sculptured by the incredible
Sarah Sitkin. The limited edition is pressed on White Ivory vinyl and will be individually numbered.

This dude is on a mission! Viennese multi-instrumentalist Sixtus Preiss distinctly and clearly displays his strengths on this two-sided 7". The original version of Lololo offers excessive see-sawing synthlines, distorted funk flashes driven by a killer bassline and the precise meaning of a hook line.

On the flipside Sixtus provides a jazzed-up band version where he collaborates with Lukas Koenig, Manu Mayr and Peter Rom from the famous "JazzWerkstatt Wien" collective. Recap: Jazz for the clubs - for real!

Blinding first volley of ambient grime feels by Belgium's Sky H1, crystallising one of 2016's most striking entries with a debut for Pan X Codes.
If you've had an ear to PAN's recent NTS shows or frequent the likes of Berlin's Creamcake or London's Bala Club, it's possible that you've at least seen her name, if not been wowed by Air - a
pensile, elegiac wonder rent in noctilucent chorals and arcing Autechrian pads - which heads and opens up the emotional floodgates of Sky H1's debut EP.
Drawing from a background of widely-varying musical tastes from Ambient to Grime, her own work is an amalgamation of emotive compositions of orchestral Elysian synths, often displaced
with sparse percussive elements.
'Motion' is a highly personal endeavour, constructed from the results of a turbulent time - she describes it as 'a flash of her emotional state over the last few months'. 'It signifies leaving behind a period in my life and stepping into something new.' She explains.
Moving through bleak soundscapes layering vaporous choral synths, ethereal vocals and glassy,
lucid tones crafted in complex structures, the record bears moments of melancholy as well as joy on tracks like 'Tell Me' and 'I Think I Am'. Where many other producers are currently playing out hyper-violent beat-em-up scenarios, Motion indulges a plangent lushness to aching affect; oscillating nervous percussion and agonised choral cadence with glassy soft and weightless chimes and R&B variants blessed with an ambient aura.
It's all inarguably up there with the best, most addictive new music we've heard in 2016, and hugely recommended if you know what's good.

* In 1993 Basement Records was still issuing the classic 4/4 tunes but in the studio working on the new sound of Drum n Bass. In this newly formed studio operating in the Basement Records / Vinyl Distribution building and run by Roger Johnson as the in house engineer a series of early Drum n Bass releases were produced. To release the tunes being made in late 93' The Street Beats label was formed in early 1994. The first releases were a series of LTD Edition 10" singles of early works by artists such as RJ himself plus Peshay, Paul Z & The Truper.
* In 1994 I received a Promo through the post from Entity Records featuring the System Ex - Mindgames E.P, I loved the track and wanted to know who the artist was so I rang Ray Keith at Blackmarket Records to see if he could shed any light. Ray told me this was the new artist he had been telling me about when we last spoke, that artist was Rupert Parkes now known as Photek.

* I rang Rupert to introduce myself and invited him down to Reading to meet me, which he was more than happy to do as he was well aware of what we were doing at Basement Records and Vinyl Distribution.
At the meeting I stated how much I loved the EP and his releases on Cert 18 but at the same time felt the production sound could be improved. Rupert told me about his home studio and its limitations, so I asked him how much money he needed to get the studio to the level he wanted and then advanced him the money to upgrade his studio. The next batch of tunes that were then made were all released on the Street Beats label.
* When Rupert sent in the 2nd batch of tunes I was blown away with them and wanted to release these tunes with an artist name, so I took the T from the end of his name and placed it in front and the 'Truper' was born. The idea of the name was he was marching forward with the DnB sound. These three EP's were all released as limited editions and as the years have passed, all three have become holy grail's for all the collectors of early DnB and rightly so.
This relationship was to grow and grow over the following years with six releases under his 'The Sentinel' pseudoname on Basement Records and the distribution deal which led to the launch of Ruperts' 'Photek' alias and label, which have cemented his reputation as one of the great Drum N Bass producers of all time. * A genius in the studio and a wonderful person to know and work with with over many years. So now Basement Records proudly presents the reissue of these stunning six tracks pressed on 12"singles and accompanied by a CD which also features the six outstanding 'Sentinel' tracks that were released on parent label Basement Records, for you to all enjoy.......Basement Phil / Basement Records 2015

* In 1993 Basement Records was still issuing the classic 4/4 tunes but in the studio working on the new sound of Drum n Bass. In this newly formed studio operating in the Basement Records / Vinyl Distribution building and run by Roger Johnson as the in house engineer a series of early Drum n Bass releases were produced. To release the tunes being made in late 93' The Street Beats label was formed in early 1994. The first releases were a series of LTD Edition 10" singles of early works by artists such as RJ himself plus Peshay, Paul Z & The Truper.
* In 1994 I received a Promo through the post from Entity Records featuring the System Ex - Mindgames E.P, I loved the track and wanted to know who the artist was so I rang Ray Keith at Blackmarket Records to see if he could shed any light. Ray told me this was the new artist he had been telling me about when we last spoke, that artist was Rupert Parkes now known as Photek.

* I rang Rupert to introduce myself and invited him down to Reading to meet me, which he was more than happy to do as he was well aware of what we were doing at Basement Records and Vinyl Distribution.
At the meeting I stated how much I loved the EP and his releases on Cert 18 but at the same time felt the production sound could be improved. Rupert told me about his home studio and its limitations, so I asked him how much money he needed to get the studio to the level he wanted and then advanced him the money to upgrade his studio. The next batch of tunes that were then made were all released on the Street Beats label.
* When Rupert sent in the 2nd batch of tunes I was blown away with them and wanted to release these tunes with an artist name, so I took the T from the end of his name and placed it in front and the 'Truper' was born. The idea of the name was he was marching forward with the DnB sound. These three EP's were all released as limited editions and as the years have passed, all three have become holy grail's for all the collectors of early DnB and rightly so.
This relationship was to grow and grow over the following years with six releases under his The Sentinel' pseudoname on Basement Records and the distribution deal which led to the launch of Ruperts' 'Photek' alias and label, which have cemented his reputation as one of the great Drum N Bass producers of all time. * A genius in the studio and a wonderful person to know and work with with over many years. So now Basement Records proudly presents the reissue of these stunning six tracks pressed on 12"singles and accompanied by a CD which also features the six outstanding 'Sentinel' tracks that were released on parent label Basement Records, for you to all enjoy.......Basement Phil / Basement Records 2015

REPRESSED !!

Streetlife Records has been going from strength to strength over the last few years and this next release has been smashing it. New boys Urban Knights step up to the plate and put their own 145bpm twist on this already classic tune.

only 1x per customer !