Beats News

Coyote Records introduce Forever to their fold with a lush EP at the borderlands of vaporwave, grime and trap
Having first linked up with London-based Coyote Records in early 2015, Grade 10's Forever returns to the label proper for his first full EP project, 'Hymn'. A record written over an extended period of time — the title-track, one of Forever's most recognisable, was produced during his college years in Leicester — 'Hymn' explores the myriad sounds, layers and textures that have come to define his music. It was his remix of Last Japan's 'Harca', released via Coyote's white label series in January 2015, that first welcomed him into a tight-knit community of affiliated producers, even playing the label's third birthday in London later that year. Boosted by the formation of Leicester-based label and collective, Grade 10 — for whom he remains a key creative figure alongside Prayer, Loosewomen etc — a little later in the year, Forever then went onto release his debut EP, 'Coarse', in July 2016. While 'Coarse' dealt in contrasting rare grooves and tones, 'Hymn' hones in on the sounds that have checked his growth and development as a producer. The delicate, slow-burning cinema of widescreen opener 'Gweilo', the shadowy eeriness of 'Hymn' and the crunchy, industrial club heat of 'Swamped' each point to different reference points, but all feel interlinked by Forever's grip on atmosphere and tone. Coyote label mate, Chemist — also one third of Planet Mu trio, Silk Road Assassins — also turns in a booming edit of 'Hymn', complete with re-booted, icy melodies that fire off like shards of glass, and rude, 808 patterns that nod to his work with SRA.

"Tracks by Ilpo VisnenRecorded anytime in there, rain & 808 at Pallars152, Poblenou, BarcelobaMixed at Juniper & Stone, Kartula, FinlandMastered at Dubplates & MasteringCover by Ilpo // layout SOMARecord is influenced of 1st part of Karl Marx's ""Capital""I-LP-O in Dub is the solo project of Pan sonic member Ilpo Visnen. Capital Dub Chapter 1 follows the 2015 debut Communist Dub - a year marked by further descent into economic crisis and instability. The usual business cycles of production / distribution / consumption running alongside macro cycles of boom and bust have been replaced by ossification, austerity, the machine seizing up.Ilpo's ""circular riddims"" complement the ebb and flow of the circulation of money + commodities and are mirrored by his field recordings of Barcelona rain - the final phase of the cyclical movement of water. But of course the smooth running of ""Paradise Capital"" is unsustainable. Destroyed techno and open spaces contend with sinister swarming atmospheres. A cash machine flickers. Zeros and ones displace another factory. Dub as decay - the ghostly remains of tracks eroded by time and technology. The ""invisible hand"" of the market spasms with tremors.Ferocious textural feedback as music for stock exchange crashes. The soundtrack to heaps of money hoarded by the hidden class. Capital is value in motion, but there is nowhere to go. After the collapse, picturesque ruins. Capital Dub Chapter 1 simply asks the question: what next"

Detroit rooted techno tracks with morphing synths and layers of percussions and breakbeats designed for the dancefloor!

New album by Keith Freund & Linda Lejsovka of the band Trouble Books:

Music for Small Ensemble & Computer is a collection of what I call the DIY shitty classical' pieces me and Linda have been working on for a couple years. Using an inherited piano, freeware, and the basement floorcore spirit of discovery to trespass into a typically more rarefied style. And thankfully a few actually-trained friends lent their skills to the mess.

To me, it's the sound of the two of us struggling to find peace and stability for ourselves, family, and small community in an often chaotic and hostile world.

I'm really excited about this collection. We previously released these pieces on as-limited-as-possible 12' runs and went through them very quickly, so it's cool that MIE is giving them a wider issue. Linda and I have made quite a few records now, but to me this is really the closest to being us'. Put a headphone jack in my tombstone and have this playing. Does any of this make any sense

Keith Freund, 2017

Homeys Records new release, Something new', features the first collaboration between Marina P and the upcoming french producer KSD. Once the original track was completed, the vocals were given to three other producers close to the italian singer for remixing. Stand High Patrol's version offers a jazzy take on the track with unexpected footwork influences. TWM, for his very first release, presents a steppers version made for the soundsystem. Homeys brings a roots reggae touch with a flute part that leads the theme. These producers' three different remixes perfectly represent the musical universe of Marina P.

Mary Lattimore (harp) and Elysse Thebner Miller (keyboard) present a brand new collaborative recording of kosmische textures and pastoral melodicism.

"We attended Three Lobed's 'Sweet Sixteen' concert at King's Barcade in Raleigh, NC. That morning, there was a palpable buzz in anticipation of one of the early sets of the festival: an onstage collaboration between harpist Mary Lattimore and keyboardist Elysse Thebner Miller. Though we here at Footfalls were already fans of these two artists, the music performed by Lattimore and Thebner Miller that afternoon — a natural blend of kosmische textures and pastoral melodicism — exceeded all expectations. Crucially, it was the human aspect of the duo's performance that most appealed to us: eschewing sequencers, prerecorded loops, and stock arpeggios in favor of an improvisational, distinctly haptic approach, the unique insta-compositional voices of Thebner Miller and Lattimore rang out like cosmic prayer bells. Lattimore's treated harp glissandos blended seamlessly with Thebner Miller's spectral electric piano, building small tornadoes of sound before receding and beginning the process again, like the inhale / exhale of some small universe.

Within five minutes, it had become clear that this would have to be the second Footfalls release. We hastily contacted the artists, acquired the tapes — dutifully and masterfully recorded by our pals at NYC Taper — and began the process of publishing this beautiful work. Footfalls is very proud to present this rst commercially available collaboration by these two postmodernist sound painters. We're quite positive you will love it as much as we do."

Could be just a coincidence, but to complete its orbit around the earth, it takes the moon not only 27 days and 7 hours, but also an additional 43,7 minutes - which happens to be the exact duration of MimiCof's latest album: An experimental sonic link between human and celestial bodies, mind and machine, gravitational ripples and rotations, Moon Synch is the result of an intricate search for converging frequencies, a wordless account of well-modulated speeds and interlocking spheres.

Kyoto-born, Berlin-based MimiCof, who's also been releasing music under her actual name Midori Hirano since 2006, quite literally breaks new ground and ventures into uncharted territory on this album because she's chosen a whole new musical vehicle: This LP is based on the recordings I made with a Buchla synthesizer during my residency at Stockholm's EMS Elektronmusikstudion,' says the composer, sound artist and producer from Japan who grew up playing the piano, an instrument she eventually studied as well. It was the first time I worked with an analog synthesizer - and a whole new experience.'

The results of her initial Buchla explorations are utterly hypnotic, cinematic layers of samples and loops, an unfolding narrative that's based on an eclectic spectrum of recorded material: There were no fixed references, no preconceived ideas,' she says. More like looking for the missing piece of a puzzle,' MimiCof ventures further and further into a realm of electrified oscillations and sonic tides with each new track: There's a whole range of different frequencies interlacing, contracting, copulating and thus forming larger sculptures and higher crests ( Rising,' Dropping'), until the first hints of melody flare up in the outer regions of space ( Burning Lights')...

Moving on and past the outer orbits, the pressure increases: bass lines cut through thick layers ( Parallel Roads'), there's an ominous vibe ( Yellow Town'), but the spirit of discovery still sets the tone, pushes things forward. Slowly adjusting different velocities and frequencies - think of those hypnotic rotating scenes in Kubrick's 2001' -, the beat fully drops with Dropping', a tune that also features her main instrument (the piano), until a single note and swathes of bass wash the pulsating sine waves away.

It's towards the end of Opal' that suddenly all frequencies are truly in synch and congruent: This is the foundation for slow-moving, shimmering rays of light that finally fill up the entire space on the title track. Perhaps it's just another cosmic coincidence, but Midori Hirano's recent Minor Planet' album (Sonic Pieces) ended with a track called Rolling Moon': Having repeatedly expressed her love for stargazing, rolling moons are indeed the kind of celestial bodies she heads for and ultimately captures with this new release.

some things are heavy and some are not. why is it like this style for instance seems to have no weight as long its timely and modern. gravity might change, but style endures. it's not how low you go, but where and when you show up. temporarily the peripheric mainstream may attract more likes then the contemporary self-contempt. gravity can be a bigger enemy then yourself. don't let gravity get you down!
mix mups new 12' is fighting for a world where gravity is for everyone, regardless of rpm, bpm or bitrate. in this times mix mup and mikrodisko are standing as proud allies together. we shape magic carpets out of black gold! M12 vinyl slices will beat the terrestrial gravity! hover the spoon. over the moon.

Almost one year after his debut LP Feed The Tape, Orson Hentschel enters new musical terrain wearing old shoes. His second LP Electric Stutter, which is almost 55 minutes long, is only loosely connected to his debut. Whereas Feed The Tape was strongly shaped by Classical Minimal Music, Hentschel now incorporates influences of Trip-Hop and Electronic Pop Music. Since his childhood, he considers artists like Massive Attack, Portishead and Björk as some of his most important sources of inspiration. The influence of this kind of popular music is clearly audible. Hentschel's new tracks are shorter, more shaped and reduced in the density of their sound material. Pattern-oriented repetitions, which where in the focus of Feed The Tape, now fulfil the function of sophisticated sub-components of the overall composition and are subordinate to the melodic forms or merge with them. Also the amount of sample-based material has decreased in order to create space for synthetically produced sounds with melodic character. Electric Stutter is more complex and more detailed than Feed The Tape. At the same time the reduced density of sound material and the higher amount of melodies form a kind of music that is more easily accessible.

Whereas the Düsseldorf-based composer started off with classical piano, he by now concentrates on electronic and experimental music and film compositions. Even though Hentschel has experienced a classical education, his composition techniques are anything but traditional. His creative starting point is rarely rooted in musical ideas, but consists of finding appropriate sound material. His sources are diverse: sounds and samples like soundtracks, film sounds, music albums or internet findings encounter polyphonic vocal-music from the 14th century and composition techniques of Minimal Music such as Steve Reich. In his compositions Hentschel draws a cross-section through the history of music and its genres in order to form his own musical expression. Considering his studies of music science in Düsseldorf and previously in Vienna and Dresden, his musical time-jumps appear less surprising.

Describing Orson Hentschel only as a composer of contemporary music does not do him justice. In his self-conception as an audio-visual artist he creates his own live show, combining lights, visuals and fog to a stunning atmosphere, which cannot be eluded. Supported by live-drummer Lukas Baumgart, Hentschel delivers a sound, whose energy is physically palpable and electrifies the audience. A live-show generating an intense experience, going to the limit and erasing any sense of time. Orson Hentschel moves perceptions not merely through sheer volume, but with driving repetitions and extensive tension.

Presented live in Los Angeles. Source material originally developed as part of mas gestos y mas caras, a collaborative performance with Rafa Esparza and Yann Novak, presented at the Hammer Museum on July 8, 2016.

Robert Crouch is an artist and curator whose work encompasses sound, performance, and technology. As an artist, he locates his work with the intersection of post-phenomenological listening practices, conceptual sound art, and contemporary electronic music. At its core, his work can be understood as a conversation between tonality, context, history and subjectivities. Similarly, Crouch's curatorial work focuses on the overlapping disciplines of sound, technology, movement, and performance.

Sublunar continues Crouch's inquiry into the complex relationships between sound, context, and meaning, first proposed in his 2016 release, A Gradual Accumulation of Ideas Becomes Truth (Line). The four tracks which comprise Sublunar were composed using field recordings from and audio files originally created for mas gestos y mas caras, a collaborative performance with artists Rafa Esparza and Yann Novak. mas gestos y mas caras was a durational performance incorporating sound, breathing, and a series of repetitive actions and gestures, choreographed within an architectural installation of adobe bricks fabricated and designed by Esparza.

Sonically, Sublunar is a radical departure from the originating performance, yet these tracks remain tethered, literally and aesthetically, to the processes and context of their construction: Esparza's labored breathing, cautious footsteps, a soft cascade of water, dust, soil. The title itself, Sublunar, reinforces an attachment to the Earth and the physical world, and intentionally resists metaphysical interpretation or decontextualization.

It is precisely through this tethering that Crouch seeks to open up a diversity of possible approaches to the work, rather than confine our reading to a primarily or exclusively musical text. The first track, Descension, opens with sounds of breathing, muted movements, and environmental noises, and serves as an acknowledgement of our collective understanding of sound, of these specific sounds, as physical phenomenon. By extension we are allowed to consider this particular organization of sound itself as a kind of sculpture, architecture, and choreography. The body becomes the primary oscillator and architect, delineating boundaries and defining the work as a space within which we might inhabit.

Since the release of his debut 'Sundanza' EP in 2010 and 2013's 'Dual' EP, Sampha has quietly but assuredly become one of the UK's most enigmatic and respected artists. Still just twenty seven years old, he has lent his vocal, production and songwriting talents to a range of stand out releases, from UK contemporaries such as FKA twigs, Jessie Ware and SBTRKT to world-renowned superstars like Drake, Kanye West and, most recently this year, on Frank Ocean's Endless and Solange's A Seat At The Table albums. Now it's time for Sampha to tell his own story and Process, produced by Sampha himself and Rodaidh McDonald, is set to be his defining musical statement

Schlachthofbronx conclude their Haul & Pull Up series with another strong statement of an EP. In their
trademark hybrid style, the Munich bass boys showcase their versatility from writing hypnotic and sensual
electronic melodies all the way to the ruffest club weapons. Keeping close to their roots, all of these tunes
have been extensively tested on big soundsystems to make sure they make a lasting impression. The opener Electone is an instrumental excursion into a melodic corner of club music, with lots of intertwined synth layers and a long build up, culminating in a break that will send shivers to ravers and home listeners
alike. This 'club love song with no words' is named after the Yamaha Electone organ it was written on. Following this is Take It Low, another true soundsystem weapon featuring longtime collabo partner Doubla J from Costa Rica. Stripped down to the basics, this bass monster combines both dancehall and booty bass rhythm structures and lets them collide with the well timed vocals while diving in some dubby goodness.
Pump Drop Wine ups the tempo again, coming in at 150 bpm of ultimate rolling bassline heaven. With little
more than the catchy meandering vocal to complement the beat, it is all about this disgustingly good sounding bassline that makes this a club sureshot. 'This is the part where you pump drop wine and repeat.' Always good for a surprising collabo, Bene and Jakob finish this EP off with their quite special version of
Bitch Better Have My Money (you know, the AMG one). With no other than Miamis finest
Otto Von Schirach on vocals, this 1991 cut gets transported to an 2017 club enviroment with ease.
The EP will be available digitally and on a limited edition 12" vinyl (full colour cover + banderole) via Rave
And Romance Records/Disko B/Indigo. It's the third EP in a series of three, leading up to an Haul & Pull Up
album in May 2017. With this, Schlachthofbronx will follow up their three previous original albums (2009s
Schlachthofbronx, 2012s Dirty Dancing and 2014s Rave And Romance), completed by EPs for Labels like
Mixpak, Monkeytown, Mad Decent, Disko B and Man Recordings as well as production work for artists like
M.I.A.Snoop Dogg or Bonde Do Role

Back with her third solo album, Sóley's new LP 'Endless Summer' arrives in May 2017 via Morr Music. Written over the period of one year together with her long-time friend and collaborator Albert Finnbogason, the new full-length sees the acclaimed musician from Iceland explore the more optimistic, sun-drenched corners of her songwriting.

Sóley's latest offering is the warmth beneath the snow at the end of winter, the seeds waiting to grow as spring whispers to us. From the heavy organs, synths, and minor keys of her last album Ask The Deep, 'Endless Summer' emerges with a kind of hopeful sweetness, and feels even more vulnerable, as Sóley climbs with us to incandescence. "The idea for the album came pretty randomly one night in beginning of January 2016 when I woke up in the middle of the night and wrote a note to myself: 'Write about hope and spring'," she says about the LP's general direction. "So I painted my studio in yellow and purple, bought a grand piano, sat down and started playing, singing and writing."

And 'Endless Summer' delivers just that, opening with the song "Úa" (named after her young daughter) that washes over us like a hopeful dream. It's based on an adventurous acoustic arrangement reminiscent of Joanna Newsom or Agnes Obel, which sets the tone for what is to follow in its wake. Throughout the new album, Sóley's arrangements for a small orchestra give 'Endless Summer' a colorful touch: Take, for example, the track "Never Cry Moon", in which the sound of clarinet, trombone and cello beautifully engulf Sóley's repetitive piano playing.

Comprised of eight songs, 'Endless Summer' is an album that's grounded in fertile wisdom. Not just an ethereal dream of love and light, but a subtle, accumulative wisdom, a conscious choice to cling to vitality. One might say that one of Sóley's signatures is the childlike wonder in her lyrics, and 'Endless Summer' delivers the same wonder, but with a kind of reverence for it, for she's no longer a wanderer in a nightmare, but an enchanted lover of mystery.

With the album's title track, "Endless Summer", Sóley soothes the wandering mind in her lyricism, asking: "Did you see the stars/Did you see the sun come up/You can find me in the flowers/You can find yourself some peace."

'Endless Summer' is like the Icelandic summer, a liminal, endless turning, a shift of consciousness, an endless awakening of continual brightness not without the acknowledgement of winter, it is the eruption from which the rebirth of light emerges.

Thalassa is the avant-drone project for Aaron Turner (Sumac, Isis, Mamiffer, House Od Low Culture, etc.) and William Fowler Collins. In his many guises, Turner articulates a chimerical aesthetic that intrepidly explores beyond the scope of sludge, hardcore, and post-rock. In Collins' blackened earth drones, he steadfastly engages in the elemental exploration of the New Mexican landscape that often inspire comparisons to the potency of black metal without the need for a single blast beat. It makes a lot of sense these two would eventually cross paths and collaborate.

Thalassa finds itself in very good company with Maeror Tri, Deathprod, Sunn O))) and Lustmord.

2017 Reissue of the third album called 'Quatorze Pièces de Menace' from 2013. This third full-length of the cult french dark jazz collective is the follow up of the highly acclaimed 2011 output Métamanoir - the second release for the german experimental music label Denovali. Halfway from their debut Parole de Navarre's ambient and drone driven soundscapes and the more orchestrated Métamanoir, this new collection of tracks is following their quest for dreamy but mysterious places.

A hint of 50s cool jazz, a truckload of noise and melodies, again tiny references to Twin Peaks' series soundtrack and some ghostly and deep tone voices: the Dale Cooper Quartet pushes the genre Darkjazz towards other spaces. Recorded in Brest, Britanny, France, this album always conveys an atmosphere of strangeness and beauty, the trademark of every Quartet's records. Based upon the live experiences of the band and their everlasting love for the local landscapes, Quatorze Pièces de Menace is as striking, deep, fascinating and beautiful as a storm in the middle of the Atlantic.

The Dale Cooper Quartet & The Dictaphones are returning with their 4th album called "Astrild Astrild". Like all of the previous albums, the band recorded the seven pieces at home in Britanny during several sessions between 2013 and 2016.

The characteristics of this full-length are classic drone soundscapes mixed with deep tone saxophone parts that became the band's trademark since the release of their debut album in 2006. Slowly paced, the new tracks are following the Quartet's basic structure and classical sound. Apart from that the new full length conceals more live takes including guitars, bass and Rhodes keys and even piano sounds are haunting for the first time at the end of 'Ocho Acenteur'. With these new elements the songs of "Astrild Astrild" are pushed further into a large tunnel of deafening rhythmic parts and field ambiant textures.

Vocals are a major element of the Dale Cooper Quartet & The Dictaphones' DNA since the second album "Metamanoir" (2011). Sometimes breathy, sometimes deep and often mysterious, Ronan MacErlaine, Gaëlle Kerrien and Zalie Bellacicco voices appear in the corners of the songs as ghostly figures or eerie characters.

The new album "Astrild Astrild" is a glimpse of the present live sound of the Dale Cooper Quartet: 50's crooners singers, noisy guitars, atmospheric electronic and hypnotic jazz. All of these elements painted in monochrome black.

Im Hag is the debut Ghost Box album from Berlin based Sebastian Counts' ToiToiToi.

Following on from his single for the label's Other Voices series in 2015, it's very detailed and lovingly produced music, crafted from electronic, synth, sampled and acoustic sources.

Its a wunderkammer of an album crammed with original ideas. All at once managing to be witty, spooky, melodic and abstract.

The music and design explores the polarities of folklore vs modernity, and wilderness vs civilisation.

It's an album about German culture but it pre-empts a nostalgia for the vanishing concept of internationalism, once exemplified by town twinning. It's also a warm-hearted record, hopefully a tiny morale booster against Europe's resurgent spectres.

As always the beautiful CD and LP packaging is designed by Julian House. The 180gm LP includes a free download card.

Vampillia and The Body are two creative forces that are no strangers to the worlds of experimental and abrasive music. Although both have touched upon various types of metal styles in their previous works, also has each entity shown an obvious penchant for compositions that lean heavily into the worlds of electronics and experimental music. On this LP, xoroAHbin, we sit between each of those realms, experiencing them in equal parts.

Neither group is new to the collaboration game. Vampillia counting Lustmord, Jarboe, Nadja, and µ-Ziq amongst their past collaborators, while The Body has a discography just as long and varied, with the likes of Thou, Haxan Cloak, Full of Hell, Braveyoung, Krieg, and more. And as perfectly as these artists mesh with others it makes sense that their joining together yields such a powerful result.

Each track on xoroAHbin serves a narrative throughout the 30-minute album. Distorted electronic rhythms surge and create atmosphere as heavily-effected vocals and guitar wail from the depths. Then give way to mellow passages of strings and ambient tones, before surging again with abrasive textures for which both Vampillia and The Body are well-known.

Drum&BassArena, the genres most respected authority, returns this Spring with the 2017 edition of their best-selling album series.

Synonymous with consistent high-quality and meticulous curation, the Drum&BassArena annual is one of the most anticipated releases on the calendar, and the 2017 edition is no different.

Boasting 60 tracks across 3 CD's with 5 exclusives, Drum&BassArena 2017 serves as a uniting force between all styles of the genre as it explores and celebrates talent from every corner.

Global Underground are proud to present the 7th mix in our series of chilled, eclectic beats, pulsing melodies, spaced out pads and blissful vocals that is Electric Calm.

This 16 track DJ mix full of exclusive and previously unheard music, expertly mixed, edited and reworked to create a worthy addition to this iconic series. With music from Just Her, Trafik, Dale Middleton, Roland Klinkenberg, Jay Lumen and more....

Released 19th May 2017 in a specially designed & packaged CD format.

Albert Oehlen feat. Wolfgang Voigt massive. 180g vinyl
Wendy Gondeln is here to introduce and spread the dance style called Fracking.

Gondeln, also known as the German painter Albert Oehlen and longtime Red Crayola member, recently laid out the aspects of Fracking in his studio in Düsseldorf.

Realising that one thing was missing, he asked Wolfgang Voigt to provide him with two plain Gabber bass drum canvases. Wendy, a great connaisseur of this ancient form of techno, considered the offerings from the unheralded prince of the German bass drum so precious that he drove to Cologne to pick them up personally. He managed to take the delights home safely, painted over them with his bow as if it was a brush and thus completed his vision of Fracking.

Wolfgang on the other hand, couldn't stop Fracking after Wendy's visit, which resulted not only in his first Fracking track, but in his first three. Included here in the form of a Fracking triptych.

When Magazine (Jens-Uwe Beyer, Crato, Barnt) heard of this new thing called Fracking, they had to start Fracking too. Of course. Not long before this text was written, these Frackings were brought back to Düsseldorf and tested towards the end of a frenzied set at the Salon Des Amateurs. And guess what people started as soon as the bow hit the violin...
... right: FRACKING!

Abstraxion returns to his own Biologic Records to release this impressive revisited album - giving Tuff City Kids, Kasper Bjørke, Vessels, Clarian, Conforce, Mattheis, Ripperton, INIT, Eduardo De La Calle, Cleveland the freedom to have their own take on tracks from Abstraxion's 'She Thought She Would Last Forever' LP released in October 2016. Ripperton's first mark on Spazieren is one of meticulous sound design and textures complemented by a poignant vocal that provides a wicked ambience. His second offering is rapt around a warm bassline with orderly percussive stabs. Init's remix has been crafted with precision - an unhurried and mysterious track that builds and anticipates smoothly due to the precise instrumentation and adept reverb that's been applied on the vocal. Conforce closes out the EP with intent by delivering a dark, forceful and abstract take on Spazieren. PR report : DJ Feedbacks : Supported by : Barnt, Mano Le Tough, Jennifer Cardini, Joris Voorn...

brainwaltzera debuts on FILM. The anonymous producer, whose work has has already received online approval from legendary british IDM auteur aphex twin, offers up an extended EP for the berlin based imprint. In 2015 a soundcloud profile under the name user18081971 - now identified as belonging to richard d. james, commented on curious brainwaltzera upload quilat spring 1. the move prompted speculation as to who exactly is behind the music. exquisitely produced and executed in such fine fashion so as to decry pure imitation - there's plenty to theorise here. regardless of their true creator - which will undoubtedly remain a secret for the time being, the compositions on FILM006 are of similarly high calibre. Varied in approach and marrying both electronic & acoustic elements with ease, the six tracks that comprise the record range from yearning ambient segues and dreamy down tempo grooves to otherworldly krautrock and more direct, dance floor fare - but remain bound tight as a cohesive and functional body of work by a glorious, arcane musicality. whether weaving soft electronic tones in and amongst snappy breaks or detuned drum-machine strikes, the artist's ear for acoustic harmony is perhaps the pervading theme across the six tracks that make up the aecoba EP, marking it out as an excellent addition to the FILM label's growing catalogue. FUTURE.IS.LISTENING.MUSIC

This new 12" features a brand new C'Mon Tigre track - the first since their debut - alongside two remixes from Italian producers DJ Khalab and Populous, who have each been making waves with releases on Wonderwheel Records.

The 12" features exclusive artwork from Italian animator Gianluigi Toccafondo which was silk printed in Bologna by the Squadro printing house - each copy comes in a clear plastic sleeve with a sticker and the record wrapped in the artwork.

We are extremely happy to welcome yet another talented crew from Italy in the Moonshine family. D-Operation Drop is a project born in 2010 thanks to the encounter of 5 university students wich found themselves sharing the same house and more importantly, love for music (In 2013 Zeemo joins the Crew, modifying the formation from 5 to 6 elements).

After a couple of early collaborations, almost casual, Uniradio Cesena gives to D-Operation Drop the chance to lay the foundations of an underground music program on air twice a week. Thanks to this experience the group officially finds its frame and looks forward to its new goals such as producing, dj'ing and vj'ing. To date D-Operation Drop, after almost seven years of experience, has received support from Artists like J:Kenzo, Distance, N-Type, Icicle, Radikal Guru & many others. Releasing music with notable labels such as Lion Charge, Artikal Music UK, Subaltern and now Moonshine Recordings.

Electronic music composer, synthesizer connoisseur and studio wizard David Morley returns with a brand new release for the Belgian De:tuned label. 'The Origin of Storms' is a series of purely synth based tracks inspired by the music of Conrad Schnitzler and consorts. Beautifully crafted ambient presented as a limited 12 + 10 inch vinyl package, let the music take control!

12" + CD

* Over the last few years Dexcell have been in high demand for their remixing talents.

* With official remixes under their belt for some seriously heavyweight acts such as Ellie Goulding and Philip George through to the more underground acts like Hybrid Minds and BCee, an album of original material was long overdue.

* Not content with just rolling out the beats, Dexcell have drafted in some of the finest vocal talent around today.

* From the underground jungle influenced 'Impulse' to the peak time radio friendly 'Running' to the laid back melody of 'Over The Influence', Under The Blue showcases just what the trio of Dave, Adam and Sammie (aka Dexcell) can do.

* Support from Beats 1, Friction, High Contrast, Spectrasoul, Camo & Krooked, Bryan G, S.P.Y, Nu:Tone, Zero T, and a whole load more...

'Skin Companion II EP' includes 'Hyperreal' featuring Australian rising star Kucka. Flume is 25-year-old Australian producer Harley Streten. Since his 2012 breakout with the release of his self-titled debut, Flume continues to receive feverish support from fans and critics alike, becoming one of the first artists to top 200 million Soundcloud. The New York Times praised Flume's 'darkly textured electronic songs with a soulful edge.'
'Skin' is out now on Transgressive Records and features collaborations with artists including Beck, Little Dragon, Tove Lo, Vince Staples, Vic Mensa and AlunaGeorge.

Inyoka (Roland Massey) is from Richmond, Virginia and has been an electronic music producer since 2005 and a DJ since 2009. Roland's earliest musical influences were hard rock and heavy metal, which led Roland to learn and play guitar for the past fifteen years. Roland started making electronic music in 2005 and graduated from the Omega Studios School of Applied Recording Arts and Sciences in Rockville, Maryland. During that time, Roland learned how to record and mix on several consoles and use different software programs and hardware for electronic music production. Roland uses his skills and talents as an audio engineer for post-production, sound design, and creating original productions for large soundsy stems. The word inyoka' translates to snake' in the Nguni/Zulu language. Roland's dubstep productions strike efficiently and precisely, like a snake, with crisp bass and minimal instrumentation. With releases on Silent Motion Records and Sure State, Inyoka is ready to share his signature sound and prodigious talent with the underground bass music community.

This EP is the result of troubled times. Because the music can speak by itself, we will just attached it to the ending part of « Howl » poem by Allen Ginsberg.

* « Visions! omens! hallucinations! miracles! ecstasies! gone down the American river! Dreams! adorations! illuminations! religions! the whole boatload of sensitive bullshit!

* Breakthroughs! over the river! flips and crucifixions! gone down the flood! Highs! Epiphanies! Despairs! Ten years' animal screams and suicides! Minds! New loves! Mad generation! down on the rocks of Time!

* Real holy laughter in the river! They saw it all! the wild eyes! the holy yells!

* They bade farewell! They jumped off the roof to solitude! waving! carrying flowers! Down to the river! into the street! »
From Collected Poems 1947-1980.

Brighton's Klax crew return to Critical with their very first full blown EP release on the label since their Systems series debut back in 2015. From hard-hitting industrial strength and half- time leanings through to warm liquid gold, the Klax boys deliver yet another outstanding, fresh take on drum & bass.

Rerelease of muslimlim 001 with new artwork in a limited edition of 800

It was first in what continues to be a series of limited-edition subscription-only releases from Staalplaat, Izlamaphobia starts with an aggressive blast, "Hudood Ordinance." With a rhythm track consisting of extremely tweaked and processed electronic beats and bleeps, with only the gentlest of Arabic string instruments deep in the mix to relate things to a more familiar Muslimgauze sound, the song sets the general mood for the rest of Izlamaphobia. This said, Bryn Jones' specific talent is such that even without that, this would still sound like him, his trademark care and obsessiveness in terms of percussion again evident. Two discs long and with a variety of romanticized (some might say stereotypical) songtitles like "The Eternal Illusionist of Oid Bachdad" and "Lahore Morphine Market," Izlamaphobia has two chief artistic themes, if anything. On the one hand, Jones' incorporation of hip-hop and funk beats has never been stronger, providing songs like "Gilded Madrasa" and "The Public Flogger of Lahore" with a wickedly fierce kick and drive. On the other, the strained, alien treatments on many of the songs would be well at home on innumerable Warp Records releases of the '90s, with squelching rhythms, undanceable dance tracks and, quite unsurprisingly, a desire to avoid expected techno clichés. With these two strains combined on many songs by Jones, the results are wonderfully slamming, strange tracks such as "Khadija and Fereshta." Not everything is quite so dramatically different from past Muslimgauze releases, with the incorporation of multilayered acoustic percussion cropping up more than once, such as on "Hijab Muzzle." Everything is just that little bit dirtier in sound, though, and all the more intriguing for it. Some tracks are mere snippets and others don't quite deliver on their promise, but all in all Izlamaphobia is yet another Muslimgauze success.

"Instead of the drones and mostly beatless atmospheres of many previous Muslimgauze recordings, Zuriff Moussa presents quite a danceable switch for Bryn Jones. Dedicated to a Palestinian martyr, the album sounds like a cleaner version of Techno Animal, with Eastern influences instead of dub."Turkquoize Label" and"Brazil Marijuana" are surprisingly infectious, with distorted breakbeats and the patented Muslimgauze phased-channel drone. There are 24 tracks spread across more than an hour, so there isn't a large amount of time for each track, though several are presented in suites, like"Anti Arab America." For messed-up beat fans who are able to find it, Zuriff Moussa is close to a crucial purchase."

John Bush, All Music Guide

* On the EP f 109 Basel-based duo P.Noir celebrates the final fusion of dub and electroacoustic. Besides various feedback-loops and amps the musical elements are reduced to the max—what's left is a 30-minutes-trip into drums, drones and dread.
After an unterwelt-y 12" by dane//close and a chaos-tape straight outta Lucerne f 109 marks the third audio release of 2016 on Präsens Editionen, also home to the zweikommasieben Magazin.

* Press / Promotion: Präsens Editionen was founded in 2011 to give home to zweikommasieben Magazin. Ever since a bunch of magazines, books, zines, records, tapes and oddities have been published.
zweikommasieben is a Swiss magazine that has been devoted to the documentation of contemporary club culture since the summer of 2011. The magazine features artist interviews, essays and columns as well as photography, illustration and graphics. In addition, zweikommasieben organizes concerts, parties, club nights, matinees, raves and other fun events in various cities.

Mesmerising, moody-as-f**k new production from Pessimist, owning the dark blue space where icy drum'n'bass minimalism and sub-aquatic dub-techno meet. Perfect alignment of stripped, shadow-boxer drums, swooping drones and earth-shaking subs, with a thin layer of crackle and masterful use of silence.....you can hear the influence of Chain Reaction outliers, Source Direct, even early dark garage in there....but this is a pure futurist blend. On the flip, the dense, dungeon rollage of 'Orphic', an effortless bridging of torques and tempos that builds on the radical groundwork of Regis, Felix K and Pessimist's own Ruffhouse crew. Following a run of fine solo work for Ingredients and Samurai Music among others, the Bristol-based producer and UVB-76 co-founder has truly excelled himself here, demonstrating both a subtlety and a ruthlessness that sets him apart from his peers. If you come across a deadlier record this year, let us know.

A fresh relic was unearthed in the distant East and the retreating ice sheets of Siberia - the ancient bones of a forgotten race, once again touched by sunlight and air, stirring the caged memories within. Tendrils of this prehistoric demon's soul wrapped themselves around those who made the discovery - entrancing, captivating and compelling them with its dark story from the deep past. It is a tale that runs eternal, an account of the deepest savagery of nature - a conflict that has spilled across every conscious being and drives the endless cycle of life.

EATBRAIN channel a tale of a forgotten age through the unique minds of SEGMENT & CONCEPT VISION and their MAMMOTH EP. Featuring 4 precisely engineered cuts of audio that reach into the fraught and fractured core of existence and tear deep grooves into those who listen. VINTAGE opens the EP with luscious dub-driven pads and undulating tones that drop into a shifty and tight neurofunk banger, punctuated by pitched vocal stabs. RADIANT tears up the dance with a strobing and sweeping bassline, backed with a beautiful yearning melody and soft arpeggios. The title track of the EP MAMMOTH takes careful aim before striking a series of brutally syncopated blows, before HEIST takes down the rave in a flood of sirens leading to a stepper with an eminently catchy hook and deep, driving vibe.

TOMAGA channel various forms of multi-instrumentalism into music that moves by turns through industrial, jazz, psychedelia and minimalism, on it's way to somewhere wholly other. Devoted to musical exploration, this London based duo - Valentina Magaletti and Tom Relleen - obsessively deconstruct familiar tropes, looking for the tension that lies between improvisation and form.

Following the release of their second album 'The Shape Of The Dance' last September, TOMAGA will release a new four track EP 'Greetings from The Bitter End' which features two new songs and reworkings from good pals Shit & Shine and Cavern Of Anti-Matter. The impetus for the new EP came when the pair returned from recording the last album in Tuscany and acquired a marimba on arrival back in London, this unleashed a "tuned percussion journey" resulting in the mantra like 'Liberating Mania'.

The title track is a more ambient and atmospheric affair - a textured build up of percussive parts and features Rick Tomlinson on hornet. Always open to collaboration with outside bodies (as well as touring with the likes of Wire, Deerhoof and Silver Apples), the pair have previously been invited by Turner Contemporary Gallery to stage a performance using the artworks of Pedro Reyes (re-conditioned weapons confiscated by Mexican police from drug cartels and turned into instruments) as inspiration and also contributed a sound object to the Yoko Ono exhibition 'Lumiere De L'aube'.

Their next engagement comes from the invite of Thurston Moore who has recruited them for The Can Project, in which the duo will be performing as part of an ensemble fronted by the Sonic Youth singer and featuring previous Can members at the Barbican on April 8th. Curated by Irmin Schmidt, the event will be in honour of the late Can drummer Jaki Leibzeit, and will feature an orchestral reinterpretation of classic Can material alongside new work with the London Symphony Orchestra. 'I guess for most musicians, as far as arrangements, production and songwriting, it's impossible to ignore the importance and the influence of such a band. I don't think it reckless stating that their musical legacy will keep influencing generations to come. We are extremely honoured to be part of this project together with a string of incredible musicians.' Tomaga say of the event.

It's a well-known fact that Total Science are massive winners - or weiners, depending which sausage factory you bump into them at. And here with their brand new Turn Around EP, they're now putting that into vinyl format with some of their nearest and dearest fellow victors.

Comprised of four killer cuts that combine a raft of their influences, the title track Turn Around takes you back to the early 90's jungle sound. They combine once again with Symmetry label boss and all round drum and bass badman Break for Big Time Winners, summoning the ghost of rave past. The Music Master Calibre steps into the CIA fray once again to remix the beautiful TS classic Walk The Same Lines with Riya, and they also combine with fellow Bristol resident and technical wizard DLR on Too Close For Comfort, taking you down a deep rabbit hole.

Total Science's Turn Around EP signals their intent for 2017 - consider this your first warning!

The 9th piece to the ever growing Vinyl puzzle comes from Encrypted Audio's own Trisicloplox (Killian) residing in the US heartland for Bass music Denver/Colorado.Not the only Denver'ite on the EA rosta you will be hearing from I assure you. Killian's love for distortion and forward thinking wave forms takes the listener into an emotive bass and kick driven frenzy across all his tracks. Cafe Blank in a monster with a driving kick pattern and distorted topline to carry off any rave.Estranged leaves you in a field a bass frequencies hard to match. iaido is seeing alot of support from the likes of GothTrad and recently even the likes of The Bug have found their ears gravitated towards Trisco. As a total exclusive and only with buying the release via Encrypted Audio Bandcamp when it drops you will be able to get 'Ache'.
Ache is my personal all time favourite Trisco tune that haunting screech and female top line are sure to get you.

Finally repressed

Booyaka! Wah gwan junglist Rasta Vibez ah bak wid a couple of irie edits that will make ya pum-pum batty move and shake. Big tingz once again that will make di duppy man dweet. Better cop it quick!

10" Red Vinyl + Hand Stamped

Culture Glitch Records is run by a collective of musicians, visual artists,programmers and graphic designers from Derry, Ireland. The labels' purpose is to provide a platform for artists have their works heard and seen. This release encapulates many different styles of electronica from artists such as Ryan Vail,
Best Boy Grip, Shammen Delly, Shocko & The Crimson Underground. BBC 6 Music, Radio 1 and BBC Radio Ulster recently showcased many of these artists.

Fresh from their remix of Jinx' "Car Full Of Herbs", Bristol/London Bass specialists Vinyl Junkie & Sanxion return to Asbo Records alongside legendary Reggae singer Bushman with "Talk Too Much". Things get busy from the start on the original DnB version, a tightly packed and weighty amen break welcomes in Bushman's thoughtful melodic vocals with dubwise horns and instrumentation recreating that timeless reggae vibe at 170BPM with snatches of bleeps and pads that hint at Vinyl Junkie & Sanxion's oldskool hardcore/jungle history. DJ Westy on the remix fattens things up bringing the bass to the front for a real sound system smasher. The 140 remix retains the main elements of the original with added dirty bass and half time drops perfect for festival season, guaranteed to be a crowd pleaser for fans of breaks reggae and that early rave sound.

In 1997 the crew of Electro Bunker Cologne-released Wagon Christ's seminal chopped TripHop / IDM alltime classic - London Is A Country' as very limited 11' pressing.

Four years later, back in 2001, an unofficial and limited to 500 copies 12' pressing featuring two re-mixes by the likes of Link and Rei$$dorf Force and the original Wagon Christ track appeared via the Cologne-based label Hotel Lotte - and rumours had it that it was sold out immediately.

Now, 13 years after the initial release, a few lost and unplayed copies of this unofficial gem were discovered in the dust-covered boxes that make up the archives of this long gone label - bringing back the fascination of chopped intelligent breaks, heavy timestretching and Dub-heavy, super psychedelikk Dope Beats.

All mixes 33 RPM!

(Mattia Trani remix) The french punks '90 process' debut on Pushmaster Discs with an amazing real techno acid bangin e.p: truly Rave inspired cuts!

Hopis is a glance at the various personalities embodied in the duo Charlotte Isabelle, the whole being wrapped in an ethnic universe. The guideline of their second EP is to expose repetitive and percussive beats from the stage to the public, bringing the audience in a gloomy world, and keeping on their path after a debut release on Lucy's Stroboscopic Artefact.

Recorded live from the cloisters at Evreux Cathedral, Normandy, France by Franck Dubois, 14th June 2014, as part of L'Ateliers. With thanks to Denis Boyer.

Remastered by Thomas Köner
Photography by Jon Wozencroft

The Green King Cuts family are back with the second instalment of the vinyl only record label's catalogue. GKC providing a 4 track EP, deriving from reggae dub influences with newly Dubstep and grime sounds. DE-TU (Chris Iona and Jevon Ives) are a London born and Bristol-based music producing Duo. Chris and Jevon, who attend University in Bristol, share the same love and knowledge for the reggae dub music and sound system culture. Both Chris and Jevon having released music digitally, on different named aliases, in the drum and bass, hip-hop circuit was only going to spur the pair on to experiment in music. DE-TU come to the surface, in 2016 with only the one sound cloud upload. This will be the pair's debut release on any format. Bukkha (Evert) who is a music producer, originating from America but now living in Valladolid Spain, travelling the world, reflects in his sound and he is becoming one of the greats for the future. The space in the mix between the bass and drums keeps the flow and rhythm and supplies the listener a nostalgic feel of deep meditation. The big hall reverbs of the snares and delays on the percussion create a rhythmic stepper pattern. The heavy 808 sub bass melody, is high-spirited and packs a weighty punch. Bukkha's remixes are made for the sound system dances, for people to dance because of the driving kick and baseline, urging the rhythmic pattern to never stop. All four tracks take the listener on a journey through the influences, which has being made in the last 10 years for the dance. DE-TU and Bukkha are pivotal to the scene, driving forward the sound and love for the culture.

Fuck Dubstep, this is Cologne Dub from hell!

Rediscovered from the lost archives of the classic Hotel Lotte-imprint these four super creepy, slow and grinding Dub monsters are featuring dark timestretching, heavy Illbient- / Crooklyn Dub-influences, slo-mo scratching and HipHop-infused sample works whilst transmitting some of the deepest subsonic basslines you've ever heard. Tunes that are truly alternating your perception of space and time - pressed as a limited edition of 500 copies back in 1999. Only very few copies available.

Limited 7 London Grammar have unveiled another new single from their long-awaited new album, 'Truth Is A Beautiful Thing'

Leben, Lieben, Lachen. Schmerz, Schamgefu¨hl, Schuld. Trauer, Trost, Tatendrang. Hoffnung, Heilung, Hilflosigkeit. Einsamkeit, Egoismus, Entta¨uschung. U¨bergangslos erleben wir eine harmonische Verbindung all dieser und vieler mehr Emotionen, die uns hypnotisch in den Bann ziehen. Hier wird man mit der Wahrheit konfrontiert. Einzigartig clever verpackt mu¨ssen wir uns am Ende vielleicht eingestehen, dass das, was wir von der einen auf die andere Minute fu¨hlen ko¨nnen, zwar aufbrausend und einnehmend ist, dass uns aber genau diese Eigenschaft menschlich macht. Die zehn sehr unterschiedlichen Titel, die differenten Sprachen und Sprichwo¨rtern gewidmet sind, nehmen uns mit auf eine Reise durch die Gefu¨hlswelten des menschlichen Daseins. Oder darf der Interpret an dieser Stelle psyochologisiert werden und stattdessen sprechen wir wohl eher von der Reise durch sein Gefu¨hlschaos
Denn durchaus verarbeitet Mario Hammer in seiner Musik eine Zeit des Nachdenkens und Gru¨belns. Er selbst nennt das Lebenserfahrung. Wir du¨rfen Teil dieser Erkenntnis werden und vielleicht wird uns
bewusst, wie oft wir uns doch selbst beim Ho¨ren der Musik wiederfinden ko¨nnen.
Es ist sowohl die Kreativita¨t, als auch das enorme Feingefu¨hl fu¨r To¨ne und Klangfarben, die dieses
Album ausmachen. Vierzehn Monate hat Mario Hammer in Zusammenarbeit mit Josef Steinbu¨chel ein Emotionen- und Klangkarussell entwickelt, dass nicht nur unsere Sinne beru¨hrt, sondern ebenso Gedanken anregt.
Bereits das Debu¨talbum L'esprit De L'escalier war ein voller Erfolg und bescherte den Ho¨rern eine
wunderbare Andersartigkeit. Am 02.06.2017 erscheint nun das neue Album Je L'ai Ca^lisse´e La` von Mario Hammer And The Lonely Robot bei BineMusic.

Formed from plastics and particulars by Richard Chartier, 2015 - "I am lonely, yet I feel wonderful..."
Pinkcourtesyphone is a continuing project by Los Angeles-based sound artist Richard Chartier. He is considered one of the key figures in the current of reductionist sound art which has been termed both microsound and Neo-Modernist. Chartier's minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself.
Pinkcourtesyphone is a more emotional, dare one say musical side of his work. Pinkcourtesyphone is dark but not arch, with a slight hint of humor. Pinkcourtesyphone is amorphous, changing, and slipping in and out of consciousness. Pinkcourtesyphone operates like a syrup-y dream and strives to be both elegant and detached.

Pinkcourtesyphone has collaborated with the likes of Cosey Fanni Tutti, Kid Congo Powers, harpist Gwyneth Wentink, AGF, William Basinski, and Evelina Domnitch. Pinkcourtesyphone's work has been released internationally on labels including: Editions MEGO (Austria), Room40 (Australia), LINE (US), Important Records (US), Dragon's Eye Recordings (US), Farmacia901 (IT), Champion Version (UK), Boomkat (UK), and IO Sound (Canada).
Chartier's sound works/installations have been presented in galleries and museums internationally and he has performed his work live across Europe, Japan, Australia, and North America at digital art/electronic music festivals and exhibits. In 2000 he formed the recording label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists/composers exploring the aesthetics of contemporary and digital minimalism.

Norwegian sound artists Alexander Rishaug and Lasse Marhaug have worked together as a duo for almost 20 years. In this time they have produced one album, 2004's "Feel Free At Home".
Now, the pair are ready with their follow-up: "Corneal Clouds". The music was recorded in 2012, then put through an extensive and meticulous fermentation process of five years until now - at last - it is ready for the public. Rishaug Marhaug promotes positive thinking through their unique brand of electronic music.

After only two years since their first release on Cyclone, Amoss have become one of the most exciting and forward thinking names in drum & bass. A love of music stretching back into both their pasts, the duo have amazed audiences across the globe with the style, panache and variation which has characterised their work. Taking a lead from names such as Renegade Hardware and Moving Shadow, James and Andrew have successfully moulded their influences into a futuristic, genre-defining sound.

* Now they are ready to step up a notch, delivering a new release for the mighty Horizons label. Bumbaclart and Dilate will go a long way to cementing their reputation for big, bad and heavy d&b, which has seen them being supported by Spectrasoul, London Elektricity, Storm, Loxy and more. Amoss are known for their involving, evolving blend of beats and bass and their in-depth knowledge of the technical side of production, and the two tracks on show here are markers of their intention, in two markedly different ways.
* Bumbaclart is a deep, dark look into a Jamaican-inspired nightmare. Claustrophobic, mind-melding atmospherics surround a spoken intro, before a deceptively simple beat/bass dichotomy kicks in later on. An explanation of the meaning of the word is surrounded by pounding, groove-fuelled melodies, leaving you reeling and reaching for more. Amoss build worlds with everything they do, and they do this expertly on Bumbaclart.
* Dilate, meanwhile, builds from an initial electric pulse to a steady-growing groover, by way of some neat percussion. The underlying pulse gets louder, invading your mind, as layers are added on top. Amoss's sound is addictive, almost catching you unawares with its complexity and artistry.
* Amoss are *the* name in d&b for experimentation, progression and fiercely original music. Teaming up with Horizons, they are going to be BIG. Get on board now.

Double EP release: A-side includes their new Undress EP (released 02 May), and the b-side includes their previous, self-released, Jacket EP (which hasn't be pressed to vinyl yet) 3mm spine, 12" jacket format Includes .wav download card

The sixth release to grace vinyl from Encrypted Audio features Helktram (Yasuaki Shimabukuro).
Yasuaki joined Encrypted along with Japanese exports DayZero and London based Samba.
Yasuaki mixes his love of bass with a wide variety of BPM's and this release showcases his versatility. Rain Skin / Knocking take his love of catchy chime hooks that will have any dubstep elitist moving. Mind Oz takes us on 150bpm venture in the mind of Oz. A warped trip of bass goodness for the soul.
With scene support & shows all across Japan as well as Goth Trad's infamous BTC (Back To Chill)

Vinyl Only Ltd.
'Iajov' is the alter ego of the Bucharest based producer Am.Light. 'Kalpa' immerses you into a spiral of voodoo sounds that allows you to move towards a shamanic state of consciousness. The ritual explores a hypnotic and atmospheric concept, marked by the identity of Annulled Music.

Little Mary strays from the pack, floating from one rock to another, in the midst of the narrow cascading river stream. Feeling the respirating leaves ebb and flow, she caught a glimpse of a pagan rain dance, a drum circle within a pocket of sunshine - where all mantras come to life.

This captivating split EP (titled 'Acosta'), sees Kilchhofer's second 12', after his 'Dersu' EP on 'Marionette'. The flip side features Hainbach who gets his work pressed on vinyl for the very first time - after a few tape releases, his latest being on Ted Butler & Cortini's 'Limited Interest' label. This is truly something wonderful from two very gifted and unique artists.

Shorter than many of Muslimgauze's 1990s albums -- 13 untitled songs over 45 minutes -- Azzazzin, originally released as part of the limited-edition subscription series, feels more like a collection of random experiments than a cohesive piece of work per se. If not something that would intrigue the casual listener, the hardcore fan will likely find something of interest on the various tracks here. Starting with an extremely minimal opening number -- it's no surprise Finnish experimental duo Pan Sonic are Muslimgauze fans, based on this track -- Azzazzin has a much more electronic feeling than most of Bryn Jones' other albums, eschewing the traditional elements used elsewhere for a rough, quietly aggressive and disturbing feel. Comparisons with Aphex Twin aren't too far off the mark here, but this is still clearly a Muslimgauze release than any sort of ripoff. The fourth track, with its unpredictable keyboard snarls over a low, quiet pulse, and the sixth and seventh songs, with distorted, high-pitched noise tones mixed with a soft series of bass notes and a slight spoken-word interjection from time to time, are some of the strong points from this intriguing release. Beats are used in an extremely limited way throughout Azzazzin, with rhythm, always a key component of Jones' work, more suggested at points by the nature of the keyboard lines than anything else. Closing with an equally minimal track, Azzazzin won't be everyone's cup of tea, but adventuresome listeners will find themselves rewarded.

At the beginning of the 1930s, the press magnate Dominique Willem Berretty still held power over the Dutch East Indies. From the very lowest rung, this teacher's son, born 1890, raised a media empire upon a single principle, 'Activity, Activity, Speed'. As a clarion call from the future, it heralded the construction of a new world, one where information was faster than light, where modernity would be celebrated by an ever firmer grip upon the accelerator pedal. But control of his press agency (baptised Aneta, for always number one in spite of everything), driven at full bore, would begin to slip away: politicians no less than his competitors, began to tire of his monopoly. In October 1932, as his empire was fading, he commissioned architect Wolff Schoenmaker to construct the palace of his dreams: the Villa Isola, north of Bandung. D.W. Berretty would have but several months to enjoy his art-deco pearl. On December 20 1934, bankrupt, he would fly to Europe aboard a DC-2 Uiver in order to sell Aneta to the highest bidder. But he was never to complete the voyage: the first flying machine equipped with automatic piloting would crash down upon the town of Ar Rutba in Iraq.

By tracing back through time and his memories (particularly those of a trip to Vietnam), Pilooski - who we've seen in duo as Discodeine and solo, in the Dirty Edits series - would end up pushing open he door to the Villa Isola: a vestibule leading to a double spiral staircase framing a marble pediment engraved with the words M'ISOLO E VIVO (I isolate myself, and live). On the first floor lay a grand semi-circular reception room opening onto French gardens. Before the windows, leather easy chairs arranged with maniac regularity about a round table. On the lid of a grand piano, a virgin in polished glass, and on the walls, oil renditions of Dutch canals jostled with jungle watercolours. One floor up in the constructivist bar, Berretty had installed a film projector. What would he have watched, cocktail in hand, alongside his guests Herbier's The Inhuman Woman, Murnau's Tabu, or Chaplin's City Lights. Who could tell

As a tribute to this projection room, Pilooski has imagined four original soundtracks owing as much to radio broadcasts for insomniacs as they do to recorded recitals for children. With Eden Ahbez's Eden's Island album in mind, he has called upon the following contributors:

Jarvis Cocker (Pulp) has chosen an extract from Carl Gustav Jung's The Red Book; Judah Warsky has written an homage to the sun and the moon ; Narumi Hérisson (Tristesse Contemporaine) reads a passage from Ango Sakaguchi's Sakura No Mori No Makaï No Shita; and writer Simon Liberati (Anthology of Apparitions, Jayne Mansfield 1967, Eva) a fragment from one his 113 Studies of Romantic Literature.

For four exotic and minimalist pieces of spoken word, over which Clément Froissart plays flute, Axel Lecourt, percussion and Julien Vichnievsky the guitar. Together, the pieces make up Isola, the new Pilooski EP.

Artwork : Laurent Fétis & Sarah Martinon

Damon Yates, AKA martianMan, set up 4th Planet Recordings to release music by people which includes some of his more favorite artists. Artist that simply need to have more music released. It involves the same basic idea that he had when starting up the martianMan volumes which is to release original, high quality jungle with a completely underground feel. Not only the bass and drums are important for the vibes but the whole feel of the music is in play. It can be completely futuristic sounding or full of old school vibes though out. However it's served up just know that it is underground.

Nach seinem Auftritt auf der Compilation 'Chicken Accelerator'
liefert Sternrekorder Sternrekorder Sternrekorder Sternrekorder alias Martin Home mit - Weissensee' - Weissensee' - Weissensee' - Weissensee' seine
Debut-Mini-LP ab.
Mit seinen wunderschönen Melodien und Harmonien entführt uns der
Leipziger in die Ära der späten 70er und frühen 80er Jahre, als
elektronische Musik noch richtig verspielt und unschuldig war.

Album of all new material from this maverick Spanish producer.

Floor fillers reminiscent of early Prodigy-style breakbeat, accompanied by a neurotic acid gem and an ambient version of the title track. The R raves on! With 'What's Going On', Electronic Emergencies turns back the clock to 1993. By then, Dutch brothers The R had made a name for themselves with releases like 'Rave the Planet' on legendary proto techno label ESP, and the four previously unreleased tracks on 'What's Going On' were also created during the heyday of Dutch pre-trance techno house.

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.

Next up on Craig Richard's Tuppence imprint following Convextion's superb 'New Road' 7', comes the two slices of heavy dub pressure: 'Babylon Correction Dub' from esteemed Canadian producer Deadbeat.Please note these are limited 7' only releases. Watch out for other forthcoming releases on Tuppence from Howie B and Shaun Ryder.

DJ Plant Texture & Gnork AKA DJ Shark team up for this split 12 on UTTU.. rough break-beat-houz & jungle pressure for the headz!!

City Slang is very proud to announce the Sympathy for the Auto Industry Remixes by Berlins analog techno prodigies FJAAK (50Weapons/ Monkeytown), which is an Electronic music trio from Berlin and probably the only Techno-Boyband worldwide. Having grown up together, they began to create all types of music made with microphones, guitars and drums in a dark, chaotic and dirty cellar at quite an early age. After getting in touch with the berlin-underground-techno-scene, days and nights started being all about music. Whether it was chopping beats on the mpc in the morning hours or studying manuals, the internet, vinyl stores and Schneiders Buero. In 2014 they signed to 50WEAPONS and have since released 3 captivating and very fresh sounding techno EPs. Modeselektor have hot tipped them to be the next big thing, because of their unique, melodic and high quality style of producing. HeCTA is the brainchild of Kurt Wagner, Ryan Norris and Scott Martin of Lambchop. Exploring and experimenting with the idea of combining the notion of 'song", elements from electronic music and a shared love of the electronic form and it's many permutations, HeCTA and the album The Diet does not sound like anything these guys have done before.

* Kowton unleashes a pair of devastating dance floor weapons to rattle your ribcage.

* 'Pea Soup' gets wavey in a fog of old rave stylings and jagged rhythms, while b-side 'Iodine' rolls with a deeper shuffle, putting a UK spin on the classic Detroit sound.

Due to confusion, martianMan 004 will follow martianMan 002.
So martianMan 003 will be released after martianMan 004.
'Exile Dub' is an amen monster 'The Mind' is a soul pride tune, spaced out and deep Support from Rumbleton, Double O, Mantra.

Latest release on Truth's Deep Dark & Dangerous label from Taiko. Pressed on limited 12" Vinyl.

Number six is here with four new artists making their debut on Bordello A Parigi: Daniel Kyo from Spain, Mystery Of Science from Quebec, John Parsley & Jack Pattern from Switzerland and Luca Dell'Orso from The Netherlands!

Many influential characters graced the stage of Max's Kansas City within the creative zeitgeist of New York City during the late 1970's, but one local native named Annie Bandez thrust herself into the downtown scene with her punk ensemble Annie and the Asexuals, establishing her nom de plume Annie Anxiety (later known as Little Annie') and colliding head-on with the social norms of contemporary punk culture entangling the city at that time.

After a couple years of disintegrated pursuits in New York, Annie relocated to England, finding herself at the doorstep of the famed anarchro-commune Dial House headed by activist Penny Rimbaud. It was here that Annie Anxiety established herself as a singular artist and voice with her debut 1981 single Barbed Wire Halo' on seminal Crass Records and forging a creative alliance with Crass members Penny Rimbaud and Eve Libertine. As the landscape of punk in the United Kingdom was shifting towards a more diverse, multicultural focal point, artists such as Annie Anxiety found themselves exploring musical signatures in styles such as dub reggae and rocksteady.

In the summer of 1983, Annie began work at Southern Studios on what would be her first full length endeavor which encompassed all of her creative assets at that time. Employing the expertise of legendary dub producer Adrian Sherwood to realize this vision, Annie pulled together members of Crass, Flux of Pink Indians, Family Fodder, African Head Charge, London Underground and Art Interface to record her groundbreaking dub industrial masterpiece. Upon its initial release by the unofficial Crass off-shoot label Corpus Christi in 1984, Soul Possession started the avalanche of activity that would include dozens of releases and collaborations with Nurse With Wound, Coil, Current 93, Swans and Marc Almond.

In his second volume of the Beat Tape series, Istanbul based acclaimed beat-maker Da Poet works his hip hop magic with 14 killer tracks. The album features collaborative beats of Gantz, Grup Ses, Ahu, Gokalp K, OtherMan and Ince Sarj.

präsentiert das Bristoler Trio Elder Island elektronischen Leftfield-Pop mit Neo-Soul-Elementen, eklektischen Bässen und einem leichten Funk-Twist.

Furthering the audio niche he's chainsawed out for himself in his tin shack studio deep in the ghettos of Santiago De Chile. The influence of his decaying urban surrounding is plain to hear in his definitively Raw productions. Channeling the chaotic noise of the bustling cityscape into an aggressive groove to combat the daily torment of the outside world. Raw C presents 9 tracks of funk filled fury with which to blast sound systems and subdue Barrios from Santiago to St. Tropez.

Cristobal Rawlins, aka Raw C returns to No. on his 3rd appearance for the label with his debut album 'Antebellum'.

Relay For Death are the twin sisters Rachal and Roxann Spikula, whose noise mantras transcribe the harsh realities of urban blight that complicate and threaten their own survival. It was in the context of two month medical study that the Spikulas composed their debut album in 2009, grotesquely amplifying the emptiness of hospital rooms into a ghastly pall worthy of the classic works by Maurizio Bianchi. Natural Incapacity sprouts from a similar research and development, manifesting from the sonic pollution that proliferates in their current residence of Richmond, California. Clocking in at well over two hours, Natural Incapacity was composed as a seamless, glacial accretion of locomotive grind, subharmonic environmental rumble, nocturnal street sweeping, and the quavering hum of toxic chemicals perpetually leached into the water table. By design, Natural Incapacity's oil-stained drone is completely relentless, implying neither beginning nor end to this cycle of contamination. Relay For Death's industrial meditation recognizes abjection, horror, and defeat as the prevalent conditions to existence. Even as a declared rejection to those conditions, Natural Incapacity is engulfed in a bleak nihilism constantly churning back upon itself. Grizzled antecedents can be found in the apocalyptic works of Maurizio Bianchi, Kevin Drumm's Imperial Distortion, and Organum's Vacant Lights.

While intended to be a seamless document, Natural Incapacity is split over two CDs and does feature a download of the composition in unedited form. The physical edition features hand-rusted metal covers by the noted corrosion artist Jim Haynes and is strictly limited to 150 copies.

"Overview Effect" heißt das Debütalbum des Londoner Komponisten und Multiinstrumentalisten Roger Goula. Das ambiente und experimentelle Album erscheint auf Cognitive Shift Recordings, dem neu gegründeten Label für zeitgenössische Klassische Musik, in Zusammenarbeit mit One Little Indian und wurde durch Erfahrung von Astronauten und Kosmonauten inspiriert, die vom Orbit aus unsere Erde betrachten. Goula vereinigt darauf sowohl Einflüsse von Barock-, Renaissance-Musik (Monteverdi, Bach, Vivaldi) mit Minimalismus (Reich, Glass, Part) als auch mit Texturen und Sounds der Electronica (Aphex Twin, Autechre).

REPRESSED !
Ultra bleak, minimal, ritual electronics. Debut releases from this new duo.

From the fertile fauna of the Swedish scene comes Vargdöd, the official pairing of Jonas Rönnberg and Anders Karlsson, better known´as Varg and Celldöd. Across six long form tracks the duo exercise their keen instinct for expansive, gloomy atmospherics and techno subtleties with a spirit that naturally aligns with the overcast outlook of Opal Tapes.

This outing is not the first time the two have been seen together. The ever-prolific Rönnberg adopted his Black Leather Harness alias to appear alongside Celldöd on Krig, the first cassette release on Karlsson's own Brutal Disciplin label. From those early manoeuvres in 2014 Karlsson has quickly established himself as a proponent of uncompromising, unconventional techno on labels such as Suction
Records and Kess Kill. Rönnberg meanwhile has continued to be a potent force both with his solo and collaborative work and at the helm of Northern Electronics, most recently releasing the third installment in his Nordic Flora series. On Brutal Discipline, the tones and textures shift but the mood remains consistently foreboding. The mechanical rhythms strain through distortion and the clouds of noise billow across vast space on opening track Kennel Murder Case', while the lingering minor pad on Starved To Death' spells out a more melodious foreboding behind the gently bludgeoning drum cycle. Bitten' takes a more tentative approach, letting its fuzzy backdrop slowly purr around the delicate, snaking patter of the percussion. Sharp, rasping beats take the lead in the barren landscape of Elite Dogs Of War', and yet still the opening scuff of K9 Warrior' will jerk your head around in a most uncomfortable of fashions. Here the noise is cloying, attaching itself to any sonic matter trying to peak through the muck, yet there's time and space for a militaristic narrative to unfold towards the climax of the track. That leaves it to No Dogs Go To Heaven' to round the release off in a suitably bleak fashion, placing the emphasis on low-end industrial pulse and swirling static firing out into an uncertain stereo field.

Roman Flügel "I think the first 5 tracks of the album are simply fantastic"

Electronic music producer and DJ Greg Sanders AKA Distance returns with his third long player 'Dynamis', set for release through Tectonic Recordings on 21st October.

* Alongside recording 'Dynamis' over the past four years, Distance has been writing and producing for other artists including Riz MC, Jeb Loy Nichols and Jon More of Coldcut. Working with these artists helped open his mind to other styles of music and led to him veering away from his 140bpm roots. The productions of A$AP Ferg, Drake, Schoolboy Q and earlier Arca and FKA Twigs were a big influence, alongside the soundtracks of Hans Zimmer and Cliff Martinez.

* "I get inspiration from everywhere and deliberately try to ignore what is happening in the scene I'm most involved in. 'Dynamis' is influenced a lot by film scores, I have geeked out massively to create great dynamics in all of the tracks, sounds are heavily automated and processed to really give the music life."

* Even the structure of the tracks ditches the typical DJ friendly layouts and is programmed in an order that best helps to deliver the story. Some of the tracks give a subtle nod to this way of thinking - 'Sink or Swim', 'Paradigm', 'Instruction to Survive'.

* "I wanted to portray my willingness to progress and that I totally embrace the positives and negatives of change. If you stay stationary within any artform you will surely fail. I named a track "Fear Change" because most people would rather do anything other than change."

* As producer, DJ and label owner of Chestplate Records, Distance has been instigating change in music since emerging in 2003. Gathering early support from the legendary John Peel and going on to be part of the utterly seminal Dubstep Warz show on Radio 1 presented by Mary Anne Hobbs, he was a regular at seminal raves FWD, DMZ, Exodus and SUB:DUB and hosted on Rinse FM 2003-2012. With 12" releases on Tectonic and Hotflush; his first two albums 'My Demons' (2007) and 'Repercussions' (2008) were released through the respected label Planet Mu.

* "I feel very privileged to have released two albums on Planet Mu and they are still referenced by many as key albums in dubstep's history. Tectonic has been releasing my music for almost a decade, so it felt right me producing an album for the label. Pinch is a good friend and one of the few people who's opinion I trust."

* 'Dynamis' is the first Distance album to feature vocalists; helping to portray emotions, tell a story and aid the overall narrative of the album.

* "It was great recording them. When recording 'Badman' with Killa P I got him to stand as far away from the mic as possible and shout the lyric across the studio, as though he was shouting at someone across the street. We were cracking up at the time. I then used these recordings to create multiple layers and textures to his vocal, this gave the impression of there being a huge crowd of people chanting the chorus. Beezy was also a great artist to work with. We were done recording in about 20 minutes, he's so professional and knows exactly how to deliver the vocals the way I need them."

* The album's title is an ancient word: the original Greek meaning "heart, drive, power" and in English "the state of that which is not yet fully realized".

* "I always want my music to take you somewhere. Because I am experimenting more in sound design and tempo, I thought 'Dynamis' was perfect. In a sense I was trying to create something new. At the beginning of the process it hadn't yet been realised. Maybe only once it has been released and heard by the public it will be."

Emperor's debut LP 'Dispositions' was one of last years most acclaimed drum & bass albums to have hit the shelves. Leaving a wake of devastation behind it, Emperor returns to re-run three of the fans' favourites with brand new takes on them from Phace, Klax and Ivy Lab. The results are in and as expected they sound so, so good.

marvin horsch debuts on Berlin's FILM with an EP of exquisitely produced, cinematic electronica. the cologne based producer develops the colourful house found on previous work for the dorfjungs la-bel, with three playful compositions that draw as much on jazz and krautrock as more contemporary strains of alternative electronic music. opener 'omnisession#1' marries a beautifully shifting organ with live drum work before segueing into the glorious softness of 'sun after rain,' a rich synth solo drenched in tape hiss. closer 'negobebo#2' wraps up the EP - an energetic, looping recording replete with staccato drum-machine strikes and warm, wet verbs carrying a spirited lead across it's six minute duration. An honest record, open and expertly executed - fukushisha is an admirable addition to the FILM cata-logue.

Producers such as Akcept, Alphadub, Deadroom, Baodub, DTR, Blind Prophet and Bukkha have joined their talents, skills and energy on this special venture. In addition the whole release was fabulously illustrated by the inimitable FromTheTrunk crew. Those 3 covers have been hand painted for the past few months and turned out to be an outstanding piece of art when joined together. Limited to 500 pcs, no reprint.

Producers such as Akcept, Alphadub, Deadroom, Baodub, DTR, Blind Prophet and Bukkha have joined their talents, skills and energy on this special venture. In addition the whole release was fabulously illustrated by the inimitable FromTheTrunk crew. Those 3 covers have been hand painted for the past few months and turned out to be an outstanding piece of art when joined together. Limited to 500 pcs, no reprint.

Producers such as Akcept, Alphadub, Deadroom, Baodub, DTR, Blind Prophet and Bukkha have joined their talents, skills and energy on this special venture. In addition the whole release was fabulously illustrated by the inimitable FromTheTrunk crew. Those 3 covers have been hand painted for the past few months and turned out to be an outstanding piece of art when joined together. Limited to 500 pcs, no reprint.

finally repressed

Making his fifth appearance on the label, Seba gives us a release dripping with emotion and depth. No stranger to Warm Communications, Seba unleashes 'Shades Of Me & You'. Steppy drums, deep bass and commanding vocals all wrapped up in Seba's trademark sound. The flip sees Blu Mar Ten take the reigns on remix duty for Seba's classic 'Never Let You Go'. Keeping the original vocal intact and momentum going, Blu Mar Ten have turned out a fantastic remix. New Rhodes layered on top of a new deadly reese bassline adds to the original euphoric feeling. One for Seba fans and Blu Mar Ten fans alike!

Extraterrestrial Research is the first vinyl release of Canadian label, Deep Sea Mining Syndicate. A multinational effort that brings the Greek artist Cirkle to the spotlight with 5 narrative sci-fi techno tracks. "Kachira's Cave" and "Underwater research" stand out as a classy peak time driving techno, while track "Landing" shows Cirkle s soundscaping abilities in an otherworldly dirge into the abyss. This is a limited 200 run with the finest mastering from Matt Colton at Alchemy. Supported by Sigha and Exium

R&S welcomes ALSO to the family, AKA the pairing of Appleblim (Laurie Osbourne ) and Second Storey (Alec Storey) for their killer EP01. Ever since they first met and bonded over a shared love of Detroit machine rhythms and sleek electronic grooves, the pair have been hard at work on pushing their creative boundaries to the limit, never content to take the easy route - as Laurie explains "if that means broken rhythms, and untraditional melodies then so be it.. There's so many people making sonically 'correct' or refined 4x4 music, we just wanted to explore everything other than that, whilst still keeping the dance floor moving." These heavy studio / live loose jams sessions have borne truly verdant musical fruit in the form of this debut release - opener 'Sid's Conudrum' sets the pulse racing with it's uptempo cyborg funk - juddering bass and bleeping synth squiggles, while 'Ashford Swaithes ' close things out with a heavyweight bass led rhythm - sizzling emotive pads and tripped out hi-freq arpeggios. 'Dive Prophets' close things out with a heavyweight bass led rhythm - sizzling emotive pads and tripped out hi-freq arpeggios. ALSO is pan genre, pan generational, emotive electronic music at its best... truly something special and a fine addition to R&S rich heritage of forward thinking dancefloor sonic artistry.

A Side 'Bubble'
A sweet and experimental journey into some deep and soft electronic dub. expect sub basses and smokey atmosphere, bouncing chords and yes, nodding your head is allowed!

B Side 'Reciprocity'
Every Ying deserves a Yang. Let's plunge yourself on the dancefloor and get the vibes through a huge live congas and percussions rhythm. Beware of the sub frequencies, the bassline won't let you sleep!

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

Welcome to Gully Records' second miscreant missive. Brighton-based badman ETCH stepping up and coming incorrect with the chopped beats to make you screw. To be released on clear hand-numbered 7' vinyl as was deemed appropriate. 'Synapse Cluster' is a proper slo-mo headbanger for the downtempo grunge-hop fan. Deadly dankness. 'Labyrinthian Contours' takes you on a journey of 3 stages. During the 3rd - time is reinvented. Natch. This 7' single is a beautiful piece of work incorporating psychedelic art and cosmic numerology. Look out for his full length double vinyl release on Gully later this year.

This is a collection of works from British musician GP Hall, recorded between 1994 and 1999.
For over four decades, guitar in hand Hall encountered many styles; jazz, blues, flamenco, rock, folk, and classical improvisation. All contributed to the creation of his unique style. Emerging from the British blues boom of the 1960's, he then followed a long and winding path through various scenes and cultures. In Spain, he was Influenced by flamenco master Manitas Del Plata before touring Europe with Liverpool band Casey Jones & the Governors. He was commissioned three times (twice by The Arts Council of Great Britain) for original music and was immersed in the avant-garde scene of the 1970's as an improviser, a pioneer of electric flamenco and a composer of large-scale ensemble pieces. During the 1980's Hall turned his focus to soundtrack music before reinventing himself as the solo performer he is today. With this strong foundation he branched into a tactile expression of his craft, discovering a new style which he called industrial sound sculptures. These sonic compositions are performed on electric and acoustic guitars as well as the six-string bass and are played with various techniques and implements including slides, battery fans, the psaltery bow, razors, toys, Velcro and crocodile clips which are fed through sound processors to create a rich sonic environment.

Eldritch electro-acoustic explorer and uncompromising sound artist Luke Younger aka
Helm presents his first new material since casting the subterranean concrète psychedelia
of his 'Impossible Symmetry' album for PAN across end-of-year lists in 2012 and
petrifying numerable witnesses to his granite-hewn live set.
Issued as a split release between PAN and his own Alter label, 'Silencer' documents
four studio actions conducted in the wake of his renowned LP, charting the alchemical
relationships between base, stripped down rhythms, cruddy electronics and acousmatic
source material manipulated on cassette tapes. The magic of these four tracks lies in the
curious sense of detachment and friction between those fractured, awkwardly reactive
elements, klanging flinty drums against detuned, cryptic synth scrabble and buckled tape
FX to create charged and metaphysically affective atmospheres intended to corrode and
infect your listening space.
The title track follows a tumbling line of inquiry between primal percussive clatter and
salted, scratching synth drones into the boggy, noxious ambience and quaking bass slap
of 'Mirrored Palms', which features a desolate, sustained peal of foghorn brass from John
Hannon of Liberez. In the tunnel of 'Bergamo', effluent rhythms and vapourous brown
gases deliver a cold, claggy soundsphere, with Barrow-based multi-instrumentalist Tom
James Scott contributing metallic scrape to the para-dimensional murk and insectoid
shivers of 'The Haze'.

A young DJ/producer from Brooklyn (Deep Explorer, Finale Sessions) pushing the line where deep house and techno join in emotive rawness. A deep moody selection of movements that suit any occasion as the vibe grows & culminates.

* Bold and fearless, Lynx steps away from the norm to deliver the unheard verses of drum & bass with his rule defying LP, 'I Am Lynx'. After signing to Hospital Records in June 2014, we were given a brief taste of his diversity with the release of his 'Where Are You' EP late last year. Since then Lynx has continued to rattle cages with his unconventional sounds and all-encompassing repertoire. Stocked full of crazed quirks and indefinable styles 'I Am Lynx' raises the bar, deviating from any D+B predictability.
* Best bet is to expect the unexpected, 'Circles' leads the way featuring the infectious, layered vocals of Master X. Followed closely by 'Ghost Train', emitting haunting string sections and bold vocal chop-ups to give a relentless, industrial-sounding insight into the mind of Lynx. 'Clap Track' tears down the walls with reverberated kicks and warped bass waves going hand-in-hand with the attitude exuding 'Drop That'. Soulful and indulgent 'Chord Time' and 'Only She Knows' break away from the rest, showcasing Lynx's diversified style.
* A producer dedicated to uncompromised quality, 'I Am Lynx' shatters stereotypes, showcasing the eccentric and eclectic style Lynx has cultivated from his many years of experience. Hospital Records proudly presents an album that sets Lynx aside from the rest; an unrivalled competitor in the race of the music creators.

Correspondant mainstay, Man Power, returns with his first artist EP for the label since his debut, the "Kiloton EP" back in 2014.
A lot has changed for the artist since Kiloton, with 2015 seeing the release of his self titled Album (also via Correspondant) which not only gained an unprecedented 10/10 in Mixmag, but was also named as one of the Electronic albums of the year by iTunes US.
Additionally, the last year has seen the artist DJ around the world, release original material and remixes for numerous labels, and was capped by his being named as one of XLR8R's best new artists of 2015.
The "Planet Cock EP" represents some of Man Power's most dance-floor directed work to date, veering from the arpeggiated big room techno-funk of "Stunt Cock", to the stuttering analogue stomping of "The Temple", and rounded off by some breaked-up-neo-electro-with-a-middle-eastern-twist () as displayed on "Pig Baron

We are proud to unveil our next vinyl release of 2017 on Dust Audio.

* Mikal takes his first bow for Dust Audio in the form of 'The Spirited EP'. The break and bass craftsman reigns down an assault of almighty weight for the imprint which holds no barred.

* Off the back of his critically acclaimed 'Wilderness' album on Metalheadz, Mikal continues to seek out the dance floor through his precision target and locks on for a serious assault of the senses.* The EP's title track 'Spirited' see's the sinister intro build up and transform into a bass laden drop. The stepping drums and jungle infused shuffles entwine with the ghost vocal, whilst the modulated bass will move even the harshest drum n bass skeptics. Unrelenting throughout.* The flip sees Mikal spread his considerable studio talent over two further tunes of constant surprise.

'Low Note' wastes no time in getting to the drop before you've had chance to take a breath. A thunderous one note bass underpins the mid ranged reece and stabs whilst the chunky drums compliment the tidy percussion nicely. A haunting vocal then sets off another 16 bars of unclouded rawness.* 'Linear' finishes the EP with aplomb. Synth chords open up into what you might expect to be a lovely liquid-esque style roller... think again! Mikal takes that premise and turns it upside down and inside out before bringing the dirty funk. Keeping in line with the 2 tunes before, this isn't for the faint hearted. Definitely one for the drum & bass purest, who may well be dancing, but will also be taking down mental notes!
* Mikal and Dust Audio continue 2017's release schedule in style...

A one-off release here from James and Karl showcasing chunks of their killer live set from a London gig. The A-side is basically a brilliantly executed and bass heavy a re-version of Ruskin's classic track 'Work' alongside the much loved, blunted rhythms of Kalon's (Sandwell District) 'Man Is The Superior Animal'... In stark contrast the B-side is a great intro/outro beatless tool...