Beats Новости

Punky noise, woozy hip-hop and oddball electronics are throwing a rager and it's a colorful one. Such is the basis for new Ghostly signee Psymun's Rainbow Party EP, a three-track foray into the far reaches of Hip-Hop from the Minnesotan music-maker. As part of the acclaimed Thestand4rd project (including fellow Minnesotans Corbin (aka Spooky Black), Bobby Raps and Allan Kingdom) as well as solo work on the Pink Label - Psymun returns with a sonic statement that's as emotive and adventurous as the impressive as the work he's supplied his crew with.

EP opener Glitch Tundra' features frequent collabora-tor Chester Watson dropping in over a sweeping, ominous beat, all fog and chilly echo. Stretching out over seven minutes, an ominous vocal sweeps overhead while synths stagger upwards and dip beneath before a psychedelic, rowdy turn rips deep into the project's heart.

The rest of Rainbow Party doubles-down on the project's noise influence. Borne out of a prompt from Ryan Olson of fellow Minneapolis outfit Poliça, Psymun endeavored to make a set of music entirely at 55 bpm, and two of his experiments evolved into the finished tracks included here.

I Need My Boy,' in a departure from some of his prior production work, relies almost entirely on an arsenal of hardware to thump and wail, a voltaic and warm sonic quality which Psymun says even he finds hard to emulate without his newly acquired synthesizers.

Confetti' also makes use of analogue equipment, but works within a palette that may be more familiar to the producer's fans: jangly percussion and aquatic melody intertwine for a slow-burning but dynamic exercise in leftfield beatmaking. As the track draws to a close, vocalist K.Raydiodrops in for a phantasmagoric few bars before the noisy cannon blows once more. It's an aptly titled closer, streamers drifting from above as the festivities come to an end: a party to be remembered in technicolor.

Samuel Rohrer, the multi-faceted, forward-thinking percussio- nist and producer behind the arjunamusic label, the AMBIQ trio and a wealth of other musical projects, has set out on his own with a new full-length solo album Range of Regularity as a double EP set with a deceptive title if ever there was one: the sonic experience of this record is, in fact, a highly irregular one (and a highly welcome one at that). Constructed almost entirely upon electronically-treated recordings of acoustic in- strumentation, with a bare minimum of synthesizer voicing, RoR vibrates with a compelling organicism - as if old-growth Black Forest trees had conspired together to make an album of ultra-modern improvisational music. Indeed, the record feels limned with contributions from some 'other' intelligence, despite being a clear extension of the fluid, percussion-driven musical technique that Rohrer has exhibited in previous years.
Opening with the track 'Microcosmism,' the sound-forest feeling immediately takes effect, and the listener can either enjoying navigating a path through this verdant total environ- ment or just being lost in it. Sonic organisms fly in and out of your headspace here at different speeds and bring with them all kinds of different dispositions, though Rohrer's reliable propulsive rhythms are always there to help direct traffic. 'Le- nina' does not abandon this unique aesthetic, but reprises the story with a different vocabulary (in this case, deep synth-bass signals, piano runs and all sorts of hyper-real ventilations). 'Nimbus,' not at all an ambient cloudscape like the title might suggest, temporarily dials back the feeling of modular assem- blage that powers the previous two pieces, and allows Rohrer's drumkit to come to the fore, working away at a determined snare-driven beat that brings a variety of treated sound ephe- mera out their hiding places.
After the gentle - but never too precious - interlude of 'Sun- clue,' 'War On Consciousness' emerges as the album's infec- tious tour de force. As the title implies, the feeling here is of using sound to fend off some sort of invasive energy, and the epic battle that ensues features a full concert's worth of tim- bral variations and audio events. Incisive rhythmic patterns slice away like finely honed blades at an insistent mechanical chattering, while cautiously walking acoustic bass adds an ex- tra layer of defense. 'Uncertain Grace' closes the set out with an extra layer of defense. 'Uncertain Grace' closes the set out with a busy multi-layered arpeggiation punctuated with bass drum hits, from which a melodic narrative gradually emerges like a distinctly human face rising from a field of visual noise. As the drums again join in, the final exclamation point is added to a very personal artistic statement. Though fans of adven- turous music will find similarities to other progenitors of rhythmic intelligence (classic Can, for example), Range of Regu- larity stands perfectly well on its own.
Short CV: Samuel Rohrer, born in Switzerland and based in Berlin since 2003, is one of the influential improvisational musicians ofhis generation and has toured worldwide, performing at major festivals, like Punkt Festivalen, CTM Berlin, Nuits Sonores Lyon, NorthSea, Huddersfield Contemporary Music Festival, Portland Jazzfestival, MoldeJazz, Vancouver Int.Festival, Mon- treal International Jazz Festival, Sunwaves Festival Romania, amo...
He worked with numerous artists including Sidsel Endresen, Ricardo Villalobos, Skuli Sverrisson, Nils Petter Molvaer, Lau- rie Anderson, Nan Goldin, Eivind Aarset, Max Loderbauer, Mark Feldman or Jan Bang. He recorded several albums for ECM and built his own label arjunamusic records in 2012, on which he implements his idea of overlapping improvised acoustic music with electronic club music.
Besides working on many new projects including AMBIQ (with Max Loderbauer and Claudio Puntin) or with Nils Petter Molvaer, he collaborates with Soundwalk Collective, Nan Goldin, Harmen Fraanje, Daniel Erdmann & Vincent Cour- tois, Max Loderbauer & Luigi Rangino, Tyler Friedman, and many others, and is focussing on his solo work in the field of acoustic/electronic music.

The LP "The World is Shit" is a radical and depressing statement by Sebastian Reuschel looking at the world, the society and the people living in those.
A-side track "Exav 2B" is a warm and deep industrial ambient track which starts rough and noisy but culminates in a rolling and dark atmosphere.
"Dying Alone" - the b-side track - is a sample based rolling noise dream of suicide and total apocalypse.

obias. returns to Ostgut Ton with his third full length Eyes In The Center and expands the musical narrative laid out by his Helium Sessions EP (O-TON, 2016). The Berghain resident keeps exploring the vast modular synth-driven Techno, Experimental and Ambient territories on a journey in-between genres.
Tobias Freund is long established as an influential artist and has - since the early 1990s - been working as a professional producer, sound engineer, label owner and strictly live musician. Besides his early solo projects (such as Pink Elln, Metazone or Phobia) he's also been collaborating with Dandy Jack (as Sieg Über Die Sonne), Ricardo Villalobos (as Odd Machine), Max Loderbauer (as NSI.), Valentina Berthelon (as Recent Arts) and Atom™ to only name a few. With his vast experience, diverse output and interests, Tobias. doesn't tire to actively push against existing boundaries and explore new areas of electronic music.
On Eyes In The Center Tobias. sticks to this mantra. The album, instead of following a stringent musical concept, channels a certain attitude and sovereignty fed by almost three decades of Tobias. expanding his skills in music production, in their entirety the 12 songs work as a raw, unpolished collage and evoke the spirit of (Post) Punk and the more experimental niches of electronic music. Think Chrome, Residents and Throbbing Gristle - but not Kraftwerk. Or think The Human League, Yellow Magic Orchestra and Der Plan, but think more in terms of musical attitudes and concepts rather than past sound aesthetics.
Even though Freund still owns the same Roland TR-808 he bought from his first wage in the mid 1980s (when he worked as sound engineer at FAR Studios owned by Frank Farian) his studio machine park has significantly evolved and got a lot more refined since. With all these machine at hand Tobias. opted for limiting the gear used during the making of Eyes In The Center to avoid losing himself in possibilities. But it's all there: the slender, multi-layered, hypnotic club-ready Techno cuts that dominate his live sets at Berghain and at clubs and festivals around the globe ('Blind Mass', 'Syndrome', 'Visitors', 'Vertic'), leftfield jams that dodge clear stylistic classification ('Cr 24', 'Single Minded', 'Geometric' and the epic, eponymous 'Eyes In The Center') and the very atmospheric, intimate and introverted ambient listening pieces ('In Between',

'Beautiful Mistake', 'El Mundo Será Feliz', 'Autopoiesis').
While Eyes In The Center as a whole can't be pinned down to a certain mood or sound, there is an underlying concept in reference to the idea of autopoiesis, meaning 'self' and 'creation, production', a system which reproduces and maintains itself. Originating from the scientific fields of chemistry and biology, applied to machine music it's intriguing - what else is a sequenced loop: a flow, a rhythm that keeps rolling, maintains and reproduces itself. Spearheaded by Chilean philosopher and neuroscientist Francisco Varela the song 'Autopoiesis' uses Varela's own reflections on this topic.
On Eyes In The Center Tobias. expands his exploration of these ideas that already informed his work with Chilean visual artist Valentina Berthelon on their joint audio-visual project Recent Arts in 2016.
As a statement of Tobias.' personal philosophy and state of mind, as a mix of science, meditation and rhythm, Eyes In The Center stands in a long tradition of electronic music, scrutinizing the self while reaching out towards the unknown, approaching sound with an appetite for the new, in the tradition of true innovators.

"The freewheeling collective have been busy on their own terms since their last group efforts, but they reconvene for The Rise And Fall Of The Eurojesters at a time when the external pressures of global politics, economics and environmental concerns point to an uncertain future. In the face of such ambiguity, the dogged experimentation of Tru West feels like a logical response, manifested here in two original pieces and some equally daring remixes and edits. Tru Children' is a bubbling stew of sounds flowing into each other, unbound to the dogmatic structure of a timeline. A basic rhythm tick emerges from the music, of course, but this is really an exercise in letting go, as the rippling percussion and field recordings intertwine into a dualistic whole - chaotic yet strangely calming. Herva takes this meditation as a starting point and crafts his sharply focused Cobra 90' revision with brittle drum machines and post punk bass as the main ingredients. The bass in particular stands out, not least because Herva recorded it through the titular Carlsboro Cobra 90 amplifier. While the groove may be more discernible, the slippery qualities of the original version linger in the background to keep this far from the conventional dancefloor. Captured in 2013 during Tru West's first live improvisation at the Meinblau Gallery in Berlin, Chasing The Loophole in a Relentless Spiral of Human Self-indulgence' was performed alongside the Standpunkt exhibition by Alessandro Lupi. In the spirit of the environment, this piece heads even further out, on a surge of haunting piano, tonal interference and verbal reflections on telekinesis. Where Tru Children' was an organic, fluid mixture of many sounds, this is an uncomfortable claustrophobia triggered by clamouring machines. Marcello Napoletano takes this maelstrom of sonic activity and creates his own brand of intensity with a two-part edit. Rather than paring down the extravagant original, in Part 1 he instead pushes the material further, layering up even more wild sounds from percussion to heavily processed jazz instrumentation. In Part 2, the veteran Italian producer makes the concession to bring a rugged drum machine beat into the mix, but uses it merely as a structure around which to wield vast slabs of sonic matter. It's an apocalyptic finishing move to a record that, as ever, feels like a shriek in response to an ever-more-unhinged world."

Nucleus & Paradox have always been a worthy pairing and their next release for Metalheadz, which is split into 2 parts, once again proves it. Their 2005 single on the label is switched up across both parts, with '12 Bits' getting a Mako remix whilst the duo themselves present a new remix of 'Aragon', bringing a fresh spark to the original.

The two remaining tracks split across the EP are originals, with both showcasing exquisite breaks and twisted basslines throughout. Artwork from Matt Twist completes the 'Wrath EP' package.

Nucleus & Paradox have always been a worthy pairing and their next release for Metalheadz, which is split into 2 parts, once again proves it. Their 2005 single on the label is switched up across both parts, with '12 Bits' getting a Mako remix whilst the duo themselves present a new remix of 'Aragon', bringing a fresh spark to the original.

The two remaining tracks split across the EP are originals, with both showcasing exquisite breaks and twisted basslines throughout. Artwork from Matt Twist completes the 'Wrath EP' package.

No-one else makes music like this: devilishly complex but warm and intuitive, stirring together a dizzying assembly of outernational and outerspace influences, whilst retaining the subby funk-and-hot-breath pressure of Shackleton's soundboy, club roots.The result is an evolutionary, truly alchemical music — great shifting tides of dub, minimalist composition and choral song (Five Demiurgic Options), ritual spells to ward off the darkness (Before The Dam Broke, The Prophet Sequence), radiophonia and zoned-out guitar improv (Seven Virgins), even the febrile, freeform psychedelia of eighties noise rock (Sferic Ghost Transmits / Fear The Crown). Over the five years since Music For The Quiet Hour, Vengeance's vocal and lyrical range has rolled out across this new terrain. Throughout these six transmissions he's hoarse preacher, sage scholar and ravaged bluesman, blind man marching off to war, and exhausted time-traveller warning of impending socio-ecological catastrophe. Six dialogic accounts of our conflicted times, then, expanding beyond the treacly unease of the duo's early collaborative work into something subtler and more emotionally shattering — its shades of brightness more dazzling, and its darkness even murkier. "We almost didn't hear it when the foundations went."

UBA003:
New Zealand's dubstep dons TRUTH have created two incredible dark, heavy, and mature tracks!
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TUBA005:
TUBA is pleased to announce their latest release from Moldy. His latest 12inch, is dropping mid-March, 2013 worldwide.
Regenerate (Death of Brostep) leads the record as a stark, deep, and compelling minimal manifesto. Moldy soundly rejects the noise-oriented approach that so many producers are taking. With serious bass weight and a less-is-more-aesthetic, Regenerate (Death of Brostep) encourages discussion about the direction dubstep is taking.
Bad Habits (Brixton VIP) on the flip comes correct as a great contrast to the A side. The track runs with deep sub bass and deft Amen style breaks with great effect, ominous and dark.
Daega Sound's stunning remix of Regenerate
finishes off the record masterfully. The
reinterpretation by this Vancouver based duo
(brothers as well) puts the original in a less linear context, with a deep dancefloor in mind.

Supported by Mary Anne Hobbs, DJG, Distal, and others.
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TUBA007:
TUBA presents our seventh release with a lesson in
deep UK bass from Compa; and represents our
continuing efforts to foster the bridge between the
US and UK deep dubstep scenes.
Outer Lines presents with a compelling blend of
texture, atmosphere, and melody. The introduction
builds to a shuddering, pulsing bass heavy drop
with heavy percussive accents. A growling sub and
driving beat provide the framework for distant flutes
and jagged congas to carry the listener deeper into
a defining dose of what bass music truly is.
Timelapse opens with a quirky yet edgy synth riff
that leads into a buzzing texture of deep bass.
Analog synthesizers deliver the rest of the message
as their rich textures and lines tell an epic, dark, and emotional story.

Compa:
Following his debut appearance on Get Darker TV
in March 2011, Compa released his inaugural 12inch
single with one of Dubstep's foundation imprints
Boka Records (Tracks 'Sentence' and 'Beginning'),
and his infamous bootleg of Mavado's 'Dem A Talk'
on his own vinyl-only WX/WL imprint, and at the
tender age of just 21, he's been newly signed to
Mala's Deep Medi label and New York's deep bass
label TUBA.
Compa's music displays a binary relationship
between 'Foundation Sound' homage and Forward-
Motion thought. Spacious textures, heavily built subfrequencies and intricate execution of minimalism
are but a few significant ways in which his music
can be described.

TUBA is an artist-run vinyl imprint based in
Brooklyn, specializing in forward-thinking bass
music. TUBA pushes new releases from the finest
producers on the contemporary bass music scene.
Roster includes J:Kenzo, Truth, DJG, Compa,
Moldy, Daega Sound, Juss B, Subreachers, & DOperation Drop








i

TAS001:
Picking up from Argo's recent rendezvous on wax with Tempa's LX One, finds the Londonbased imprint Trojan Audio in new fairways. It has decided to steer into a special run of highly limited, full colour 12" vinyl releases the next few months. Frenchman Von D starts off this series with some extraterrestrial dubstep vibes.

The French producer has been steadily building an archive of vinyl releases the past few years. His current mission being in the studio as much as possible to make smoky dub-esque music allows him to receive these signings. With releases on the well acclaimed Scotch Bonnet and Trojan Audio in 2016, he'll be ready to unleash some real sound system music. 'Ancient Kush' serves a voyage that prologues trippy processed samples, which line up to delay and escalate into a highly enjoyable dubesque sequence. Von D introduces his highly flavoured and badass bassline that travels across the mix with astral speeds. Its effect cuts both ways, as a monstrous roar that will also spark the interest of the dance floor skankers out there follows it. Green smokes must have played its part in the Frenchman's creation, creating such a spaced-out A-side that holds only the toughest sounding elements and effects to deliver a space-bound experience.
The flipside 'Astronomical Clock' is a number that ticks into a much more loyal and meditative headspace thanks to the natural hint of dub music. This weaves into a mystical melody effortlessly, resulting in a thought-out endeavor that aligns with the deeper dubstep connection. Von D brings forth his own feel for dub music and fuses is with a futuristic sound that touches listeners from head to toe. It signals that there's way more boundaries to explore and music from him to expect very soon. His contribution to the vastly growing Trojan Audio outfit is one of great magnitude. Just wait until you hear it!
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TA002:
Trojan Audio extends its battle plan by introducing the talented Parisian Argo to the team, with remix support from Tempa / Wheel & Deal bass veteran LX One. We promise you that this is one of the releases you've been waiting for in 2016 - be warned!

Argo's 'Recurrence' is a hard knocking original that simply
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Maiden union between two of Hospital Production's longest
standing collaborators
Full textural spectrum of oiled subbass, abrasive noise and
charged electronics
Edition of 500 copies
RIYL Prurient, Rainfoest Spiritual Enslavement, Kevin Drumm

Following on from that hugely sought-after Green Graves issue by Rainforest Spiritual Enslavement, Hospital Productions re-examine a longstanding tradition of industrial ambient music on this exceptional collaboration between two of the label's most consistently innovative, highly absorbing producers.
Originally released in a private press run of handmade tapes, the collaboration was made in person with both Alberich and Lussuria making use of Digital synths in homage to that distinctly
European scene of the mid 90's that combined hardcore Industrial textures with Ambient pulses.
It's a sound you'll be familiar with if you've immersed yourself in the most unnervingly quiet sections of the last few Prurient albums, building a kind of futuristic soundscape situated
somewhere between David Lynch, Kevin Drumm and a more dystopian variant of Brad Fiedel's distinctive soundtrack to The Terminator.
Alberich's instinct for harsh propulsive rhythms is here tempered by Lussuria's weird topography, the digital rendering adding a kind of artificial foundation quite removed from the throbbing
earthiness you'd find on a hardware session. Instead, the more linear trajectory of so many dark
Ambient excursions is replaced with a constantly shifting landscape, veering from an oddly displaced vocal narrative into pounded, crumbling rhythms at some points, while those sinking
subbass sands keep things resolutely atmospheric for the duration.
There are no concessions to that blackened aesthetic here, if you were into Green Graves or want to immerse yourself in one of the most brutally atmospheric albums you'll hear this year, we urge
you to check it out.

* Dom & Roland's Label has gone from strength to strength from its conception in 2006. Featuring collaborations by Dom with other Artists such as Noisia, Hive and Amon Tobin the label has continued to push sonic boundaries whilst staying true to it's ethos of 'not selling out'.

* THE TRAP - DOM & ROLAND

The only "DAT" Master copy of this track was lost 20 years ago in 1997 somewhere between Dom's Studio and Music House in Holloway Road. Dom has been searching for this holy grail of "Amen choppage" since, the only reference to it a crusty recording of a Grooverider show from 1998. At various points there have been glimmers of hope of the wearabouts of the track in its entirety, with much excitement from avid followers who have given "The Trap" a status akin to a cult classic film. Many years, rifled sheds, boxes and lofts later, the breakthrough everyone is waiting for happens. It is Christmas 2016 and a subversive character from Australia sends in the full original quality version, recorded from DAT tape, to Dom & Roland Productions HQ. After a full going over in Dom's lab and a wonderful new mastering job by beau at 1087 the amen legend known only as "The Trap" is ready to be unleashed.

* SWARM - DOM & ROLAND

Depending on who you ask the dubplate of this track from 1996 was called Dark Skies or The Swarm. One of the first tracks to feature Dom's reworked alternating clean and distorted "flow break" which later went on to become a layer in Dom's famous "Tramen" break. Swarm features the switch from light to dark Dom has become famous for. Featuring one of the largest Mentasm basses ever cut on a record alongside the "Subway" Thump bass that Dom later used when producing the "Ed Rush Hit Record" of the same name. It has remained an exclusive gem in Dom's vaults until now. Originally only cut on plate by the A List of Metalheadz Blue Note, this blueprint of bass is finally seeing a release this year.

* DJ PLAY: Aphex Twin, Amon Tobin, Fabio, Grooverider, Peshay, Loxi, Andy C, Break, Fierce, Doc Scott, Dbridge, Goldie, Ant TC1, Gridlok, Marcus Intalex, SB81, Ulterior Motive, Noisia.

* RADIO PLAY: Radio 1, Radio 1Xtra , NRG, Noisia Radio, Many other radio stations around the world.

* PRESS: MIxmag Review, DJ Review, Various blogs, Facebook, Twitter, Snapchat, Instagram.

Full artwork , shrink-wrapped , limited to 500 copies worldwide.

From out of the flames from his previous venture on Neodigital, Emperor makes his mark returning with the hard hitting new SHADOW EP on Neosignal. Emperor delivers 4 new belters - living up to the unique heavyweight Emperor production output with very little restriction.

If you're a fan of his catalogue then this EP is no exception.

Floating Points began as the solo project of Sam Shepherd before it became clear the immersive, intricate nature of his music demanded expansion. Following his critically acclaimed debut Elaenia this is exactly what happened and Floating Points live became a band of incredibly talented musicians with Sam at the helm. Now, Floating Points has announced a new short film and soundtrack, featuring entirely new and unheard compositions - Reflections - Mojave Desert via Pluto on 30 June. The film, in collaboration with director Anna Diaz Ortuño, finds the ensemble in a thrilling sonic exploration of environment under an endless desert sky.

Whilst we were out playing and exploring the area around us - the sound reflecting from the rocks, the sound of the wind between them, complete stillness at night and packs of roaming coyotes in the distance, it became apparent that we could use this as its own unique recording environment.'
- Sam Shepherd, Floating Points

The first in a planned series of environmental recordings by Floating Points to be filmed and recorded at different locations around the world, the recording was made last year, as Floating Points travelled to the Mojave to rehearse in between US touring. Immediately struck by the distinct sonic tapestry created by the rock formations and valleys, Sam and the band set up a recording operation and filmed this new work at the base of the natural sculptures they encountered. The music of Reflections - Mojave Desert mirrors the landscape: soaring and vast, dynamic and intimate, centred around two longer works and shorter pieces that create a singular and seamless experience.

Reflections - Mojave Desert begins with chords played on a Rhodes Chroma and recorded with a surround sound microphone. Throughout the filming, microphones were placed throughout the landscape to capture the natural sonic textures of the desert: the undulating sound of wind, a bird call, the rustling of bushes and more created a backdrop on which much of the record rests. The music softly shifts from the Fender Rhodes introduction to 'Silurian Blue', an expansive full band piece that balances refined restraint with explosiveness. In one scene, 'Kites', Sam Shepherd walks through a valley with a super directional microphone, swinging it back and forth as a synthesiser loop gets faster to showcase the natural reverb and shifting phase of sound waves. 'Kelso Dunes' signals the film's final act: the sky grows dark, lasers flash, the band and rocks gleaming in the pitch black around them.

One of London's most sought-after DJs, producers and live entities, Floating Points has toured with The xx - supporting their record breaking string of dates at Brixton Academy, collaborated with Caribou, Four Tet, and has performed across the globe including festivals like Glastonbury, Primavera, and Pitchfork Festival Europe. Floating Points' debut LP Elaenia was deemed Resident Advisor's 'Album of the Year' as well as Mojo's 'Electronic Album of the Year' in 2015. This was followed by the Kuiper EP in 2016. Sam also hosts the internationally renowned You're A Melody DJ parties and co-runs the Melodies International reissues label.

Pocosin is the first full-length album from Loess in over 10 years.

During the last ice age glaciers slowly carved away the landscape creating mineral rich sediment. For hundreds of thousands of years melt water carried this fine-grained sediment downstream to parts of North America. In some areas strong winds carried this sediment and deposited it forming a network of ridges and dunes. These deposits of loose
silty wind-blown, or aeolian, sediment are called Loess.

Flash forward to the present, and the duo of Clay Emerson and Ian Pullman may seem to have gone the way of the glaciers and all but disappeared. Instead, their signature loose aural silt has been slowly and methodically accumulating and now makes up their new full-length Pocosin.

Others may have no point of reference and Pocosin is a welcome introduction to the sound of Loess; in a mere blink of an eye from when they began.

* It's great to think of John Graham, aka Skanna, rummaging around cupboards in his parents house to find the DATs of his early releases to make this release possible. It was also great to find out that digital degridation had not taken hold on these 20 year old DATs too!
* So here we have another classic Skanna release from 1995 that has been remastered and reissued in an effort to make some classic tracks available again at a reasonable price. Although this record has not commanded such high prices as other releases in the catalogue it has always been tricky to track one down in good condition as the ones out there have all been played to death, and rightly so! The original 'Find Me' and the "Classic Skanna Mix" are both on here and sounding incredible over 20 years later!

Berlin experimental techno duo These Hidden Hands recently teamed up with Lucrecia Dalt for a 12 on Hidden Hundred, These Moments Dismantled. The abstract sonic terrain plotted in the eponymous first track finds its logical conclusion on the B-side, where tension and release oscillate in a harrowing groove. The artwork, created by Jesse Draxler, adds another layer of apocalypticism to the package.
(Electronic Beats)

After a temporary break away from music to work on other projects Foreign Concept is back with the Skit City EP , the first in a series of new releases.

Inspired by his long time friend Jack Ramsay s new graphic novel of the same name, the title track, featuring Mancunian MC Fox, creates the perfect sonic backdrop to the intricate aesthetic of the Skit City book from which the artwork is taken. Watch out for the video coming soon.

A very welcome return to the scene complete with a beautiful collaboration with Halogenix and a killer remix by LSB.

repressed !

GAS remains Kompakt co-owner Wolfgang Voigt's most acclaimed and influential guise in his illustrious music career. Established as a series for his ambient works influenced by his experiences in Germany's Königsforst, he originally released through legendary electronic music imprint Mille Plateaux.
These albums have achieved near mythical status influencing countless musicians including TIm Hecker, Soulseekers, The Field to name a few. GAS has been hailed as "a wondrous high point in the history of electronic music" (Pitchfork) and "some of the most influential albums of the 90s" (The Guardian).
KOMPAKT now prepare to offer our most ambitious and comprehensive release in our history. Long out of print, the four core releases of GAS, ZAUBERBERG, KÖNIGSFORST, OKTEMBER and POP are finally released the way Wolfgang originally intended them to be - original masters uncut and packaged in their original design - a highly collectible, limited edition box set including an art book commemorating the series featuring Wolfgang Voigt's work.

GAS BOX - a long awaited document detailing a period of electronic music that has been lost but not forgotten.

Wolfgang Voigt is a man of many means and monickers, having engendered a unique take on electronic expressionism across multiple media - from riotous early 90s acid to cyber-folkloristic techno or the abstract drama of his current Ru¨ckverzauberung project, a pioneering vision to be found on vinyl, canvas or flickering screens. Ranking among of the most dense, hypnotic, atmospheric recordings in his oeuvre, the GAS releases have since become internationally recognized classics with a cult following, hailed as "a wondrous high point in the history of electronic music" (Pitchfork) and "some of the most influential albums of the 90s" (The Guardian). From foggy dub techno to anthemic electronica and loop-based ambient techno, the list of acts, tracks and even genres influenced by the full-lengths and EPs crafted under the GAS umbrella between 1995 and 2000 seems endless, giving these long sold-out original releases even more of a near-mythical quality. Following the much-acclaimed (and out-of-print) retrospective NAH UND FERN from 2008, Kompakt has decided that it's high time for a reissue that features the core GAS albums originally released by the legendary Mille Plateaux imprint in the 90s - the records that introduced the project's trademark sound between Scho¨nberg and Kraftwerk, Wagner and the bassdrum, 'an endless march through the underwoods of an imaginary, misty forest and into the disco.' Inside this comprehensive anthology, listeners will experience ZAUBERBERG (celebrating the 20th anniversary of this essential album), KO¨NIGSFORST, POP and the sought-after OKTEMBER 12", all together available as luxurious 10LP+4CD edition. GAS BOX is the most comprehensive version of these releases ever: the vinyl features edits that were previously unavailable on wax - with each album being presented as 3LP pressing (instead of the original 2LP pressings), for extended playtime and superior sound quality, finally released the way this music was intended to to be heard. This highly collectible box set comes with an art-print book featuring newly processed and previously unreleased photography from the Ko¨nigsforst woods around Cologne, in the style of the legendary, trail-blazing GAS artwork. GAS BOX is to be considered as the definitive take on a unique sound cosmos and an extraordinary period of music. An essential outing for every serious fan of electronic music.

Leaving unwarranted hype to others - the London/Manchester based imprint 'Reflektion/Tapes' are not messing around when it comes to their remarkably promising debut vinyl. Catalogued as 'RTAPES001', it features a collaboration of Von D with Mizz Beats and Mr Lager respectively. The renowned, french heavyweight has a plethora of releases on highly regarded labels like Trojan Audio, GetDarker, Infernal Sounds, Khaliphonic & Scrub A Dub among others. If this were not enough, Deep Medi signee Mizz Beats, who's already collaborated with the likes of Roots Manuva and Silkie, has been back in the studio, pairing up on the A-Side with Von D for an unquestionably passionate musical work of art. On the flip the B-Side is a clear statement to the synergetic nature of Von D and Mr. Lager's joint effort - effortlessly topping off this release.

Commencing with the much sought after 'Dot Compulsion', bell-like chimes reflect off playful lead melodies, leaving room for tape-delay trails floating away to soulful chords. A tastefully saturated bass joins its correlating 2-Step/Garage groove, rejoicing along an emotive ride. It then proceeds to evolve into a straight pulse, steadily rolling along, plastered with silky vocal snippets and captivating harmonic, at times granular, soundscapes.

A highly differing brew of vibrations can be felt from Mr. Lager & Von D's 'Some Other Place'. The B-Side sees us diving back down into the shadows. Initialising itself with an incredibly ponderous kick drum, complimented by sparsely used spring reverberations and twirling echo trails - introducing more dubstep-oriented accents. What follows is an airy, spaced out sub workout, accompanied by menacingly tight percussive hits from start to finish, guaranteed to test sound systems & leave chests rattling.

A voyage into the outer reaches of immersive, ambient techno and electronics where boundaries are blurred between 80s bedroom boogie, Detroit electro, broken beat and Warp golden-era bleep. based in Melbourne, Australia, Rory McPike has been putting out analogue and hardware-led sounds for a
couple of years under both his techno and jungle orientated guise Dan White and Rings Around Saturn.
Special Unthank 7 track EP spread over 10" and 7" formats!!

Fresh ambient / synth / wave compilation centering the man who brought us Absent Music / The Misz / June11. Introvert gold!'

First Release from new label canoe, 3 tracker from nyra, vinyl only, limited numbers, don't splash about !!!!!

Ex.society is a brand new duo based in Bologna. Lost in the deepest roots of House Music, this project was born in a groovy day and is getting hotter and hotter. Sophisticated sounds/ soul & groove/ analog / old synthesizer/ only for vinyl lovers. This first release will get you high so just relax and enjoy the sound."

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EMERGENCE is an epic, operatic, ambitious amalgamation between audio-visual show, scientific research project, art installation and IDM record, the debut release on Max Cooper's Mesh label and his second full-length release.2 LPs housed in a gatefold sleeve, featuring black and gold ink printed onto silver laminated board to create a unique and beautiful effect.The record was conceived as a soundtrack to a new series of 11 pieces of video art, each exploring a different facet of the concept of 'emergence'. The full A/V live show will premiere at Mutek, Japan on November 2nd 2016. Together the work is a marriage between the cosmic awe of a Carl Sagan film and the musical wonderment of Sigur Ros, made for meditating on the mystery of our emotional connection to fundamental natural form.
Cooper collaborated with film composer Tom Hodge and vocalist Kathrin deBoer to put together a rich piece of music that incorporates post-rock, Warp-y brain-dance, hi-def digital techno and shimmering neo-classical. Few musicians are as qualified as Max to tackle as profound an idea as 'emergence' through electronic music. Emergence is the story of the development of the universe, the way in which, very complex things like human beings where created from the immaterial by the action of simple laws.Max has synthesised his skill as a producer and his deep interests in science to create a Hadron Collider-grade ambient techno world, in the lineage of The Future Sounds of London's 'Lifeforms' for 2016. It's also one of the most beautiful records you'll hear all year. Early support at radio pledged from Lauren Laverne and Mary Anne Hobbs.

Alaska & Robert Manos reunite for arguably Arctic Music's finest 12' to date.
Zeal glides with layers of searing bows from the cello reminiscent of Massive Attack's 'Unfinished Sympathy'. The passion oozing
from its strings fit Robert Manos's vocals like a glove taking you on a orchestral and powerful journey with Alaska's pacey breaks.
The 12' art jacket is based on the glorious instrument adding that special touch to the eight Arctic Music chapter.
Alaska & Robert Manos revisit Dolorous for the flipside, stripping down the original vibe and replacing the vinyl grooves with a
cracking breakbeat that sells the track on it's own.
This special version adds a live touch to the classic from The Mesozoic Era LP and is just one of the titles that the duo will be
performing live in 2013.

After a flurry of releases over the past 4 years for the likes of Deep Medi, Zam Zam Sounds, Danse Noir, and most recently for Discrepant with his acclaimed long-form abstraction "Ghost Tapes," El Mahdy Jr. returns to Boomarm Nation for an anticipated follow up to his internationally praised and sought-after 2013 debut LP "The Spirit of Fucked Up Places'.With "Time to Sell the Golden Teeth," El Mahdy Jr. continues where he left off with an evolving palette of rough hewn-beats unburdened by genre constraints, thick atmospherics, and a very deep and dubwise center of gravity. Drawing from the sounds of his cultural background, and the daily grind of living in an increasingly loud and hostile capitalist world, the sounds presented here display the deft evolution of an ambitious young beat maker and experimentalist into a poised, focused, and selfless artist who places his emphasis on the emotion and energy of sound and place over the wild self importance of being an "artist".

Gondwana Records are delighted to announce the signing of composer, bassist and producer Phil France. A key collaborator alongside Jason Swinscoe in the Cinematic Orchestra, France was responsible for some of the most heartrendingly beautiful music created in recent times. Co-writing, arranging and producing on the Cinematic Orchestra albums including Everyday, Man With a Movie Camera, Ma Fleur and also the triple award winning soundtrack for The Crimson Wing nature documentary, France's skills have always extended beyond his bass-lines. France who signed a three album deal with Gondwana earlier this year, is currently working on new material for release in Autumn 2017, but first up is a worldwide re-release for his debut solo recording, The Swimmer, a beautiful beguiling "soundtrack" for a film that hasn't been made yet. Originally released in October 2013 it is deeply emotive and epic in scale and draws it influences from the great second wave of film composers including John Carpenter and Vangelis, as well as minimalist composers such as Steve Reich and Philip Glass. France's skill, in this album, as well as his work with The Cinematic Orchestra, is in soundtracking human emotion - The Swimmer is full of heartbreak and recovery, strength, honesty and frailty, it is meditative and hopeful. The Swimmer will be released on 27th Feb 2017. The Swimmer will be supported by three remixes: Joy Of Brass - Mr. Scruff Remix The Swimmer - Graham Massey Remix (808 State) Transition - Kristian Gjerstad Remix Full servicing to all key media with reviews in Mojo, Record Collector, BBC Music Magazine, Jazzwise and DJ Magazine expected. The album and mixes will be serviced to all key international DJs with support from Gilles Peterson and Lauren Laverne on 6 Music, Ross Allen, Patrick Forge, DJ Lefto and beyond.

Debut release on Artikal Music from PUGILIST

DOUBLE BIRTHDAY RELEASE !! KARLRECORDS celebrates its 10th birthday, ZEITKRATZER even its 20th! And the party starts with the necessary re-interpretations of early compositions by electronic pioneers KRAFTWERK. CD on ZEITKRATZER PRODUCTIONS, 180gr LP on KARLRECORDS.

Founded in 1997 by REINHOLD FRIEDL, ZEITKRATZER have since been creating an impressive catalogue of recordings that embraces 20thcentury avant-garde composers (CAGE, STOCKHAUSEN, LUCIER) as well as electronic artists (CARSTEN NICOLAI, TERRE THAEMLITZ) or underground experimentalists like THROBBING GRISTLE or COLUMN ONE. In their 20thanniversary year, the critically acclaimed ensemble will release a series of diverse albums that will explore new grounds in the typical, adventurous zeitkratzer way - the first of these albums is dedicated to KRAFTWERK and their early, kraut-esque albums "Kraftwerk" and "Kraftwerk 2". As KRAFTWERK never re-released these albums, ZEITKRATZER gave its best to cover the first tranche of the songs (second tranche to come...,).

Recorded in Marseille / France in May 2016, the six tracks reveal a bucolic and even psychedelic aspect of the ensemble that's mostly known (or feared) for its interpretatory and aesthetic acerbity. And yet there's no doubt that "Songs From The Albums "Kraftwerk" And "Kraftwerk 2" turned out a true ZEITKRATZER recording in the best and full meaning!

zeitkratzer directed by Reinhold Friedl

The Invisible have made their best album yet, in a career already garlanded with critical praise.
Latest single 'Life's Dancers' comes replete with a remix by man of the moment and close collaborator Floating Points.
Backed with the brooding synth-pop of brand new B-side 'First Time', also co-written by Floating Points, this is the sound of one of the UK's best bands at the pinnacle of their form.
180g heavyweight black 12' vinyl in 3mm spined sleeve.

Bring Back Records is a new vinyl only label dedicated for the all jungle/breakbeat hardcore lovers. First release will give you a fresh moods with oldskool flava! The music what we love and proudly want to show you. It's a single sided plate: A1 - 94-95 style oldskool jungle on 45 rpm. Vibes for the raiders, who's everyday digging and searching through the jungle music artifacts on vinyl in this crazy digital world. A2 is a pleasant bonus with dj tools for turntablists.

Having established himself through a consistent stream of quality releases for Uncanny Valley and the immaculate collection of Rat Life, Credit 00 - real name Alexander Dorn - bring sthe heat on NYH81. These are recordings taken from his old apartment, and feature a heavy dose of reference to classic Gertronica. From Can to Kraftwerk to Neu! to (now) Munich's Dopplereffect, this is some really nifty classic electro.

After his acclaimed Heatwave and Shadows mixtapes, Leonce releases Insurgency on Fade to Mind, the first official EP from the young Atlanta-based producer. Insurgency was born from demos and sketches first recorded in 2014-2015, inspired by Leonce's favorite elements of house music and his desire to recraft these influences into his own club microverse.

In Leonce's words: 'If house is a feeling, then Insurgency is me subverting that feeling across different tempo ranges and going into weirder and darker territory, like the classic raw house tracks that inspired me.'

Created as both a tribute to classical house and a critique of contemporary assembly-line dance music, the 9-track LP lovingly defies convention at every turn. Opting for deep shuffles and hypnotic progressions, his drumwork is allowed to breathe in this deeply personal spectrum, with carefully sequenced percussion and haunting melodic work. The digital version includes a bonus beats club mix of Snakes, with two additional tracks from Shadows included in the LP.

Like many of his peers working in and amongst QPOC club architecture, Leonce takes personal and direct inspiration from resistance movements in contemporary America. His tracks reflect his own resistance, first weaponized for his own DJ use. There is a natural darkness to them, speaking to struggles in his own life and the constant violence against POC and queer americans. Insurgency is an artifact of symbolic black rebellion, and a sign of what's still to come for Leonce's productions.

The legendary Rewind Records has returned with a new 12" from the one known as Lord Of The D.

Limited 300 copies. 'Neumond' - 7 inch representing sound researches by Pavel Milyakov, also known as Buttechno

"Neumond" -- 7 inch representing sound researches by Pavel Milyakov, also known as Buttechno"

Composed and recorded by Pavel Milyakov
Mastered by Giuseppe Ielasi
Label artwork by Ed Emshwiller
(from the movie "Sunstone" 1979)

Basement Records subsidary label Homegrown Records released a string of Anthems back in the day, these 16 tracks set the Rave Scene alight back in 1993, all of these tunes were played by the top DJs of the time including Top Buzz, Mickey Finn, Ratty, Tango, Swan-e, Phantasy, Kenny Ken, DJ SS, Seduction, Slipmatt, Stu Allan and Keith Suckling to name but a few.

All of these releases are now extremley sought after by the old skool vinyl collectors and most are commanding high prices, for the first time the tunes are now available on CD & Digital Release as well as two triple pack Vinyl Sets for the lovers of Vinyl.

Basement Records subsidary label Homegrown Records released a string of Anthems back in the day, these 16 tracks set the Rave Scene alight back in 1993, all of these tunes were played by the top DJs of the time including Top Buzz, Mickey Finn, Ratty, Tango, Swan-e, Phantasy, Kenny Ken, DJ SS, Seduction, Slipmatt, Stu Allan and Keith Suckling to name but a few.

All of these releases are now extremley sought after by the old skool vinyl collectors and most are commanding high prices, for the first time the tunes are now available on CD & Digital Release as well as two triple pack Vinyl Sets for the lovers of Vinyl.

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Existing at the very forefront of electronic music with his intricate production style and experimental sound design, Viper Recordings' own InsideInfo has continued to leave a lasting impression on the Drum & Bass music scene since his first Viper release back in 2008.
Now bringing together a mind-blowing amalgamation of genres, sounds and vocal talent from all ends of the spectrum, InsideInfo gears up to release his hotly-anticipated debut album on Viper Recordings; the self-titled 'InsideInfo' LP.
'InsideInfo' is more than just a Drum and Bass album. Left of centre, classy, and set to brush shoulders with some of the most expertly crafted electronic LP's of recent years, this LP shows us that the talented producer is at the top of his game.
Lending their vocal talents to the album, artists from a diverse selection of backgrounds, including Bleed From Within's Scott Kennedy ('Revenants'), talented electronic vocalist Fable ('Glimpse'), MC and 'Hench Recordings' frontman Jakes ('Renegade') and one of the industry's most favoured singers Tasha Baxter ('Time Will Tell'). Fans will also recognise singer, rapper and MC Miss Trouble featuring on the 2016 hit 'Revolution'.
In true InsideInfo style, 'Navigator', 'Conformity' and 'Spychase' bring some serious bass power, while tracks such as 'Creepy' and 'Lost You' keep up the astounding level of variety throughout; from techy up-tempo bangers to moody rollers. Another highlight is the eclectic 'Num Num' where InsideInfo battles against world renowned tabla musician Aref Durvesh, who has worked with the likes of: Sting, Beck, Jose Stone, and Nitin Sawhney. Spanning a diverse spectrum of sound like never heard before, InsideInfo brings us an LP which signifies the very driving force behind the evolution of modern Drum & Bass music.

undreds of releases and countless live performances littered the path that lead to 2012's Modern Jester, artist Aaron Dilloway's last major artistic statement as a solo artist and one his most well received documents since leaving Wolf Eyes, the prolific noise troupe that Dilloway co-founded in the late 90's with musician Nate Young. Within these pieces, we find a surreal treasure hunt that helps guide us through Dilloway's obsessions, neurosis and influences while also developing a splintered maturity of someone with great complexity stumbling through a well thought out, yet totally unplanned 'long game' of an artistic career. Since then, Dilloway has been busy collaborating with the likes of Genesis Breyer P-Orridge and Jason Lescalleet, releasing various short form sketches and running his retail outpost, Hanson Records, while slowly working on his next major album, The Gag File.

Introducing itself with the cover image of a posed dummy ready for his yearbook portraiture, The Gag File pick up right where Modern Jester left off; its identity is directly tied to an absurdly uncomfortable head shot that stays permanently fixed in the listener's mind whenever the album is summoned. The opening track, 'Ghost', sets the heartbeat for the record. A rogue pulse that becomes lost in a disjointed, trapdoor loop but becomes even more unorthodox as Dilloway introduces himself through parable of jumbled, confused vocals and phrasing. Past this point, nothing in this record is typical or expected.

Sudden, crude cuts from one piece to another and psychotic jumps in fidelity make one rethink the ideas of confusion and desperation as something more abstract rather than visceral. 'Karaoke with Cal' and 'It's Not Alright' have an intoxicated sense of depression, taking in the world's problems and regurgitating them back in hopes of finding some enjoyment. That enjoyment seems to be found in the non-music aspect of side B's long form party field recording, that loops in on itself making sure you never really know when the party begins or ends, regardless of one partygoers claim.

Nods to Dilloway's recent live performances have been unusually captured as the song 'Inhuman Form Reflected' doubles as a sound portrait of the artist's internal struggle with hysteria, but suddenly breaks away from a recorded song into an accidental segue way of someone on the edge. Most hallmarks of Dilloway's signature are seemingly here but not firmly imprinted into the recording. Instead, Dilloway used his methods of vocal manipulation and frenzied reference to tell a completely foreign narrative, one that subjects himself to naked uncertainty, audible anxiety and discourse.

For Fans Of...Wolf Eyes, Nurse With Wound, The Residents, Pete Swanson, Ghédalia Tazartès, Bruce Haack

* For the first release on the Wysing Polyphonic label three-piece Ectopia have created a suite of seven new works in which intricate cello and screeching and spoken word vocals are carried along on a wave of dark electronica, taking the listener on a journey into sad acid house, scratched DVDs, lipstick clogged with rolling tobacco and hangovers with absent lovers.

* Ectopia are Adam Christensen, Jack Brennan and Viki Steiri. Previous works have included sound-tracking Jack Smith's experimental film Normal Love (1963) and Carl Theodor Dreyer's The Passion of Joan of Arc (1928). They recently played a sell-out show at London's ICA in a Wysing Polyphonic showcase that also featured xname, SIREN and N-Prolenta who made their UK live debut.

* Wysing Polyphonic has emerged from the Wysing Polyphonic music festival, now in its 8th year, which has programmed the likes of Beatric Dillon, Elaine Mitchener, Hannah Sawtell, Helena Hauff, Holly Herndon, James Holden, Karen Gwyer, Klara Lewis, Nik Colk Void and Russell Haswell, amongst many others, play at the Cambridgeshire centre.

Ruins, monuments, and ancient sites of worship are multi-sensory experiences - at once residues of the sacred, the parchment on which the passage of time has been inscribed and templates for imaginative reconstruction, spaces in which to invest and immerse, to trade your bearings for an inexhaustible state of transition.

Over the course of three albums, Steve Von Till has, under the guise of Harvestman, provided the sonic analogue, casting his net for what might have been and yet still be. Both a personal meditation and a tuning fork for the most ancient and enduring of resonances, his latest album, Music For Megaliths, further expands his journeys along the sonic ley lines that run between folk, drone, psychedelia, the 'kosmische' outposts of krautrock and noise: not as an act of eclecticism, but of divination, giving voice to an underlying continuity that binds them all.

Recorded over a period of several years in the dawn hours of creation, Music For Megaliths is an aggregation of moments and recordings that have allowed themselves to spell out a greater whole. Utilizing repetition, manipulation and modulation, it's a hallowed frequency dial that ranges across the pulse-regulated drone of The Forest Is Our Temple, revving up like a generator powered by arcane currents, the blissful gaze of Ring Of Sentinels, Sundown's ominous waves of interference and White Horse's rite of dissolution and regeneration, nomadic and devout. Music For Megaliths is a crossing over, whose multiple routes are testament to a singular and sensuously dilated vision.

Artwork hand painted by Thomas Hooper

Ruins, monuments, and ancient sites of worship are multi-sensory experiences - at once residues of the sacred, the parchment on which the passage of time has been inscribed and templates for imaginative reconstruction, spaces in which to invest and immerse, to trade your bearings for an inexhaustible state of transition.

Over the course of three albums, Steve Von Till has, under the guise of Harvestman, provided the sonic analogue, casting his net for what might have been and yet still be. Both a personal meditation and a tuning fork for the most ancient and enduring of resonances, his latest album, Music For Megaliths, further expands his journeys along the sonic ley lines that run between folk, drone, psychedelia, the 'kosmische' outposts of krautrock and noise: not as an act of eclecticism, but of divination, giving voice to an underlying continuity that binds them all.

Recorded over a period of several years in the dawn hours of creation, Music For Megaliths is an aggregation of moments and recordings that have allowed themselves to spell out a greater whole. Utilizing repetition, manipulation and modulation, it's a hallowed frequency dial that ranges across the pulse-regulated drone of The Forest Is Our Temple, revving up like a generator powered by arcane currents, the blissful gaze of Ring Of Sentinels, Sundown's ominous waves of interference and White Horse's rite of dissolution and regeneration, nomadic and devout. Music For Megaliths is a crossing over, whose multiple routes are testament to a singular and sensuously dilated vision.

Artwork hand painted by Thomas Hooper

UNKNOT is the duo consisting of producer/dj Sciahri and composer/audiohead Emanuele Porcinai. UNKNOT01 is the first release on the duo's self-titled label. The music is derived from recordings of jam sessions taken on a semi-modular set-up and later contextualized, through arrangement, within a dancefloor-oriented framework.

The core of UNKNOT's sound is strictly bound both to Sciahri's solid techno background and to the mutable character of Emanuele's electroacoustic productions. The dialogue between such distant practices and approaches, brought to an extremely restrained setup, is what defines UNKNOT's musical identity.

UNKNOT01 is a stark, angular swarm of sounds, shaped within very structured yet experimental arrangements. Each track delivers propulsive, cryptic and poignant melodies disguised in the harsh and outright aggressive rhythmical patterns.

Manchester native Earl Grey makes his debut appearance with this double A side on Inperspective Records Dark, brooding and complex, Karmic Sprain is an eery and crisp network of free beats and cognitive chords interspersed with otherworldly effects and samples. On the flip, Dorsiflexion with rolling drums, drifting synths and stuttering vibes, this track muses on climates of mystifying warmth and spectral clarity. This is the 2nd of the 'Teddy Bear' Picture Disc Series with Original photography and design by Simon Van Stipriaan.

Earl Grey's debut release on Inperspective demonstrates his skillful musicianship, masterful breakbeat technicality and delicate production. With styles flipping between drum and bass and jazz, leaving an enticing atmosphere that is impossible to draw away from.

Gato Preto's debut album - Tempo' contains everything, what is exciting about the international club-culture: rockin Favela-Funk from Rio, roaring township-grooves from South Africa and Angola's technoid electro-hybrid Kuduro. Sound creator & Gato Preto producer Lee Bass creates the basis for Femcee Gato Misteriosa and her portugese power-punchlines.No matter if in some hip electro-shed of Paris, at Zakk in Duesseldorf or on an international stage at the "Nyege Nyege"-festival located on the river Nil in Uganda - as soon as the - black cat', Gato Preto in english, comes along there is no escape.Equiped with digital effect-devices and synthesizers, supported by african drummers and dancers, Gato Preto fascinate their crowd from the beginning til the end and convince everybody around that global bass-power and progressive grooves out of the world's metropolises are un-stoppable.














- Tempo' can be seen as an invitation to escort both global-bass-travellers on an imaginary time travel into the past and to join them finding and exploring their african roots.
All songs on the album - Tempo' are composed as a 12-piece audio adventure of producer Lee Bass and Femcee Gato Misteriosa. Each song has its own story. Starting with - Moçambique' dealing with the bloody colonial history of the country. - Dia D' already has become a global dancefloor hymn and is an hommage to the track record of african pop music during the last couple of years. "Polícia' is a collaboration with Ghana-rooted rapper Delasi and critizes worldwide police violence. "Barulho" is Favela Punk and was written with global bass buddy Edu K from Brasil. The song "Pirão' searches for long forgotten traditions, cook recipies and african art of healing, interpretes those components in a modern way.
In the end Gato Preto manage the time travel - back to the future'. As open and self-confident Afro-Europeans they come back from the past to forcast new trends at the global pop sky.

The very first release from the parisian HBT. The co-founder of the french record label DEMENT3D took inspiration into ambient and techno music.

PRSPCT's new hardcore orientated imprint's third release! I:gor takes you to the core and leaves you begging for mercy.

We Release Whatever The Fuck We Want Records is delighted to announce the release of Nino Nardini's experimental/musique concrète/sci-fi masterpiece MUSIQUE POUR LE FUTUR, available for the first time since 1970 and housed in a phosphorescent glow-in-the-dark heavy cardboard sleeve from...the future!



Originally recorded for Crea Sound Ltd, a sub-label of Louis Delacour's Neuilly imprint, MUSIQUE POUR LE FUTUR finds French composer, arranger, producer, possible time traveler, and all around music library legend Nino Nardini experimenting with synthesizers, percussions, prepared piano, echo, and special effects. Fans of electronic oddities, eerie cinematic audio-landscapes, Piero Umiliani or Bernard Parmegiani will rejoice at this full-length musical adventure that could very well be the soundtrack for a film in which characters from a 70s Italian horror movie visit a distant (forbidden) planet from a 50s sci-movie. It's bizarre, hypnotizing, slightly spooky, always out-of-this-world and goddamn BRILLIANT!



Nino Nardini, also known as Georges Teperino, had a very fruitful career in library music, much like longtime collaborator Roger Roger. He composed a very large amount of works for French and British libraries which continues to be featured in numerous programs (radio, tv, films) all around the world. His passion for electronic music experimentations began in the late 60s and kept going till the 80s.



Points of interests



- For fans of musique concrète, library music, early electronic, cosmic oddities, movie soundtracks, forbidden planets, synthesizers, Bernard Parmegiani, and Bruno Spoerri.



- Nino Nardini's masterpiece MUSIQUE POUR LE FUTUR LP available for the first time on vinyl since 1970 - housed in phosphorescent glow-in-the-dark heavy cardboard sleeve.



- 13th release from We Release Whatever The Fuck We Want Records (John Carpenter's Dark Star Soundtrack, Midori Takada's Through The Looking Glass, Piero Umiliani's Tra Scienza e Fantascienza and Il Mondo Dei Romani...), label founded and curated by Olivier Ducret of Mental Groove (Miss Kittin, Brodinski, Kadebostany, Donato Dozzy...) and Stephan Armleder of Villa Magica Records (Genesis Breyer P-Orridge, Christian Marclay, Stephan Eicher, John Armleder, Sylvie Fleury...)

LIMITED PRESSING - BLUE VINYL
* Luciano Nitri has been locked away working on his debut album for Horizons Music. The sampler is a glimpse of what is to come, with 3 shining vocal tracks, each have the power to be the lead track in their own right.

* 'Circles' is funk infused bassline, coupled with Lucy Kitchen's haunting vocal this track is the perfect tease and intro for the album.

* Visonobi takes no prisoners, with his heavyweight vocals laid on a sparse Nitri beat. 'Homage' is the calling card to throw some darkness on this single.

* The final track shows Nitri's liquid flex, soft vocals the track takes us on a journey, and yes this journey for Nitri has just begun. Circles the album is out soon!

'We wanted to have our album Outer Edges remixed by a lot of very different artists. When we made the album we went as far as we could within our own confines; exploring and stretching the outer edges. That's why we didn't do any collaborations on the album. With this remix package we asked a lot of very different artists to take that material beyond our edges, into their respective domains. We are really happy that they managed to take our music into completely different dimensions, with such exciting results!' - Noisia

Dutch electronic music trio, Noisia, have revealed the remixers for their forthcoming 'Outer Edges Remixes' album. Released on 7 April, the compilation brings together remixes of last summer's 'Outer Edges' studio album from the likes of Bassnectar, Ivy Lab, Machinedrum, Amon Tobin, Camo & Krooked, Mat Zo, Dyro, The Upbeats, Mefjus, and more.

Handpicked by Nik, Martijn, and Thijs, the artists range from across the electronic music spectrum, with many of the mixes taking the original versions outside of drum & bass entirely - something Noisia were keen to achieve with this project. Some tracks from 'Outer Edges Remixes' will be released individually via DSPs and streaming services towards 7 April, and Camo & Krooked's mix of 'The Entangled' is available now. Fans can pre-order an 'Outer Edges Remixes' bundle, including CD and 320 kbps MP3s versions of the album, and a limited edition t-shirt, via https://store.visionrecordings.nl/product/vsn029-bundle/

Noisia have had nothing short of an incredible 12 months. Last summer's 'Outer Edges' album became one of the standout artist releases of 2016, earning them 3 awards at the Drum and Bass Arena Awards (Best Producer, Best Album with 'Outer Edges' & best video with 'Mantra'), 'Best Album' at the UK Drum And Bass Awards, and contributed towards them receiving the Beatport award for 'Best-Selling Drum & Bass Artist'.

While Noisia have transcended their genre and grown into a phenomenon in their own right, drum & bass is at the core of Noisia's sound, but their visceral brand of electronic music has always ventured further, and the trio have continuously pushed boundaries through their own music and via collaborations with artists like Amon Tobin. This attitude extends outside of the studio and into the curation of the Noisia Invites events and their DJ shows, where they share stages with the likes of Skrillex, Andy C, Gaslamp Killer and Chase & Status.

Apollo are proud to present a stunning new project from NYC / Berlin based artists Soundwalk Collective AKA the trio of Stephan Crasneanscki, Simone Merli and Kamran Sadeghi.
Formed in Manhattan to produce concept albums, sound installations and live performances, they create immersive audio excursions from field recordings which they gather from all over the globe - previous works have seen them collaborate with Berghain, Nan Goldin, the films of Jean-Luc Godard and Patti Smith.

For 'Before Music There Is Blood' they have collaborated with the world's most prestigious music conservatories (the Shanghai Conservatory of Music (China), The N. A. Rimsky-Korsakov Saint Petersburg State Conservatory (Russia) and the Conservatorio di Musica S. Pietro A Majella in Napoli (Italy),
They entered the hallowed courtyards, corridors and classrooms of these three academies, recorded hundreds of hours of these elite students practicing and rehearsing to the highest standards of virtuosity.
'The piece questions what is music, composition, and ultimately what is harmony,' they explain. 'It is an attempt to capture notes out of their context - bleeding into each other through the walls, windows, courtyards and alleyway of the conservatory.'
These unexpected melodies are the result of an impromptu, anarchic musical composition of all instruments, where composers, centuries and civilisations are echoing each other in one acoustic space - ghostly fragments of conversation, skittering percussive stabs, burbling synthesis, oscillating swathes of droning strings and hushed, gauzy ambiance. Max Loderbauer supplies a stunning rework that lets the sunshine into the hallowed academic halls a percolating iridescent odyssey - A fitting return to Apollo Records for Max Loderbauer who produced a series of classics for the label in the nineties as half of Sun Electric.
To give Soundwalk Collective the last word on the topic 'Our microphones wondering through the architecture were the silent spectators of the music left behind.'

Floatin Slammin Balotelli Bazooks

Basement Phil setup the Basement Record Label in 1989 from his record shop
'The Record Basement' in Reading, and sister Labels Homegrown, 4 To The Floor, Basement House, Basement Classics, Nu Basement Records, Sound Of The Underground, Juicy Choons, Spotlight, Street Beats, Precious Material, Mystic Moods, Pivotal Entertainment, Pivotal Grooves, Pristine & Street Life.
* Distibution Companies
Vinyl Distribution 1991 - 1997 & Nu Urban Music (2000 - 2012)
* Phil recorded as a solo artist and also produced projects with Jack Smooth and recently Shadow Cartel. Phil released under the names Basement Phil, Jack n Phil, Mystic Moods, Beatmen and Darkstar.
* First of eight vinyl singles taken from the limited Basement Phil 'Past, Present and Future' boxset.

Clark verschnürt auf "Death Peak" die verschiedenen Stränge seines bisherigen Outputs, wenn er die euphorischen Melodien und Rhythmen der Warehouse-Raves mit neuen Gesangs- und Chor-Arrangements verknüpft. "Death Peak" legt somit das Spannungsfeld offen, auf dem Clarks musikalisches Vokabular basiert: "Ich liebe es einfach, diesen Wendepunkt zu finden zwischen zwei Gegensätzen - die Stelle, an der es kippt. Meine Tracks sollen scharfe Zähne haben, aber man soll sie trotzdem auch noch streicheln wollen. Sie klingen klassisch, uralt, aber scheinen aus der Zukunft hierher gebeamt zu sein, sanft und doch zerstörerisch."

"1979 follow-up to his Eclipse debut, Voyage Cerebral was the second effort by french synthetist Didier Bocquet. Like the first album, it was recorded on his own private studio and self-released, this time via legendary french custom label FVLM ("Faites Le Vous-Même", meaning "Do It Yourself"). Inspired by the first wave of german kosmische sound-travellers (Klaus Schulze and Tangerine Dream and the whole Berlin School spring inmediately to mind) but retaining that typical french urgency that places it close to Heldon / Pinhas, Lard Free or even Besombes / Rizet territory. In-your-face sequenced electronic music that sounds both spacy and violent at the same time whilst keeping a certain lo-fi, self produced vibe. Recommended to fans of all things kosmische' and synth music in general."

Detroit rooted techno and ambient 3 tracker from DLS, a new project from one that always stayed anonymous in his productions over 20 years.

Forrest James Ackerman was THE ultimate American science fiction expert. He was a magazine editor (the man behind Famous Monsters Of Filmland), a science fiction writer, a literary agent (he represented authors such as Isaac Asimov, Ray Bradbury or L. Ron Hubbard, a.o.) and an avid collector of genre books and movie memorabilia.

Frank Allison Coe was a famed sound effects editor in Hollywood. Films having benefited of his experience include Monsters Crash The Pajama Party, The Girl With The Hungry Eyes, The Agony Of Love, Barn Of The Dead, a.o. In addition, he also acted as a sound editor for many movies and even composed the soundtrack on some (Blood Shack, Lila, The Wizard Of Mars).

Joining forces together, Ackerman and Coe recorded Music For Robots in 1961. One side offers the electronic sound effects by Coe, on the other Ackerman narrates the stories getting into the spoken word genre, for the joy of fans of stuff like Andromeda Strain's soundtrack or Raymond Scott, Tom Dissevelt works.

Comes in ultra cool silver foil flipback sleeve in a limited edition of 300 copies only.

Pioneers of electronic experimentation in Venezuela, Musikautomatika is one of the best kept secrets in Latin America's experimental sound scene. They were formed in the late 70s by Luis Levin, Alvise Sacchi and Stefano Gramitto, and counted on the complicity of Mirella López and Gabriela Gamboa. They issued four albums (Musikautomatika -1983, Boston Tape - 1987, Kuba - 1987 y Frecuencias en peligro de extinción - 1993), which are nowadays highly sought after pieces among collectors from all over the world. Free improvisation and cosmic electronic music defines the path this collective of sonic travellers took.'

For fans of 60s-era INA-GRM concrète, electro-acoustic free-improv ensembles, Jean-Claude Eloy, Maurizio Bianchi and even the kind of melodies Tom Dissevelt and Kid Baltan explored on Song of the Second Moon.

1983s Musikautomatika is at last available again on a gorgeous limited edition that features a booklet with plenty of photos and text written by Luis Levin plus an interview with the band made by Luis Alvarado (Cazar Truenos blogzine / BUH Records).

Mannequin Records is proud to present an archival collection from the what could be considered the genesis of Orphx's unique sound. Inspired by early industrial music and new waves of noise from Japan and Europe, the compilation is gathers together some of the best material from their first two cassette releases along with previously unreleased tracks recovered from the original 4 track tapes. TIP!

"Inhabiting this grey area between late psych efforts and early PINA (private issue new age), 1977's Pythagoron TM is an electronic oddity originally marketed as some sort of musical narcotic ( a new invention that gets you high with sound' original ads read) sold via magazines like High Times.

Shrouded by it's corporate-like design are two enigmatic side long suites of droning electronics which evoke similar autistic synth experiences like early Conrad Schnitzler, Lorq Damon, Udder Milk Decay or the whole Pascal / Narco Records output whilst recalling also more articulate efforts such as Steve Reich's early opus, Charlemagne Palestine's sinewave experiments or Eliane Radigue's synthetic bliss.

A truly bizarre artifact which was apparently the brainchild of NYC's early media art collective USCO (The Company Of Us) which already pionered inmersive sound/light environments fusing mysticism and state-of-the-art technology back in the 60's. Intriguing period piece."

Raül G. Pratginestós (Fauni Gena)

Comes in original artwork printed on silver cover in a limited edition of 500 copies only.

2 track 12"release from Silas & Snare, on new label Kaizen. Mastered At Metropolis

Graceful compositions flow throughout. Steve Hauschildt's fourth release for kranky following his Where All Is Fled full length from late summer 2015.

The songs fluctuate from the serene calm of album opener Horizon of Appearances, to the pulsing hypnosis of Ketracel, and on to searing grandeur of album closer Die in Fascination, Throughout, Steve remains restrained and in complete control of his sound.

Strands is a song cycle that is about cosmogony and creation/destruction myths. The title alludes
to the structural constitution of ropes as I wanted to approach the compositions so that they consisted of strands and fibers which form a unified whole. This was so the songs could have the appearance of
being either taut or slack without being fundamentally locked to a grid. So the sounds/tones have a
certain malleability to them and sound like they're bending through time. It's also grittier and more
distorted than my previous albums.

I wanted to try and capture that moment in nature and society where life slowly reemerges through desolation, so it has a layer of optimism looming underneath. The music represents this by seemingly decaying at times but then reforms and morphs in a fluid way back to its original state. I was also inspired by the movement of rivers, particularly their transformative aspect and how they're in a state of flux and change, in particular the Cuyahoga River in Cleveland where I live, which notoriously caught on fire thirteen times because of industrial pollution in the 1960s and before. I was very interested in the dichotomy of oil and water and the resulting, unnatural symptoms of human industry. It's a very personal record for me as it is a reflection of my hometown where I grew up and where it was mostly recorded.

The new year has already seen 3 or 4 killer Deep Distance releases, some of which have sold out -without exaggeration- in a single day. The first pressing of the fabulous new Sula Bassana LP Organ Accumulator' was one. Mainland Europe gobbling these up leaving next to none for UK stores, upon initial release in January. This repress addresses that omission and will no doubt go super quick also.
Organ Accumulator' sees a welcome return to the label for Germany's SULA BASSANA following 2015's epic Kosmonauts' double set- separated by last year's mighty Shipwrecked' full length on the bands' own Sulatron label.
Although Organ Accumulator' reveals a more relaxed side to previous output, SB still tread firmly within the revered kosmische ground of motorik grooves, ambient trance and pulsing electronics. An absolute must for all fans of Schulze, Tangerine Dream, Cluster, the Sky label and so on, not to mention latter day heroes -and previous label mates- like Panabrite, JD Emmanuel, Cosmic Ground, Expo 70 etc....
Sula Bassana is pretty much the solo outlet for Electric Moon & Zone Six's Dave Schmidt- who wrote, recorded and produced everything himself on synths, sequencers, portable keyboards, smaller organs and drum boxes etc. Lichtbuendel' was recorded almost exclusively on a Casiotone 403, via a fat effects board and guitar amp, whilst tracks like The Frogs' tips it's hat to the soundtrack work of John Carpenter and Nebelschwaden' perhaps does likewise for the early work of Vangelis...

Ambient power duo Anjou's sophomore statement continues in the vein of their 2014 debut, unfurling a full hour of mesmeric synthetic drift and veiled melodic undertow.

Comprised of Mark Nelson (of pioneering post-rock experimentalists Labradford and Pan·American) and Robert Donne (of Labradford, Aix Em Klemm, Cristal) , the group work largely in long-form suites of sound, alternately spacious and dense.

The new LP's six pieces embrace flux and ambiguity: drones swell and shudder, hushed currents of noise glitch and dissolve, atmospheres congeal and liquify. As with the participants' prior projects, Anjou evoke a shadowed, mysterious mood, variously melancholy and transcendent.

The album is an accumulation of craftsmanship and experience, blurred forms traced in light and fog.

REPRESSED !!
After 10 years of pushing the envelope of Bass music, Leeds based J.Sparrowlaunches his own record label "Navy Cut".
"Navy Cut" promises to explore new territory in Sound System music by focusing on quality releases by some of the worlds talented producers.
NC001 introduces a new project between Leo James (Ruckspin, Author, Submotion Orchestra) and Ed Gooden (Quark).
"Speak Back" the A side is very reminiscent of early "Rhythm and Sound" featuringShanee Pink on vocals.
The B side ventures into a more sound system style Steppas affair featuring moody guitar by Ed Gooden.
To finish off this debut release Egoless, one of Croatia's finest exports completely flips the A side with a lively remix.
Future releases by Navy Cut will feature music by J.Sparrow, Author, RWild and guests.

After a flurry of hugely successful guest releases on other labels over the past 12 months the Neosignal boss man returns to home turf with a single set to keep summer ravers performing double handed fist pumps high into the sky at festivals and club dance floors across the globe. Phace reinforces his trademark sound and delivers two brand new D&B belters hot off the press.

Get ready for 'So Excited' and flip side murky tech cruncher - 'Lit Up'

ZOS KIA was formed by John Gosling (MEKON), John Balance (COIL) and Min - with guest Peter 'Sleazy' Christopherson (THROBBING GRISTLE). Their one and only album, Transparent, was released August 23rd 1983 in a cassette only edition on the now defunct Nekrophile label, Austria. They were the first released recordings of both COIL and ZOS KIA. It was reissued years later by COIL (Threshold House / Eskaton) in an edited edition. The entire recordings are now released on CD/vinyl for the first time and are completely remastered from the unedited tapes. Includes two previously unreleased bonus tracks by AKE (pre-ZOS KIA).
The music on Transparent is genuinely unsettling and disturbing, with a more primal Industrial feel than the Coil album which followed, 'Scatology'. An essential insight into the very early work of these extraordinary artists and an undeniable link between Coil and Throbbing Gristle.

ZOS KIA was formed by John Gosling (MEKON), John Balance (COIL) and Min - with guest Peter 'Sleazy' Christopherson (THROBBING GRISTLE). Their one and only album, Transparent, was released August 23rd 1983 in a cassette only edition on the now defunct Nekrophile label, Austria. They were the first released recordings of both COIL and ZOS KIA. It was reissued years later by COIL (Threshold House / Eskaton) in an edited edition. The entire recordings are now released on CD/vinyl for the first time and are completely remastered from the unedited tapes. Includes two previously unreleased bonus tracks by AKE (pre-ZOS KIA).
The music on Transparent is genuinely unsettling and disturbing, with a more primal Industrial feel than the Coil album which followed, 'Scatology'. An essential insight into the very early work of these extraordinary artists and an undeniable link between Coil and Throbbing Gristle.

Lost Archives Special Vinyl Part I/V 'The Rhythm' feature Yamaoka, Skudge, Museum, and Jasper wolff

"A CELEBRATION OF 5 YEARS INDIGO ÆRA"

Over the course of the past five years, Amsterdam based label Indigo Aera has evolved in to one of the most trustworthy and respected contemporary Detroit techno labels around.

Apart from new music that's mostly analog based and highly energetic, head honchos Maarten Mittendorff en Jasper Wolff decent to the vaults of early day, soul-searching techno regularly, digging up forgotten gems to re-issue them with modern quality standards. Esteemed artists like Stephen Brown, Skudge, Steve Rachmad, Antigone, Louis Haiman and Kirk DeGiorgio all contributed to Indigo Aera, and there's more to come.

The Lost Archives Special consists of unreleased tracks from absolute legends, to music that has never been released in a physical form before, to fresh compositions of techno's most talented contemporary artists.

Horse Follows Darkness is the second record by Delia Gonzalez, her follow up to the album In Remembrance'.

The title is taken from a werewolf genre film her 8 year old son Wolfgang had created. At this time, Wolfgang also turned Delia onto a genre of cinema she had always resisted - the American Western.

Delia explains that what she observed was all relevant - the album is based on our personal experience of moving back to America (from Berlin) and the journey that followed. The record is a manifestation of that, and what one creates for themselves under the given circumstances. Coming back to America, I felt like a foreigner and NYC / America felt like the Wild West. Most Westerns from the 1960s to the present have revisionist themes. Many were made by emerging major filmmakers who saw the Western as an opportunity to expand their criticism of American society and values into
a new genre.'

The narrative of the record is one of re-encountering the frontier mentality that shaped the country but somehow never faded. This time as a foreigner. The genre of the Western remains pertinent, many of the same stories of that brutally deromanticised era are still relevant today. America hasn't changed - the cast, times and settings have, but we still hold onto the same ideal.

Horse Follows Darkness is essentially a modern electronic soundtrack for the Revisionist Western. Even the idea for the record cover is inspired by one of the most well known modern Westerns, Robert Altman's McCabe & Mrs Miller.

The album was recorded with Abe Seiferth at Transmitter Park studios, which Delia likens to going to the finest tailor'. Abe became an integral part of the recording, playing guitar and helping to suggest experimenting with different synthesizers, something Delia was keen to do. Delia refers to Abe as a magical and incredibly intuitive collaborator' regarding the sound of the record.

The music that emerged from these recording sessions combines a range of influences - from the compositions of Erik Satie to 'Salon De Musique', the solo piano record by Su Tissue (of the L.A. punk band Suburban Lawns). The record also took on a much different shape and sound with the introduction of the Sequential Circuits Prophet VS, as well as a vintage Korg Poly synth and the Roland SH-101. The golden era Krautrock recordings of bands like Neu!, Cluster & Harmonia were touchstones as well, the repetition, swirling soundscapes and locked-in rhythm tracks.

Over the last few years, Jimmy Billingham has delivered all manner of intergalactic explorations under the HOLOVR alias, releasing via such labels as Opal Tapes, Firecracker and Further. Now he brings his unique brand of semi-improvised, melody-driven bliss to Happy Skull for the first their first release of 2017.

HOLOVR productions variously echo the timeless feel of vintage ambient, 90's intelligent techno and mind-altering electronica, whilst remaining a truly unique proposition. This mixture of influences, ideas and sounds can be heard across the two tracks that make up HAPSKL012.

A-side "Melody 4 Your Mind" is a pure endorphin rush: a densely textured pulp of deep space chords, pitched vocal samples and fractured, post electro rhythms. On the flip you'll find the more forthright "You Belong 2", an undulating, constantly mutating epic that alternates between glacial, otherworldly beauty and psychedelic intensity. This is emotive, melancholic music for bleak times.

Jean-Michel Blais' 2016 debut album 'Il' (released 2016) landed on Time Magazine's Top Ten Albums Of 2016, debuting at #1 in the Classical Billboard Chart (Canada) and long-listed for a Polaris Music Prize.
CFCF was recently profiled in The New York Times and nominated for a 2016 Grammy Award for his remix of Max Richter's 'Berlin by Overnight'.
CFCF production credits and official remixes include How To Dress Well, Max Richter, Health, Crystal Castles.
What they're saying about Jean-Michel Blais and CFCF:
(CFCF's) own records are stunningly variegated... His influences are both esoteric and familiar. (His arrangements are) not designed to add danceability and bombast, but arranged to coax out emotional qualities... (His) songs are both breezy and cinematic' - The New York Times
Jean-Michel Blais strings together stunning improvisations and composed pieces that harken back to Chopin, Satie, and modern minimalists like Harold Budd... The music breathes, and it invites you to take a moment and recognize there's still plenty of beauty left in the world.' - Time Magazine
CFCF transcends such influences and the tags associated with high and low art, and instead seeks a true synthesis of all those silky textures' - NPR
Simply put, (Jean-Michel Blais') 'Il' is a masterpiece.' - Exclaim
(Jean-Michel Blais' 'Il' is) a succinct collection of minimal piano compositions that runs the gamut of human emotions: hope, sadness, joy and fear' - Noisey
sparse, windswept... like all of CFCF's music, it is exquisite in its details' - Pitchfork

Based in California, Banana Stand Sound has been wrecking expectations and setting forth new musical streams consistently for two years now. Its discography is a diverse display of tribal stompers, melodic groove spectacles and everything in between, which excites the label's unarguably exquisite taste. Over the years they've gained steady advocacy from institutions such as FatKidOnFire and TRUSIK among others, as well as by a long list of highly esteemed DJ's and producers from the likes of J:Kenzo, Benga, Compa, Skream and Joe Nice. Undoubtedly true to their promise of delivering bass, the fifth instalment of their series is another stellar foray into uncharted territory of musical expression. Residing in the realms of global bass music, the imprint has released music originating from USA, Canada, Japan and lastly UK. As the catalogue number dictates, the record is featuring five producers, all aligned in their sense for pushing musical boundaries. The resulting lunacy deserves to be heard by connoisseurs around the world.

2015 liquid. Real music for real spaces.
Shouts 2 P. Santo

FAV004 is finally upon us and it comes courtesy of L.A based Cheyne Taylor Bush A.K.A Tetrad who has been on fire recently, fresh off the back of an inspired and well received ZamZam release last year. Here he is joined by brother Dillon Bush A.K.A Ahkur on opener "Ashes Fall", a seriously dark piece of music and possibly Tetrads heaviest production to date. An eerie intro with a haunting vocal sample drop into an assault of pure dubstep pressure which is sure to ignite dance floors the world over.
Flip side "Crumble" is a more stripped back affair with a nod to the classic sounds of dub with its delayed snares, skanks and FX. What really sets this tune apart though is the overwhelming power of the sub, with a weight-line so devastating it could crumble cities let alone the dance!Here brothers Tetrad and Ahkur have succeeded in providing an outstanding plate, absolutely brimming with sound system material in its purest form. Essential.

Wilkinson smashes down the barriers of Drum'n'Bass with 'Hypnotic', fusing the genre he grew up listening to with pop sensibilities that appeal to a global audience, whilst experimenting with different tempos and genres. Always keen to champion new rising talent, Wilkinson has teamed up with some of dance music's rising stars including Shannon Saunders, Matt Wills and Karen Harding and established talent in the form of Wretch 32. Hailed as one of the brightest stars in dance music, 'Hypnotic' follows Wilkinson's debut album Lazers Not Included.

LP price is due to it being a 4 piece vinyl in slip case box. limited to 1000 copies

stamped whitelabel in stamped die-cut cardboard cover, including no less then twenty locked groove loops

Cubicolor present their debut album - 'BRAINSUGAR' - to be released on Anjunadeep ("One of the hottest electronic labels in the world" - Hype Machine). Cubicolor have emerged as one of the most exciting acts to come through the European underground in recent times. Championed by Pete Tong as one of his artists to watch, praised by Mixmag, Spin, Clash, and DJ Mag, and supported by a host of heavyweight DJs, Cubicolor look set to break through with their anticipated debut LP.
The striking and alternative sound developed across a string of
acclaimed EPs on Anjunadeep and a remix for Howling (Âme's Frank Wiedemann & Ry X) on Monkeytown Records has found it's way into maby A List DJ sets including Sasha, George Fitzgerald, Kölsch and Joris Voorn Launched in 2014 with 2 members, Dutch producers Ariaan Olieroock and Peter Kriek, Cubicolor now welcome British vocalist and former Duologue frontman Tim Digby-Bell following much loved collabs. In his
time with Duologue, Tim produced, co-wrote and sang on tracks
acclaimed by the likes of The Guardian, NME, and The Line Of Best Fit. On 'Brainsugar' we hear an evolution in Cubicolor's sound across a host of diverse and infectious tracks. Beautiful songwriting with brilliantly cohesive clarity, echoing their influences, Radiohead, Massive Attack and Moderat to name a few. Tim's lyrical depth and haunting vocal style shine throughout.

FKA twigs re-issues her debut release, 'EP1'. Originally released in December 2012, the incredibly rare EP was previously only available as a (long sold out) limited edition vinyl release, accompanied by a video for each song created by FKA twigs and Grace Ladoja. 'EP1' was the start of FKA twigs' incredible journey as a musician and performer.
Since its release the London-based singer, songwriter, producer, director and dancer has produced a series of highly-acclaimed works, including the follow up 'EP2', her Mercury Prize-nominated debut album 'LP1', the five song 'M3LL155X' EP and accompanying film and the recently-premiered 'Soundtrack 7' and 'Baltimore Dance Project' films.
In addition, FKA twigs has directed, soundtracked and starred in campaigns for the likes of Google Glass and Calvin Klein.

We're back again with Russian Artist, Module One. At just 22 years-old he's already had a stack of releases including an ambient album on Detroit Underground. 'Hometown' was written in the depths of Russia in a place called Novocherkassk, whose industrial cityscapes made a great impact on the overall sound of the album. Most of the tracks were written in a few takes. Most notably, the track 'Innermost Self' is a dedication to Module One's grandma who passed away a short time ago. Due to a tragic sequence of events, he was unable to see her before she fell into a coma. The track is overloaded with tension and fear as well as stark anxiety. Vinyl tastes better...

Hailing from the Ruhr Area in Germany, the Homewreckers have a long history to look back on. Numerous projects have involved the three band members Johannes Ehmann, Gregor Pottmeier and Krischan Wesenberg in the past 20 years always meandering between the realms of Jazz, Blues, Soul, House and Techno. Between the profound bags of DJs and the shelves of audiophile heads. Their unique sound spans from deep dancefloor oriented electronic music to film soundtracks that, amongst others, underlined the infamous productions of the artist Harun Farocki. Confusion EP is an excerpt of their upcoming album 'Machine Kiss' that sums up six years of research and work and melts the influence of more than 25 years of knowledge onto one record.

remixed by Wadadda, Karl Marx Stadt, LXC & Alex Cerb- Metamorphosis - Kick The Flame - golded marbled 12"

The fourth release on Bjarki and Johnny Chrome Silver's bbbbbb Records, comes hot on the heels of the first. Two and three are limited run, vinyl only, hand stamped releases to be sought out from your local dealer.
Bjarki returns as Cucumb45 with the 5-track EP 'Something Weirdcore'. On the surface there are elements of jungle, breakbeat, techno and rave, but to say this spans genres would be an understatement - it defies them.
The title track instantly commands attention with breaks samples offset against indecipherable robotic groans and melancholic chords, but a sudden change of drum pattern shows this is more than a reprieve of known territory - it's a voyage away from the limits of tempo and genre.
This theme is explored throughout the EP by way of unnerving stripped back techno (Akureyri), electro with subtle inflections of dancehall (Comatack) and even a big beat/dub influenced jam (Music for Advertising). As Cucumb45 plays with genres as we know them, so he does with the emotional resonance of the release. Frequently switching from euphoric to anxious, each track is a testament to his incredible attention to detail. Simply put, this is music for those who hate to be labelled.

DJ Bone is Differ-Ent.

But then again, he always has been. A pioneer DJ and producer hailing from Detroit, whose technical skills are perhaps only equalled by the upper echelons of the city's most advanced techno trailblazers, he's nonetheless forged a path only of his own. Eschewing commercial expectations, scene pressures and anything other than his own exquisite taste, Bone has earned a vital, dedicated audience while remaining comfortably and individually underground.

Despite his stellar reputation, Bone's recent studio activities have steered him towards a new, altogether more personal direction. In late 2015, Differ-Ent's arrival on Don't Be Afraid with the 'Differ-Ent(Hrall)' EP paved the way for its follow-up, 'M.O.M.:' both were forceful slabs of psychedelic outsider techno, with the latter taking on a tangible emotional resonance as it honoured the memory of Bone's late mother. 'M.O.M.' quickly became one of the label's best celebrated and widely played releases. Bone, typically self-sufficient and known to turn down remixes for huge clubbing brands, was impressed by the Bristol label's honesty and persistence. As he continued to rock parties internationally, Bone set to work on an LP embracing his deeper, darker and more cerebral side.

Not that 'It's Good To Be Differ-Ent has found Bone veering away from the dancefloor. "It's like, the natural vibe for me is always going to be funky", admits Bone. "It's going to swing, it's going to have that element of soul. But the Differ-Ent vibe is almost angrier. Determined, perhaps is a better word. I would typically just go to the studio when I had an idea. To the point where I say, 'OK, I'm going to do something, I'm going to make it happen.' But the process for Differ-Ent...it's kinda methodical. It's borderline predictable. But the thing that makes it Different is that it could go any which way at any given time. And it can be harder edged usually, or it can go in a soundtrack direction."

Film plays a significant influence on the landscape of Differ-Ent, with the record's more melodic flourishes sometimes designed to evoke the doubtlessly imaginative chase sequences swimming around Bone's mind. If Bone's usual movements are 'Do The Right Thing', his Spike Lee joint, then in his own words, 'It's Good To Be Differ-Ent' is his tribute to Paul Verhoven's 'RoboCop'.

"The only way I think the album evolved differently was the electro stuff", recalls Bone. "I was excited about that. Because that was a different type of electro as well. It wasn't a normal, 80s funk kinda electro. It completely separates you. It's still for the dancefloor, but it's almost as if it shakes you to dance, rather than coaxes you."

'It's Good To Be Differ-Ent' certainly feels powerful, mastering a mix of Drexicyan tones and drums that align more with a newer wave of house and techno experimentalists. Many of these, from Hodge to Ø/Phase, have been an influence on Differ-Ent, all sharing what Bone describes as a unique affinity with "creepy shit." It's his thunderous, occasionally paranoid but overwhelmingly positive contribution to a forward thinking European scene he has come to relate to on a par with his native Detroit.

Much of ''It's Good To Be Differ-Ent' has been inspired by Bone's frustration. Frustration with the modern political system as well as the creative conservatism of his own scene. In the studio, he has created a unique riposte. But the commercial pressure Bone has always avoided is only growing stronger. Is it harder than ever to be truly different

"It's harder for the majority of people", observes Bone. "For me, it's really easy. I've been preparing myself for this for years."

this acr 3004 will be released in december 2015 through toolbox and suburbantrash, on black stamped whitelabel in stamped die-cut cardboard cover, including no less then eighteen locked groove loops

Antimatter's third release is a new project by F-on & Bule, dedicated to slow drone techno with field recordings and other 4x4 experiments.

Foreboding title, foreboding sounds. Berlin's redoubtable Oliver Deutschmann joins the Hotflush roster with "In The Moment of Death We Have No Regret'. 3 club-ready weapons, one blissed-out ambient cut. Do we really need to describe them in flowery prose No. Just listen and play. Loud.

2nd album by Russia's Pavel Dovgal on Berlin's Project: Mooncircle label after collabo EPs with Ta-Ku and Krts. Featuring L.A. rapper Blu, Starving Yet Full (ex-vocalist from Azari III) Mujuice, Graciela Maria and Mitia Dedoni!The Aura' and the belief in it can be found in almost all cultures in one form or another. Often signifying fields of energy and spirituality, an aura is a luminous radiational halo surrounding a person or object. It is said that all objects and all living things manifest such an aura. In other respects the aura has also been described as a map of the thoughts and feelings surrounding a person.Pieced together from sounds and samples from all over the globe, the album's aim is to charge listeners with harmony and a feeling of connectedness to the world. Reflecting on his own attitude towards life and the importance of inner balance, Pavel attempts to share some of the spiritual experiences he made while traveling.The lengthy process of creation included numerous reworks of each track and intensive listening sessions in order to keep the balance between the essential details and those that are redundant to the album's atmosphere.The album includes collaborations with old friends like Mujuice, Graciela Maria as well as some newly added artists - L.A. rapper BLU, Starving Yet Full - ex-vocalist from Azari III and Mitia Dedoni, who created the haunting album cover.The Aura' comes out worldwide on limited grey-marbled vinyl (including download code).

* Haunter Records' 2017 kicks off with two new displays of aural expansion by longtime members of the Milan-based crew. Twin singles from Weightausend and Petit Singe that also mark the label's first ventures into 7" format. Through heavy use of darkened breakbeats and angular dynamics, each of the two producers sets out to have their unique sonic approach ring on throughout the sprawl.

Hazina Francia AKA Petit Singe returns to give a sign of what's to come in the very near future. Her transdimentional approach is always prone to punctuate the spiritually intense quality of her taste for melody with heavy barrages of drums organized into hard-hitting grooves. Each of the two tracks manages to balance in her world of feral beauty, pummeling the dancefloor while also dragging into psychedelic stupor.

black 12inch vinyl with stamped labels in stamped innersleeve

Who Whom is a new label from Paul Rose. The artists are various, the sound particular.
The first 12' comprises tracks by Isaac Reuben, Bleak, Markus Suckut and Antonio Ruscito, and is titled 'Curse of Sherwood'.

After three years punctuated by dodgy, European football streams and failing equipment, Bandshell's back In his public skin...

Just in time for the Australian Summer, Sydney's indie-electronic-popettes, Convaire bring the first and title tune from their highly anticipated debut EP, The New You