Beats News

Gareth Dickson is ghost like. From the dark outskirts of Glasgow he has sent three studio studio albums in to the world - Collected Recordings (2009), The Dance (2010) and Quite A Way Away (2012). These albums have bewitched a growing inner circle, including some of the most innovative musicians around today - Juana Molina and Vashti Bunyan to name just two. Gareth has been the only constant member of Vashti's touring outfit over the past ten years and latterly they have stripped down to a duet on their worldwide travels. Vashti indeed makes a spectral apparition on the first track of Gareth's new album Orwell Court.

Gareth Dickson's music is both beautiful and dark. A quiet Scottish melancholy underpinned by a grace and ethereal purity paired with a unique impression where the delicacy of Nick Drake mixes with the openness and space Brian Eno. Gareth's music is often stripped down to the spare elements of voice and acoustic guitar, but a complex and mysterious music hides beneath the surface, demanding but generous and surprising. Clearly picking up where his previous albums left off, Gareth throws in a few surprises. Gleaned from his time spent touring and experimenting between albums the addition of a drum kit, some keyboards and guest vocalists enrich the palette. But fear not, these elements, while previously unheard of in his music, are approached with the subtlety that his listeners expect. They are a texture that adds dimension throughout the album. The hush is still there in its most genuine form.
In the image of it's author, on the brink of falling in to juvenile delinquency, Gareth took a straighter path and ended up on the university trampoline team while studying aerospace engineering. Now he spends his days eating vegan barbecue, knows how to choose a good lawyer, and sports his normcore t-shirts on the tennis courts of Glasgow's Southside. At night he presses his red Doc Martens a little harder on the accelerator of his Rover 75 on highways where they drive on the left. Everything is only a pretext to fuel his visceral need of creation, as attested by his superglued nails cared for as extensions of his guitar. Accuracy and uniqueness are at the heart of his artistic process. He establishes a relationship to time outwith the current mad and superficial pace of our own. His music is a form of modern classicism, by a man constantly aware that perfection lies shrouded in mists of uncertainty and ambiguity. It is above all a question of obsession and atmosphere. And it is a waveringly sublime cover of this Joy Division title that closes Orwell Court. Past revisited, and behind that, transcendence.

This release sees Mark Archer raiding the Altern8 vaults to find previously unreleased material he produced in 1992 under his DJ Nex moniker, and pairing it with a new track he's written specially for the release. Limited to only 500 copies on vinyl - not available on any other format.

Biog: Mark Archer crashed into the UK charts in 1991 with Altern8's hardcore anthems Infiltrate 202 and Activ-8 (Come With Me). Since then he released further hits both in the clubs and in the charts (both as one half of Altern8 and in his later projects like Slo Moshun), put out a genuinely solid rave full-length in 'Full On... Mask Hysteria', masterminded some ridiculous press campaigns, and donned the now-iconic RAF chemical warfare suits and dust mask for Altern8's performances. Recently, Archer's music was back in the UK charts, hitting #33 off the back of a campaign to get Altern8's Activ-8 to Christmas number one. He's recently released on Balkan Vinyl and Substance Audio, headlined Moondance Festival this year, DJed at Bestival and other festivals, and sold out shows in the UK and abroad.

With the inception of Ish Chat Music, and two greatly-received EP releases in 2016, SpectraSoul kick off 2017 with yet another diverse and well tailored extended player. The 'Second Chance' EP is drenched in their musically rich, trademark sound, and once again showcases the duos ability to turn their hand to a multitude of Drum & Bass styles.

"2016 was a big year for us and we were so happy to get Ish Chat Music off the ground, and to see it garner such a positive reaction. To kick off the new year, we've put together a third EP. In-keeping with our working ethos, we've kept it diverse, with the 4 tracks straddling 4 different pillars of our sound. We've got plenty of music stockpiled and ready for release in 2017, and we're looking forward to getting it out there" - SpectraSoul, 2017.

Early DJ support from Friction, Marky, Calibre, Alix Perez, dBridge, LSB, Skeptical, Noisia, Goldie, Mefjus, Lenzman, Technimatic, Kasra.

A/T/O/S 1st album brought shows supporting Tricky (AB Brussels), Melanie De Biasio (Prague), LIVE at London's famous Jazz Cafe, Notting Hill Arts Club, Worldwide Festival, Electric Brixton, Pukkelpop and many more venues & countries across EU & UK. The 2nd album "Outboxed", due for vinyl release on 17th February 2017 has support from Mary Anne Hobbs, Worldwide Radio, Red Bull Elektropedia, Radio Brussels etc + many tour dates already in the calendar.

With its non-placed devices and hard-to-pin-down aesthetic falling between electronic and psychedelic music and the warm-hued sounds of traditional acoustic instruments, Burnt Friedman's Zokuhen ('second edition'), produced exclusively for vinyl, may be considered an extension (or second instalment) of Bokoboko (non33, released in February 2012). On this new double EP, too, the music focuses on uneven rhythms that dictate the groove for all the participating musical elements and display a formal logic to which all the instruments gladly succumb. With its even rhythm and proximity to dub reggae, the track 'Kon Ki (C2)' shows that exceptions from the rule are permitted among the six new tracks and two re-worked Bokoboko themes that round off this follow-up.

Here it is! Future Beat Alliance's legendary Hidden Emotion album!
Originally pressed back in 1997, but just some few white label promos were made and it was never given a full proper release. This is a real timeless UK underground treasure featuring 9 absolutely stunning productions, all filled with warm emotions from the beginning to end.

Beat smiths Hydro, War & Mateba grace Warm Communications for their debut on the label. It's the perfect 12", (in our humble opinion) that rides the line between the rough & the smooth. "Clair Obscur" pours out ominous pads alongside rolling breaks with all the subtle switch ups we love. It morphs and twists from the dark into lighter territory then back to the bleak. "Nostalgia" is a lush roller mixed with live bass(by Mateba) and beautiful, shimmering keys. We hope you all enjoy.

On his thrilling, wide-eyed debut for Rabit's Halcyon Veil, London-based IVVVO gets deep under the hood of rave music's emotive mechanics and reasserts his crucial role in the borderland between lonely bedrooms and heaving clubs.
Good, Bad, Baby, Horny is a distressing but necessary distillation of contemporary worries in the bedroom and the dance. Largely shy of beats but heavy on symbolic, contorted references to '90s and '00s pop, rave, and video games, as much as the current ecology of effluent news feeds and rampant social anxiety, it plays out like a frazzled AI attempting to parse the confusion of memory thru state of infinitely up-to-the-second hyperreality.
Its four tracks fuse visceral and highly visual sonic cues in synaesthetic rushes that mirror our sense of physicality within the framework of daily digital experience, somehow isolating the motion sick feeling of hurtling toward a shared endgame with life flashing before our eyes, whilst simultaneously remaining static at the centre of a rave and resisting the perceived tempo of reality.
Scaling from the intensely queasy sensuality of the title track's gasps and deathly synth drop, thru the the sky-kissing guitar licks off Self Rape, to the frozen Eski shoegaze burn of I Fucked It Up and an elusive glimpse of ecstasy in Tongue Kiss Crying, the mood is perpetually high-strung yet melancholic, violent yet compassionate, perhaps best considered in terms of MDMA as a bitter salt or prism for reflective, therapeutic purposes.
It's definitely Ivo Pacheco's strongest work yet, and a hugely timely dispatch from one of rave's visionary contemporary se'ers.

Jex Opolis presents "Ravines," a nine-track collection of music for all seasons. The record is a hopeful exploration of melody and atmosphere, and the title is a nod Jex's childhood expeditions in the woods of rural Canada. Coming on Good Timin' in April 2017.

Overlooking the Aegean Sea, facing breathtaking sunsets, set in an island of unique beauty, Pathos Lounge Bar, in Ios, is a blessed venue carrying all these elements that provide an unforgettable experience. Perfection to the slightest detail, highlighting all that Greece can provide to the summer thirsty visitor. Elegant premises, imaginative Greek cuisine with products from top notch producers from all over the country, a wine list with the leading labels from the country's pioneer chateaus and a cocktail list that can please even the most demanding taste. But what can give the magic touch to blend everything together is the music. And Pathos can be proud for providing the exact tune that every moment needs. From Dousk's cinematic The Place' that can accompany a drink by the swimming pool and Puccini's Nessun Dorma' that will follow the sun's dive into the Aegean Sea, to Nhar's mix on Lee Burton's You 've Got Me' that will make the bodies start moving and engage in a never ending party with Rennie Foster's Heart Shaped Shadow". Pathos Essential Dreams is just the beginning of a unique and beautiful musical trip in the heart of the Aegean Sea. During the summer of 2016 the decks of Pathos Lounge Bar will host some of the world's leading dj's alongside its resident for this year, straight from Buddha Bar Dubai, Glass Coffee. Surrender to the pleasures of nature, embrace the sea, the sun, the wind and relax with a soothing drink against the backdrop of the Aegean. In other words WELCOME TO PATHOS

In the early 1980s, Ahmed Malek was already in his 50s , when he discovered synthesizers and electronic music for himself and started to experiment with sounds. The result was a mixture of ambient synth music, field recordings he made in Cuba and a wide variation of different sound experiments that he also presented as different avanguarde music festivals in Cuba and the US. None of it was ever released but we got a huge box of master tapes from his family and we're happy to present this different side of Ahmed Malek's music. It was compiled and co-produced by Flako, a fan of early electronic and synth music. This is not a remix album though, Flako's aim was to create an album out of 2 hours of material that sounds like it might have if Mr. Malek would have finished it himself before of his death. Fully approved and licensed from the artists family.

The album comes with an informative booklet with liner notes, an interview with Flako regarding his approach towards the production and unseen photos. We will also release a third album by Ahmed Malek which will be more in the vein again of the music he is known for and this album will also be previously unreleased.

Arnold Dreyblatt has been called "the most rock 'n' roll of all the composers to emerge from New York's downtown scene in the 1970s." Dreyblatt founded The Orchestra Of Excited Strings in 1979, harnessing unusual tuning intervals to an exuberant performance style. Propellers In Love, the Orchestra's second album - originally released in 1986 on the Stasch imprint, in conjunction with the contemporary art space Künstlerhaus Bethanien - develops Dreyblatt's rhythmically exacting exploration of the glittering resonances and overtones generated by an ensemble of uniquely-altered stringed instruments and drums.

On Propellers In Love, simple song titles - "Odd & Even," "Harmonics," "Bowing" - belie intricate harmonic structures. Dreyblatt's modified instruments - a contrabass and miniature piano fitted with piano wire along with violin, all tuned in just intonation - undergo the Orchestra's rapid, staccato attacks. Sparkling timbres dance above interlocking rhythmic patterns moored by sparse yet propulsive percussion ("Pedal Tone Dance" and the title track). Throughout, the Orchestra's perpetual motion achieves a tremulous and exquisite density.

Thirty years since its initial release, Propellers In Love remains a peerless work of second-generation American minimalism. This first-time domestic release is recommended for fans of Glenn Branca, Ellen Fullman and Charlemagne Palestine.

After ending 2016 with a host of end of year list mentions, Timedance returns for its first record of 2017. Label boss Batu takes the reigns to present three shapeshifting beat experiments, packed full of twists and turns. 'Murmur' is focussed around a single stuttering beat pattern, played across multiple instruments. After its initial stark drop the track evolves into a more measured form, whilst still ramping up its mind-mashing dancefloor purpose.Groundwork expands on the theme of subtle, but effective grooviness. Synth lines rise into bursts of spacious noise, ascending into the stratosphere before being clamped back onto the tenacious but constantly developing rhythm. 'Whisper' concludes the EP with giant throbs of sub and woozy but visceral pads; fading into a sea of reverb and modulation. It ends a release full of unpredictable and striking moments that have become synonymous with the label.

Oh my, what is this The alien globule of Damaged Bug's errant planet has circled the sun and is re-entering our orbit where last year's Cold Hot Plumbs left off. Urgent falsetto morbidities detail this most rhythmically adventurous offering yet: Bunker Funk — syncopating lush landscapes with moon-shot death rays.

Witness in horror the tractor beam pull of Slay The Priest' — a breathless sprint through unfamiliar enemy territory — erratic laser beam synths dredge the lake, hard panned double drums resurrect dead heartbeats: load thy crossbow, friend, this night is long and we appear beset on all sides. The Bug is back and more hideous than ever — join us as we gawp at its iridescent shell, its alien mandibles... and the guts streaming from the wound.

Please take a moment to realize that when you're reading this you are inevitably closer to your death than when you started. Immortality is Signal Life lynchpin Desto's first outing in over three years. Instead of disappearing, he took the hiatus in the limelight, producing the Finnish album chart topping, yet non-compromising rap album for cult rapper Eevil Stöö, headlining festival season main stages and clubs across Finland. At the same time he has vigorously curated the bi-weekly Signal Life radio show, which works as a an incubating hub for up and coming artists from the brinks of bass-fueled what-do-you-call-it protogenres around the globe. But the Immortality EP sees the re-emergence of the original alias, Desto. The EP is built around the 160bpm mark founded on the stark aesthetics of footwork paired with Desto's signature pitch-dark brooding melodies. Opener Flames and title track Immortality expand furthest from the footwork realm towards a wider field of electronic music. Pulse Cathedral, a track that started from a late night session at Jamie Woon's crib in 2013, continues the percussive explosions of footwork with staggering syncopation, and serves as an antithesis for the footwork jungle appropriation of recent years. The fully Chicago drum programming and the apparent lack of jungle breaks (albeit a clear presence of jungle feel) combines the energy of both genres without falling victim to cheap imitations. The abundance of other influences includes the west-coast-meets-early-DMZ vibes of Do I Look Like I Give A Shit and the underground Memphis beats glint on 504 Gateway Timeout. Shackleton claimed that death is not final, but Desto is taking his moment to remind make most of what time you have as it is limited.

REPRESSED !!
Die Tödliche Doris was born out of West Berlin's lively post-punk community in the early '80s. Along with Einstürzende Neubauten, Malaria, Sprung Aus Den Wolken and Frieder Butzmann, Die Tödliche Doris ranks amongst the Geniale Dilletanten - which roughly translates as "ingenious dilettantes" - who sought to democratize cultural productions beyond the grip of both Western capitalism and GDR socialism. The Geniale Dilletanten became synonymous with a free-for-all approach to music, film, painting and performance where participants encouraged raw expression through provocation and experimentation.

Wolfgang Müller and Nikolaus Utermöhlen founded Die Tödliche Doris in 1980, presenting the public persona of Doris as a constantly shifting entity that deliberately engaged the contradictions of the human condition. The band often referenced themselves in the third person singular, alluding to Doris as a fully-formed female character with explosive, colorful emotions.

For her debut album - originally released on Zickzack in 1982 and playfully titled " " (that is, blank space surrounded by quotation marks) - Doris most closely entertains the notion of a typical rock band with drums, bass and guitar. Produced by Neubauten's Blixa Bargeld, the thirteen songs presented here are disquieting lullabies of profound anxiety, savage and primitive deconstructions of German polka and manic lacerations of punk minimalism: all reflections of the many and fractured personalities of Doris.

This first-time vinyl reissue includes a reproduction of the original 24-page booklet. Limited edition of 500 numbered copies on clear vinyl.

REPRESSED !!
Comprised of Bristol based sound artists Adam Winchester and Christopher Jarman,
Dot Product comes to light in a swathe of noise, tone and texture.

Through years of research and experimentation the duo have sought to explore the creative potential from the inaudible fog of electromagnetic radiation, the internal resonance found in the negative space of an object, the circuitry of discarded electronics, and other such less-travelled paths of sound generation. In harnessing these clandestine sonics and bringing them within a listenable range, the resulting collages of sound have been shaped into a form that nods to the legacy of uncompromising British experimental electronic music, from early industrial savagery to bass-heavy soundsystem pressure. Such reference points are abstract though, for within the truly unique array of sources at their disposal, Winchester and Jarman have a new dialect in which to communicate.

Crucially, while there may be a scientific approach at the heart of the Dot Productmethodology, the results are far from clinical. There are subversive rhythms aplenty throughout the album, from the jagged ripples of 'Skafander' to the slow, dread-fuelled march of 'Springs'. There is also space for touches of melody; 'Atmosphere Processor' swoons with blue-hued melancholy, while 'Ice Patches' stalks on an ominous bass mantra.

After sharing the initial results of their research, the pair performed select live shows in Bristol and London, as well as being commissioned to create a sonic interpretation of Swedish horror film Let The Right One In. This debut album on Osiris is the culmination of these initial steps, these 9 tracks representing the most complete document of the Dot Product sound to no repress

PTP is proud to present the debut album by Eaves, entitled Verloren-the first release inits post-Purple Tape Pedigreeincarnation. With the combination of his academic history in architecture and long-time interest in the internet both being inextricable from his music-making, this album sees the Brooklyn-based producer placing a lens to the relationship we have with digital environments -operating in the uncanny valley in which we seem to find ourselves. Using last year's GORILLA as a conceptual and sonic blueprint, Verloren, or lost' in German, progresses from the former's four movements and examines our role as a detached audience on a macro level. These 16 tracks continue to explore the relationship between sound and physical structure. This time, Eaves drifts through fictional representations of our world in the future, finding that our present day seems to mimic them. Verloren exists in a liminal zone, where the screen tears and everything is greyed-out and blurry. Although there is a sense of fleeting chaos throughout, each track seems to sonically map out a landscape within this cataclysmic sphere as Eaves travels across it. Ruin, memory, and the role speculative projections play in the way we interact with these concepts is central to Verloren, as is attempting to understand how we process all of this emotionally. Strings and synths swell over ominous beats, mysterious human-like sounds are buried under layers of sonic bombardments. Eaves also interprets Verloren as a warning - if reality mimics our ominous, fictional projections of the future, it's clear that our current systems aren't resisting as much as they should be, orperhaps we will always follow the fictions we create.

The return of one of the weirdest producers out there, sometimes known as DJ Yo Yo Dieting, sometimes known as Indignant Senility, this time deploying a set of syruppy chopped & screwed productions that sound something like DJ Screw processed thru guitar pedals or Lil Ugly Mane heard booming from the next block. This is basically the most satisfying out-there mixtape of the year...

Incorrigible noise mutant Pat Maher buries chopped 'n screwed hip hop in proper, cranky noise on the long awaited follow-up to his Bubblethug album as Expressway Yo-Yo Dieting. Imagine a DJ Screw tape covered in gravy, left to bake in the sun and then kneaded thru guitar pedals and you've got some taste of the chewy, thuggish ruggish gear on this killer dish.

While Maher may be as well known for his fractal techno as Diamond Catalog or his smeared 78 sessions in The Caretaker-esque Indignant Senility project, it was under the Expressway Yo-Yo Dieting alias that he first really got under the skin of popular consciousness, bubbling up alongside Lil B's seminal Rain In England on Weird Forest Records c. 2010 to ruggedly reset American hip hop from oblique, avant new perspectives.

Aside from a few mixtapes, Undone Harmony Following is the project's first appearance since then and picks up exactly where he left us, huffing up classic and little known hip hop joints and spitting them out as hazy, masticated globules of gristle and noise perfect for the muggiest, blunted listening sessions.

They're like the sonic equivalent of a noise weirdo idly doodling graf sigils in a battered sketchbook for his own gratitude, and thankfully Undone Harmony Following allows everyone else to peer over his shoulder see what he's scribbling, 13 raw, oozing cuts of slurred vocals and distended grooves that sag over the belt line, dripping rivulets of grease and grit, and always appearing to be on the brink of lethargic collapse.

Its ultimate value lies in that heavy-lidded space between woke and fugged-out dream lyf, and in the way which Maher drags the listener into his uniquely suspended, effected temporality that makes this record almost dangerously, druggily seductive and as vital as it gets right now...

After studying with composers John Cage and Earle Brown, Joe Jones became a prominent figure in Fluxus, contributing to the movement's first "yearbox" alongside La Monte Young, György Ligeti and Nam June Paik. Beginning in late 1961, Jones began constructing his own music machines - drawing inspiration from the calliopes, automata and orchestrions of the 19th and early 20th century to create self-playing ensembles of stringed instruments, percussion and woodwinds - "played" through an elaborate (yet decidedly lo-tech) system of rubber bands, balls and tin foil.

Christened the Tone Deaf Music Company, this battery of automated musical instruments generates the sounds on In Performance (originally released in 1977 on the Harlequin Art imprint). With exacting conceptual precision and varied subtleties of natural motion - not unlike Harry Bertoia's sounding sculptures - Jones' machines produce richly-textured strata of sound and serve as engines of paradox. While bringing the figure of the artist-composer to the foreground, the machines ultimately dispense with the need for the performer entirely - a cunning subversion of the fetish for virtuosity and individual genius.

For his second album, Two Solo Pieces, Jon Gibson forgoes the dense, multi-layered timbres of Visitations in favor of simple textures and tone. While Two Solo Pieces serves up further evidence of Gibson's centrality to American minimalism - witness its inclusion in Alan Licht's famed Minimal Top Ten list - this profoundly intimate record also reveals the beauty of enclosed spaces and infinite harmonic vistas.

As its unadorned title suggests, Two Solo Pieces consists of a pair of side-long tracks featuring the composer alone. While "Cycles," an iridescent improvisation on organ, achieves a downright eerie sense of expansiveness, Gibson's captivating alto flute on "Untitled" draws the listener inside the instrument itself.

The photo on the album's back cover - a seated Gibson surrounded by cascading rows of organ pipes and the vaulted ceiling in Manhattan's Peace Church - offers a striking visual complement to these gorgeous recordings.

Originally released in 1977 on Philip Glass' Chatham Square imprint, this first-time vinyl reissue is recommended for fans of Anthony Moore, Roberto Cacciapaglia and Terry Riley.

On May 23, 2016, Jon Mueller played four drums for over six hours in the Meeting House at the Shaker Historical Society in Albany, NY. Engineer Fred Weaver traveled by truck from Pennsylvania, hauling and then constructing a complete mobile recording studio to record the drums and the intense acoustics of the room by placing microphones throughout the space. dHrAaNwDn (read as 'hand drawn') offers a partial document of this session, featuring various long-form pieces from the day.

With dHrAaNwDn, Mueller, who has spent a great deal of his drumming career building a discography and performance reputation around ecstatic repetitive rhythms, brought a nearly impossible energy unheard in his previous work. In fact, two of Mueller's earlier recordings, The Whole (Type Recordings, UK, 2010) and Alphabet of Movements (Type Recordings, UK, 2011) both pointed toward the Shakers. However, these were merely sketches compared to the severity found within dHrAaNwDn. As stark as these performances are, there is something in the patterns and acoustics, something in the feel and transmission of the sound that might have only been possible to occur in this room.

The origins of Le Forte Four are those of the Los Angeles Free Music Society itself. Chip Chapman joined forces with Rick Potts (and shortly thereafter Tom and Joe Potts), taking up the LAFMS name in 1974. Ultimately baptizing themselves Le Forte Four, they began threading imagined lines between John Cage and The Residents, Cecil Taylor and Henry Cow - generating sounds completely unlike any of these and anything since.

The inaugural release on the eponymous LAFMS imprint with only 200 copies pressed originally, Bikini Tennis Shoes is a staggering piece of anti-music that remains as refreshingly ground-clearing today as it was when it first appeared in 1975. Its 40 minutes (parceled out across nearly as many tracks) chart forays into free improvisation, Buchla misuse, filtered noise, begrudging and damaged melodic sorties (from the Star-Spangled Banner to Stravinsky's "The Rite of Spring") and healthy doses of basement pablum.

Le Forte Four emerged out of the lethargic American '70s as a locus where, in their own words, "gamelans and ragas merged with serial and chance compositions finally melting together with instructional records and Beatles bootlegs." A wildly eclectic rummaging of postwar culture and 20th century sound, Le Forte Four's Bikini Tennis Shoes preempts punk's outsider ethos and DIY autodidactism.

Lone Piñon is an acoustic trio from New Mexico whose music celebrates their region's cultural roots. Using violin, accordion, guitar, guitarrón, upright bass and harmony vocals in Spanish, English, and Nahuatl, the group has revived and updated the Chicano string band style that once flourished in New Mexico, bringing a devoted and explosive musicianship to Northern New Mexican polkas and chotes, virtuosic Mexican huapango and son calentano, and classic borderlands conjunto.

The musical landscape of New Mexico, like its culture, is beautiful and complicated. Lone Piñon is the first of their generation of musicians to embrace the full scope of that complexity. Onstage, they cluster around a single microphone and play with a fiery intensity, moving seamlessly through several dozen of the dance forms that resonate in their home state. The result is a new sound, rooted in a deep respect for the past and undeniably alive.

Lone Piñon is easily the best band in New Mexico right now. They have tapped into an almost forgotten vein of rich Chicano folk music, learning from some of the great elders of the tradition like Antonia Apodaca and revitalizing the Southwestern string trio with a wonderful virtuosity.

- Jeremy Barnes (A Hawk And A Hacksaw, Neutral Milk Hotel, New Mexico native)

For more than 20 year Eblis Alvarez (Meridian Brothers), Mario Galeano (Frente Cumbiero, Ondatropica) and Pedro Ojeda (Romperayo, Sidestepper) have been exposed to latinamerican tropical types of music that for many years (and still these days) have been relegated to the last place of good taste. Vallenato, peruvian chicha, colombian raspa, champeta, some african sounds and cumbia in its different genres (sabanera, rabajada, sonidera) make part of the new style that Los Piranas expose in the agitated Colombian music scene.

Originally inspired by the Elbee Bad question, 'Why not just dance through life' Matias Aguayo pursued the question leading him to this radical dancing Spirit, El Rudo del House: an imaginary creature who manifests speaking to you with a pitched-down voice and producing heavy house rhythms that are engineered to directly trigger the movement of different body parts (body mechanics).  El Rudo teaches that you should confront every situation with dance, and apply this approach into your everyday life: When we dance we can become other beings, switch our species... Turn into little nervous, jittering muppets or clumsy giants.

Ltd single-sided 180g 12" Vinyl. If you have heard Kahn & Neek's Fabric mix you will know this tune. It started appearing in their sets early this year and brings a level of darkness to Charlie P's vocal pitching it down to about 3 semitones away from hell. Combined with JD's deep instrumental it becomes a melancholic masterpiece. Catch the limited onesided press before it vanishes.

Man haette die Platte auch >Melancholie der Seligen< nennen koennen, wenn der Titel nicht schon von Rainald Goetz besetzt waere. So finden wir hier zwei autarke Stuecke vor die gleichsam diabolischen Ursprungs sind und vielleicht die Frage beantworten können, ob ein Leben im Vakuum tatsaechlich moeglich ist oder ob das Reale einfach nur nicht mehr greifbar ist. Entscheidet selbst!

Nach ihrem ersten generationsübergreifenden Zusammenarbeit, "Late Night Endless" (2015), begeben sich die beiden Protagonisten zu spannenden, neuen Soundexkursionen in eine Vielzahl von Subgenres wie nervösem Funk, Industrial-Drone, Jungle-Rave, Cosmic (zu gesprochenen Weisheiten von Dub-Meister Lee "Scratch" Perry), furiosem Synth-Grime und trägem Breakbeat (im Cover von Ryuichi Sakamotos "Merry Christmas Mr. Lawrence"). Neben Lee Perry begrüssen Sherwood & Pinch auf "Man Vs. Sofa" weitere illustre Gäste wie Martin Duffy (Primal Scream), Taz (Dizzee Rascal) und Skip McDonald (Sugarhill Gang, Tackhead, Little Axe).

Teklife Records are ready to drop their third release: New Start by Taso. The 7 track LP features collaborations with DJ Rashad & DJ Spinn, Gant-Man, DJ Tre, DJ Manny, DJ Taye and DJ Earl. New Start follows on from a highly coveted vinyl edition, critical acclaim and strong DJ Support for Open Your Eyes by DJ Earl. Once again, the spirit of collaboration is a key element: Teklife is a closely connected group of friends, working together harmoniously, and pushing each other to greater heights and depths through a shared love of footwork music. Smoke Dat Green, Taso's collaboration with DJ Earl, was featured on Open Your Eyes, and now Taso himself takes centre stage for the next instalment, presenting unreleased classics alongside brand new footwork sounds. An accomplished DJ and MC, Taso frequently appears alongside Spinn at Teklife showcases all over the world. But despite a busy touring schedule, Taso never stops making beats. A multi-instrumentalist with a degree in audio engineering, Taso fuses raw musical talent with technical expertise. Since January this year, he has released an impressive 8 volumes of the Cold Heat EP series, bringing together a whole range of musical styles and moods through his MPC at 160 BPM. This versatility and willingness to draw inspiration from different sources is evident throughout the New Start LP. The title track is sultry and soulful, with Rashad and Spinn's masterful influence clearly present. Don't Get Mad provides a stark contrast: a dancefloor-orientated hype track featuring an on point vocal by Gant-Man. Bussin featuring DJ Manny and DJ Tre sounds like a love letter from footwork to jungle music. Over on the flip side, we start off with AM Track: another beautifully crafted classic featuring DJ Rashad and Dj Spinn. In the Green Room featuring Dj Taye is a muscular, speaker-rattling West Coast jam, and Murda Bass takes its cue from golden era UK Dubstep. The heavily - filtered final notes of De Capo Al Coda featuring DJ Earl round off a diverse but consistently high quality outing from Taso and the Teklife family. Message from Taso: Thank you and much respect for supporting Teklife music. Without you there is no us. This record is dedicated to DJ Rashad and his family.'

Originally self-released in 1961 and later issued by Folkways, Tod Dockstader's Eight Electronic Pieces is a foundational document of American electronic music and a stunning first work from this revolutionary composer.

Refused access to the resources and funding of the academy and without any interest from the record industry, Dockstader assembled his debut album through three years of his own private labor - recording after-hours at the New York radio station where he worked. Dockstader's approach was informed by the laboratory experiments of his European contemporaries Edgar Varèse and Pierre Schaefer as well as by the aleatory compositional techniques and neo-dadaist aesthetics of John Cage.

While Dockstader famously described his music as "organized sound," Eight Electronic Pieces is not pure musique concrète. Oscillators pulse and clash with fragments of incidental tape music, leaving collages of sound as tuneful and memorable as they are otherworldly. A visionary debut that presages the abstract ambience of modern IDM and an essential addition to any collection of early electronic music.

Finnish multimedia artist Jan Anderzén returns to Alter in characteristically singular style under his Tomutonttu guise. Kevätjuhla (translated as "Spring Celebration") is his second release for the label following a split 7" with Oneohtrix Point Never in 2010 (ALT02) and his first vinyl long player since 2011. Lately Jan has been busy within visual art, making mosaics, quilts and creating installation work for which the music of Kevätjuhla was initially composed. Inspired by the multitudes of mold and the microbial life, the installation Kevätjuhla was built as a listening station that sought a bond between sound, the earth and organic matter. Sound was sent to speakers through cables sprouting like stems from a pile of dirt with a single coleus growing on top. A graphic score of sticks, orange peel and party debris was hung next to the installation. The score is now visualised on the albums cover, rightly depicting the visual aesthetic of Tomutonttu.

In many ways Kevätjuhla is a landmark release for Anderzén as it sees both his visual and sonic practices coalescing as one. As for Tomutonttu specifically, it is a release that both acknowledges the projects past whilst also looking firmly to the future. Electronic and acoustic instrumentation blends together confidently and more refined than before with a minimal and razor sharp approach to production. Each track becoming an integral part of the records' trippy cut & paste narrative, leaving the listener wholly unaware when one bit ends and another begins. Despite the abstract way in which Anderzén composes, this is still music which has a pop sensibility placed fully at its core. A confounding array of musical references such as folk, hip-hop and the colourful nexus of Yellow Magic Orchestra could be thrown up here, but with Kevätjuhla Anderzén has ultimately created a form of music that goes beyond genre classification and fully into the realm of 'other'.

The brainchild of visual artist Jordan Belson and electronics polymath Henry Jacobs, the Vortex Experiments ran from 1957 to 1960, first at San Francisco's Morrison Planetarium and later at the SF Museum of Art. The very name of these events announced their aim: a swirling totality of sensory experience. Around Belson's richly-colored visuals - making use of the planetarium's entire dome and featuring luminous, sharply geometric imagery projected through an array of devices - Jacobs ringed a system of roughly 40 multidirectional loudspeakers, each of which could be precisely controlled to produce, in the words of one reviewer, "a living theater of sound and light."

A landmark recording in the history of electronic tape music and an engrossing artifact of proto-psychedelia, Highlights Of Vortex gathers recordings designed for the Vortex system by Jacobs and collaborators David Talcott, William Loughborough and Gordon Longfellow. Source material including free improvisation, field recording, classical Indian instrumentation, West African polyrhythms and musique concrète is transmogrified through tape manipulation, atomizing swathes of reverb and delay, and other live and recorded effects, making dramatic use of the monumental Vortex soundsystem.

An unprecedented marriage of image and sound, Vortex Experiments exercised immeasurable impact on the imagination and practice of countless experimental visual and sonic artists so this album is a must for fans of such visionaries as Stan Brakhage, Tony Conrad and Jack Smith.

* Circular Ruins is the project of Netherlands-born, Berlin-based musician and visual artist Marijn Degenaar (b. 1987), whose "arcane, wistful and wishful ambient soundscaping" have been described as embodying "electronic music's potential for optimistic, dreamlike qualities" (Boomkat).

* 'The Thorned Maze' is a different, darker and more cerebral beast; one where the dreamy optimism is often interrupted by dissonant, atonal clusters rattling textures and rhythms that suggest subterranean infestations. The name Circular Ruins suggests the cyclical nature of being and time and the atmosphere of his most cohesive release to date suggests a period of existential exploration; Touching on something eternal, conjuring images of fallen idols and ruined civilisations - past and present; an astral free-float through imagined eras and landscapes, as well as a hazy reflection on the cracked mirrors of the now and even hints at the inner turmoil of a cyberpunk dystopia.

* Cooper Bowman is a Melbourne-based visual and sound artist working in the margins of the Australian experimental and electronic scene.

* Following shows in Berlin, Warsaw and Helsinki, Bowman swiftly recorded and assembled Isle Of Isms, a suite of short vignettes forming a cohesive whole.

* Made with minimal equipment (tape loops, synthesizer + effects) and recorded directly to tape, 'Isle Of Isms' is largely informed by the processes associated with early Kraut electronics and musique concre`te. This release hints at the mystery of improvisation, wherein Bowman allows for chance-based encounters with sound, forgoing the stricter templates of his other projects.

* Jonathan Baruc, in the guise of Death Qualia, makes his burnt offering to the undead rave with 'Intention Versus'. The architecture of longing styled by the black hand beyond. The record leaps from tectonics to tenderness as it meditates on the violence of creation, reincarnation and rebirth. Cascades of sheetrock peel away to reveal a private bardo. Though a student of technical finesse, Baruc drives listeners to examine their inner mythology and confront the golems they have raised. He does not speak of another world ... his is a journey in intensity.

repressed !!

superwitziges nu jazz cover !!!

UK based producer Dez Williams on the new Cologne based label ParallelX with a five track EP ranging from Electro, Techno and Wave to Drone Ambient.

'Heart' is visual artist Jesse Kanda's first musical release. 'OK, here is my humble attempt to try and put these songs in context .. to reflect and describe what they mean to me : 'Axolotl' is like a chant for giving it your best try. 'Womb' is maybe like the moment you're out and you hear the world unmuffled. 'Wings' is like a conversation .. maybe with yourself, maybe between two aspects of you, or with another spirit. 'Feline' is sensual like a courtship. 'Heart' is losing someone you love and your self. And on the sound of these melodies : My work might sometimes be coated with a layer of sharp pain like a blade to the eye or ears. But at the heart of it is always love, compassion, empathy. I think this coating is created to protect itself, like the walls of a womb, or armour. the same way that what's within us can protect itself and can be hard to crack. It's kinda in my nature to always try and turn this stuff inside out and expose it. Each of the songs on this EP have this quality. The melodies are treated to cut you like a serrated knife. But hopefully they are beautiful enough that you'd want to listen anyway. Thank you.'

Pomperipossa Records, curated by Anna von Hausswolff, is delighted to announce the forthcoming release of the first album by drøne. Field recordings, short wave radio, modular synth all combine to form an enticing, arresting, moving journey of electrically-charged dissonance, drones and electronic melodies..., Anna calls it "a jewel". "A very hot day in the hills above Los Angeles..., only possible to work in the mornings because of the sweltering afternoon heat, so all a bit frantic, but with a kink in time. There is no wifi-controlled air conditioning, the car is electric-powered and charging up. It has barely rained for months, (if not years) and the hoses are working overtime. Its an analogue session, Mark's modular synth set up is working furiously and overheating. We are pushing sounds through and seeing what works..., and things gradually take shape. The forms seem to determine themselves, how much control do we have How much do we want Some peculiar things start to happen and the haze bends. Some of the sounds seem alive and are quick to reform as we struggle to contain them, like trying to stuff snakes into a bag. The sounds moan and sing, forming their own phonemes. A new language is being born, are we the midwives"

Jay Haze is back with a new single from his forthcoming album entitled "Rain Drops and Birds" out in late Feb. 2017 we added a bonus song entitled "a delicate life" , available only right here. A1. "Recurring Melody" feat. Hoffmann Ensemble Along with a rolling beat 'Recurring Melody' defines distances. Synths appear close next to you and then subtly disappear back into space. The violins of the Hoffmann Ensemble lose their distance with a direct tone, recorded right from the fabric of the instrument. Everything feels right, but also in flux. A2. "Hurt" feat. Robert Owens Absorbing the moment is the best way to finding peace with the moment. A peak into a sorrowful yet hopeful mind, carefully approaching you with a backdrop of Dub. Heavy synths just glide away, as if they stand for issues being resolved. Layers of vocals sung by Robert Owens lead the path until the conflict is no longer. B1. "A Delicate Life" feat. Mo Here's one to take a nice deep breath to. From Mo's unique improvisations of his self invented "Mulutar" emerges a cluster of harmonic and melodic beauty. The sounds evolve as focus drifts into each element of the track, held together by a steady beat and bass line, this is sure to keep your feet glued to the floor while the rest of you is free to do as you will..

Das britische Produzentenduo Letherette veröffentlicht sein lang erwartetes zweites Album auf Ninja Tune!
Das britische Produzentenduo Letherette veröffentlicht Ende November sein zweites Album "Last Night On The Planet" auf CD & Vinyl via Ninja Tune. Zehn Songs, die die volle Bandbreite zwischen Hip Hop, 80er R&B und straighten House bis hin zu deepen Downtempo-Momenten abdeckt. Neben Stones Throw's Pyramid Vritra finden sich auf dem Album auch Rap-Features von Rejjie Snow und Ubiquity Records' Jed & Luca.CD im Digipack, Die Erstauflage erscheint als gelbes 180g Vinyl inklusive - Downloadcode.

We first spotted Noumen in 2012 and alongside Cygnus was one of the first to be asked to join CPU. Over 4 years later he finally delivers an EP and LP that is a true labour of love. Abstract electronics of the highest quality. It's IDM, but with that essential hip hop influence making it immeasurably more addictive and pleasing. With plenty of melody and swing layered over intricate rhythm programming, it leaves listeners stunned.

White Silence is taken from the forthcoming album Apeiron. Remaining 3 tracks are exclusive to this EP.

P Jam is one the of founding pioneers of Grime, and also was a part of north London's infamous outfit Dice Recordings, which boast label mates Skepta, and Big Narstie. P Jam has had production/features from Grime A listers such as, Wretch 32, Jme, Kano, D Double E and former label mates Big Narstie and Skepta to name a few. Now he's back with his third instalment on Hardrive. Pepper Pot is a Grime Dancehall infused track. It has a feel like P Jam took himself to King Jammy's studio and turned out this absolute banger. Already getting a lot of pirate and underground club rotation. P jam called upon Champion for this combination for track entitled Chalice, which leans more towards the studio one sound, and also reminiscent of the early days of DMZ & FWD. Theses tracks getting played by Four Tet, Zed Bias, Terror Danjah, Slimzee & Spooky.

With eight EP releases spanning almost two years to date, our Project Mohawk concept finally reaches its conclusion with Part 9, and as with the music that has gone before, we look to push the boundaries beyond those looking for something to pigeon hole.

Owneath is a rare talent, plain and simple. In a scene that is famous for unearthing some of the best producers that can cut across definitions and genres, we have no doubt that he'll go on to make a significant impact. Drawing on clear influences from the likes of Sunchase and Martyn to name but two, expect the unexpected is our main piece of advice as he twists the sonic landscape to and fro with a collection of tracks par excellence.

With extensive support from the likes of Noisia, Om Unit, Mikal, John Rolodex and many more, this truly is a fitting end to the Project Mohawk journey.

Dismiss any preconceptions and enjoy.

Meet Thorsteinssøn. The Iceland-born-Denmark-bred Gunnar Thor Viggosson better known as one half of 76-79 with Tommy Vicari Jnr and bossman at Comfortable Records and Vanity. Right now, though, we're calling him the man behind the first Pets artist album this year... Deliciously cosmic and cheerily schizophrenic, 'Academy Of Heroes' is inspired by a brilliant creative project Thorsteinssøn practiced during his years living in Amsterdam: Solar Industry Radio. A project that would begin with a made up artist or band name in styles ranging from cosmic funk,scandinavien disco to noise collages of the galaxies. A joyously backwards project that inspired a rich rainbow of styles, the content was then represented 24/7 online, collaged with strange jingles and sifi snippets. Genius. Returning to those creations, Thorsteinssøn and Pets have weaved together a full album that cherry picks from his thunderous proliferation: from the strutting west coast deep house of '1976' to the introverted electro boogie of 'N M T F R' by way of the poignant chords of 'Untitled Disco Six', the wry acid wriggles of 'Channel DISQ' and the Trans Am twinkles of 'Beneath A Steel Sky', the 14 collection acts as an immersive, timeless collage. A smorgasbord of synthetic exploration, rich in sci-fi, space and robotic sympathy, pieced together with the same spirit of his cult radio transmissions, it works just as well on the cans as it does in the dance... And it's en route with an equally alluring package of remixes. An album, a radio show for freaks or simply a journey into Thorsteinssøns world.. Whatever... He really is a creative maverick. !

Blood Rite's A-Side comes in the form of two fast-paced tracks pulling guidance from juke, footwork and beyond. The opening bars kick-start with Blood Rite's aggressive rolling drums, all complimented with a jazzy trumpet call sitting comfortably atop of complex patterns. Huzzahh is equal parts high energy and smooth, with a keys led groove that is easy on the ears and takes listeners on a four minute journey through Classic Coke's influences.

Flip the 12" onto GTi006's B-Side and the pace slows with the vocals of Days 2 Weeks overdubbing a glitchy juke base. The multiple layers add the signature G10 rawness and depth to the third track from the EP. The final roller, B. Tru, is a twisted edit of an instantly recognisable 80s singalong combined with dancefloor ready drum snares. Blood Rite is a four-track dose of screwed vocal loop rounds and powerful BPM measures.

The second album for Anna von Hausswolff's label, Pomperipossa Records, by Mark Van Hoen & Mike Harding. Also featuring Anna von Hausswolff, Philip Jeck, Bethan Kellough, Charlie Campagna, Paul Haslinger, Marie Takahashi and Oleg Belyaev. Limited to 500 copies.

oleg belyaev - baroque 'cello charlie campagna - 'cello paul haslinger - piano phiip jeck - pulse bethan kellough - violin, viola marie takahashi - baroque viola anna von hausswolff - voices

baritone guitar & cymbals dulcimer & psaltery field recordings lorenz cipher machine 1877 henry willis organ (union chapel) short wave

Label debut from Always Human Tapes artist suspends his homemade house & techno dioms in liquid, allowing them to distill and disintegrate of their own volition. In the vein of Proibito, Actress, FXHE.

Debut record from Group Zero (Cathal Cully - Girls Names). Using synthesizers and drum machines, 'Structures And Lights' glistens with subtle Euro sophistication - pairing cold-wave optimism alongside freaky and brutal tracks for the more open-minded DJs and dancefloors. Written, recorded and mixed intermittently over four years, the narrative of 'Structures And Light' is bound by a deepening connection with electronics, instrumentation, and the studio. With no imminent touring schedule or release deadlines, Cully built a modest home setup and began producing on his own again - It was as an exercise in my own development and it was fun. It brought the naivety and spontaneity back to making music'. Initially, it was for his personal consumption alone - selfishly indulgent. In fact, this first collection of Group Zero music - along with a library of other ideas and sketches - was thought to be eternally lost and all but forgotten until a chance conversation with Touch Sensitive led to the tracks being salvaged and subsequently restored. The genesis of this newly discovered musical freedom coincided with a viewing of 'Pyramid of Light' by Heinz Mack from the post-war Dusseldorf based Group Zero art movement which resonated deeply. It stirred up questions and emotions which I could not get from a book or a screen. It was the direct relation between me, the light and the physical object hanging on the wall. New moments of beauty locked in the memory. I was in awe.' Cully was also taking influence from a range of contemporary electronic producers - on labels such as LIES, Diagonal, Optimo Music, Blackest Ever Black, and PAN: These records felt as much in keeping with post-punk traditions and my own DIY background whilst tapping into the primitive ideas of masters such as Cluster, Suicide, Malaria! and the proto-techno of pre-club music.' Just as a structure obscures or reflects light furnishing us with new ways of seeing, the propulsive rhythms in 'Structures And Light' reveal subtle differences on each repeated cycle. This is music to go away from and travel to. Here's a record from a Belfast bedroom that sounds nothing like the city, past or present. It's made with synths and drum machines, and it glistens with subtle Euro sophistication. Day breaks: dig those fast linear movements and rhythms ('The Fantasist'). Then fall for the unexpected guitar line in 'Pursuit', a gentle kind of cold wave optimism. Night heals: there's 'pummelling repetition' here too, for the club freaks or shut-ins. Slow, industrial shocks that give way to 'Pyramid of Light's stark new-age burst. It's a record for the present - full of gorgeous themes that dream unwired.'

Few artists have the ability to totally seduce over a few spins like Italy's Herva. What may seem messy at first listen starts to fall into sharper definition and 'Hyper Flux' makes a very strong case for being his most seductive and mature record yet. The album has dismantled the broken beats of his early records and drifts, dives and shivers, its beats blended into the haze, everything approached from unusual angles with none of the music sounding entirely digital as it smudges between manipulated live instrumentation and field recordings coupled with synthesis and space - there's a warm heart at the centre of this music. Of making the album he says I challenged myself to play real instruments. I have a lot of guitars and weird acoustic instruments at my home and also my Dad's. He's primarily a guitarist and an inventor of instruments, so I have lots of those. Anyway I'm not a pro but I'm able to play drums quite well and I'm not that bad on guitars and bass too, but the weirdo instruments are the best, you are even more free to reinvent how to play them since no one else knows how to.' The deep ambience of the albums opener 'Esotic Energy' melts into the shivering 4/4 pulses of 'Jitter'. 'Nasty MF' pits a sludgy house beat against rough vocal samples whose aggression is disarmed by bell-like melodies, matching one earthiness for another. 'Rule The Sun' melts pattering drums and distorted chords with distant piano, while 'Multicone' takes things down with relaxing undulating chords and clicks and cuts. The centrepiece of the album is the space cruise of 'Lly Spirals' which sounds like early 80s boogie blasted into the stratosphere. Things start to get weird with 'Solar Xub's drifting jazz, punctuated with scratchy beats and noise. 'Cops Twerk' is a rattling piece of uptempo techno with flickering rave chords and a vocal that sounds like police radio whereas 'Peach' is a bristling piece of ambient house, all reverbed hits and reversed stabs over a scuttling broken drum kit. 'Dedicated' featuring the vocals of Mar G. balances loose chords and a reversed break against her plaintive, striking vocal. Hyper Flux finishes the way it started, with the distorted chords of 'Zykmed', echoing dust and hiss played out over a gentle nostalgic melody.

Swindle is a multi instrumentalist, producer and DJ from London. He has self released his music as far back as 2006, and featured in many projects between then and his debut album that came via Mala's Deep Medi in 2013. 'Long Live The Jazz' established Swindle on the global circuit as a DJ and Live Act. The follow up 'Peace Love & Music' in 2015 documented his global travel from London to LA, Cape Town to Tokyo and Shanghai to Glasgow. Featuring TC, Flowdan, Terri Walker and more, it landed with rave reviews, and the breakout track 'Mad Ting' feat JME became his most successful song to date. The spirit of this continues with Swindle's next project 'A Trilogy In Funk'. Three EPs, showing three sides to his tastes and talents. Part One is three tracks recorded while in Sao Paolo, Brazil with local musicians while on tour in September. Part Two is inspired by his roots in the London Grime scene, collaborating with veteran MCs D Double E and Ghetts. Part Three is something that his followers have long waited for, a straight up P-Funk project, recorded in LA. Across the three projects, they encompass styles that you normally couldn't pin to one artist, but Swindle's unmistakable energy powers through all of them. As always, he backs his musical depth with strong visuals, documenting the process of how these records came together, giving an insight into his process from the studio to the release. 2016 has seen him continue touring his live band across festivals like Glastonbury, Love Supreme, Boomtown and Shambala, while DJing alongside his Butterz label mates at their fabric residency in London and beyond.

Handnummerierte 7Inch inkl. Booklet! Hoert auf zu atmen! Wer auftauchen will, der muss den Grund gesehen haben. Anscheinend einsam, doch gleichsam wuerdevoll begleiten wir dich auf der Reise. Zwei Wege stehen offen zu wahr, zu schoen. Lass uns gemeinsam wachsen. Roll on. Auf ein Wiedersehen!

* Lettera 22 is a creature of the worldwide noise underground. Composed of Second Sleep founder Matteo Castro (also known as Kam Hassah, Endless Sea and Mercury Hall) and Riccardo Mazza (recently responsible for a technoid outing on Ideal Recordings as RM), the duo has set to make use of sonic slag and explore polluted aural ambiences in their own personal way from day one.

* Their sound-sculpting techniques incorporates direct physical interaction with tape recorders and contact mics as well as digital effects and field recordings. Their main focus though, is the constant construction and deconstruction of a virtual space for sounds to interact in, manipulating reverb in a way as akin to musique concrete as to freakish dub-wise abstractions. Control The Ground is their first release for Haunter Records, recorded in the summer of 2015, inspired by war bulletins, radio transmissions and ghost stations

Clear Vinyl

Finland-based Samuel van Dijk is an electronic music producer, sound designer and media artist, having released electronic music under a variety of projects, namely, Mohlao and VC-118A. Following on from 2015's highly praised album quadrailogy, Multicast Dynamics releases his new "Continental Ruins" LP on Denovali Records. Inspired by decayed infrastructure, Samuel van Dijk reveals his sound documentary about sunken cities and continents, landslides and islands. A study on storytelling with sound, where electronic music acts as a verb, moved by images and narratives.

- Continental Ruins LP is a journey through washed out, blurred particles, gliding across the ungraspable seafog of the atlantic, transforming the visible into sound. The murky and desolated atmosphere throughout the tracks reflects an forgotten utopia of places that were once populated. Unfolding fallen structures, immersing into the elusive, submerged land, searching for signs of life in the lost memories of faded civilizations, Multicast Dynamics explores ultrasonic underwater communication, decodes messages and browses through the archive of the past.

Written and produced with analogue synthesizers, arcane effect units and manipulated field-recordings, finally sequenced with the computer and mixed using temperamental analogue mixers. "Continental Ruins" LP is a slow horizontal panning, gliding through frames of sounds, creating textures and layers with unobtrusive rhythms. Samuel van Dijk delivers a calm and organic sound journey, resting on gloomy swirls and hidden artefacts. Artwork by T. van Dijk.

For its first vinyl album Cosmic Bridge celebrates the diversity and strength of its international roster with a selection of 12 tracks from the celebrated Cosmology digital compilation series, which earned a DJ Mag compilation of the year shortlist in 2014.

Cosmology Selections is one for the label's ardent followers with some of the best loved tracks from the series being pressed to vinyl — across three 12's — for the first time. Making the cut are label mainstays Danny Scrilla, Moresounds, Kromestar, and Om Unit who each contribute distinct takes on the dubwise fusion of old and new that has been the hallmark of Cosmic Bridge. Newer additions are also represented with DJ Madd and Jay Spaker's uplifting roller 'After Dark', J Kenzo's furious 'Skatta VIP', and TMSV's oppressive 'Send Them Come'. Rounding things off are four collaborations between label head Om Unit and Moresounds ('Nuff Music'), Fracture ('Chatting Breeze'), Distance ('Half The Battle'), and Kromestar ('Solar Cycle (Melody Mix)') that take in everything from lurking eyes-down riddim to breezy footwork and sweeping sci-fi meditation.

Cosmology Selections represents over five years of forward movement at the edges of electronic dance music, shining a light into the darkness for those who would follow. This selection represents some of the best of our bunch,' says Jim Coles, aka Om Unit. It's one for our fans, without whom we have nothing to talk about.'

Breakage begins 2017 with Elmhurst Dub b/w Anymore, two tracks that make up the first release on his new label 'Index'.

Index also operates as a club concept where Breakage curates events with artists from the electronic music genre.

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."

Cryptically poetic and hypnagogic lower case electronics from Belgian musician and visual artist Gerard Herman, making his first mark on Entr'acte with Die paste, die wrong in the wake of self-
released titles on his Opgewarmde Groenten label and for the like-minded Belgians at (K-RAA-K)³, plus numerous multidisciplinary collaborations with Dennis Tyfus, among others.
A record of heavy-lidded mind states as much as a musical document, Die paste, die wrong mirrors the surreality of Herman's visual artwork - ranging, as far as we can see, from minimalist
images of piss stained corners to playful mutant figures - in its slight, single-line make-up and the way it evokes those sensations lesser felt in other, more conventional electronic recordings.
It feels to us like the sound of mooching narrow medieval port city streets after midnight with a belly and headful of delirium tremens, detached and floating to the sound of distant, clanking buoys, melodically dripping gutters and muffled rituals executed behind heavy wooden doors.
Whatever the Belgian word for eldritch is, that's the vibe.
Deeply contemplative, heavy-lidded and weird music from
Entr'acte
Edition of 200 copies
Mastered by Jacques Beloeils
RIYL Giuseppe Ielasi, Ghédalia Tazartès, James Ferraro

Nach den R&B-Talenten Kelela und Dawn Richard präsentiert uns der in L.A. ansässige Produzent und Fade To Mind-Labelbetreiber Kingdom nun sein eigenes Debütalbum. Auf "Tears In The Club" realisiert er anhand 11 schrägen Uptempo-Bangern, düster-atmosphärichen Instrumentals und erotisch-melancholischen Soundscapes seine Vision von Leftfield-Pop und Club-R&B. Mit Vocalfeatures von u.a. SZA, Sängerin der TDE Band, und Syd, Mitglied der Odd Future-Familie und der Neo-Soul-Band The Internet.

Exploring the tactility of bass from both the hip-hop and the DnB side you'll end up in a swirling lava stream with punchy basslines and tattered lost frail voices. Judo is the perfect example of this hip-hop and Drum & Bass fusion. As this track also showcases Lewis James' skill to combine theses unusual genres. Like sirens the voice snatches are seductive and suck you into the Megacholy. The gritty metal scrapes pierce the senses and the rousing synths are dripped with dystopian post apocalyptic Gotham. We love the world in alleys and post-industrial decay. With sparks of hope as in the alluring track Spiller.

Megacholy is a true Dazzle release. It has no limits, it's deep and imaginative. It combines breakbeat science with DnB precision, industrial grits and hip hop punch. Truly diverse and seductive.

Lewis James has already an interesting track record. As a multi-instrumentalist, and a producer he is known for his diversity. He has a Lowriders kinda taste for bass culture, hip hop, soul and electronics. Worked for TV, film, and the game industry. Collaborated with Lorn, Om Unit, Dolor and just recently with Amsterdam based producer Sleepin Giant on the Disco Noir release for the Cosmonostro label and with Know V.A. for our Beatitude 2 track.

Dazzle Series

For our Dazzle series this idea of confusion and delusion is combined with how we select the music: Confusing the listeners with preoccupation of style and genre and then turning the whole thing around, upside-down, playing with expectation.
It's about the tension between te compelling sound colors from Bass music, noise combined with whirring machinery to glossy rave synths and or RnB mash ups. In other words: using Gotham's sonic textures and crafts them into brand new, glistening disrupting collages. With Lowriders we're about those spaces in- between genres.

Sam Gellaitry is ready to present the third chapter in his Escapism saga: a coming-of-age trilogy that demonstrates the young prodigy's unique, filmic musical productions. Hot off the heels of the previous two Escapism instalments, Escapism III sees Sam Gellaitry's sound transcending, invoking a cinematic feel of technicolour-esque scope to his experimental production.

From the forefront of early Experimental HipHop from the USA come the second longplay effort of Paul Bonomo and Tara Delong a.k.a. BEDROOM PRODUCTIONS. Originally released in 2000 and now rediscovered in a dusty Berlin-basement we're able to offer the last original pressings of this huge album that comes along as a fascinating amalgamation of the Beastie Boys' anarcho Punk approach, lo-fi recording in style and Lolita Storm's killer stage presence. Get ready to bounce, get ready to party!

Cloudland Canyon's third LP, An Arabesque, was spearheaded by founding member Kip Uhlhorn but fleshed out with contributions from Memphis rock royalty such as Ross Johnson (Panther Burns, Alex Chilton), Lesa Alridge (Big Star) and Jody Stephens (Big Star), alongside collaborative accents by Ezra Buchla, M. Geddes Gengras, Kliph Scurlock (ex-Flaming Lips), David Scott Stone (ex-LCD Soundsystem), and Pete Kember aka Sonic Boom (Spacemen 3, Spectrum), who also co-produced the album. While past recordings on Holy Mountain and Kranky flirted with drone and krautrock modes, An Arabesque skews in a more rhythmic direction, with shades of naive disco and new age. This particular set of songs benefits from having been heavily road-tested over the last two years, resulting in greater distillation and focus.

DJ Stingray drops one of his most intense electro bangers to date, "Assassin" no holds barred minimal, industrial-tinted and ghetto-ready electro for the dance floor! On the flip Vin Sol's San Fran "Homo-House" anthem "Edges Of A Vortex" gets a vinyl pressing after setting the underground on fire, having since been picked up by Defected records and reworks of Sade and SooWavey 12s selling out in minutes.. Don't sleep on dis shit!!!!

REPRESSED !!

Ltd 2016 Repress, pressed on marble effect 12" Vinyl.


Samurai Music returns to the dance floor with another sought after EP release from Seattle, USA based producer Homemade
Weapons and Toronto, Canada based Gremlinz.
Homemade Weapons aka Andre Delgado may be a relatively new name to some but he has been making music in one form or
another for many years, and trust us when we tell you, you will be hearing a lot more from this extremely talented individual and his
totally original take on this music.
Gremlinz aka Gabriel Au is a beloved veteran of the drum and bass scene with regular releases on the likes of Renegade Hardware,
Metalheadz, Cylon, 31 Records and more. His signature style has been a constant on dancefloors for over 10 years, and his debut
(Bloom) for Samurai on the Horo compilation 'Scope' alongside Reza is a favourite from the album for many. Both artists are now
close affiliates of Samurai Music and we will be working closely with them in the future.
After Dark 12" part 2 contains the much requested J:Kenzo 170 remix of 'After Dark' which has featured heavily in the sets of people
like Om Unit, Skeptical, Mark Pritchard, Fracture, dBridge and many more. 'Mu-Onna' on the flip is a Gremlinz solo track that strips
drum and bass music back to it's very essentials and laces them with pure menace.
It's plain to see with this release that the Samurai Music camp is continuing to set the pace for truly innovative productions both on
the dance floor and off.

Oblique, intense and spirit-gnawing electro-acoustic exercises from The Skull Defekts founder / Ideal head honcho Joachim Nordwall, presenting a brilliantly stark album of direct and gnarly Machine energy that comes highly recommended if you're into anything from Pan Sonic to Alessandro Cortini, Deathprod or Emptyset.
Working with a bunch of tone generators fed thru a massive wall of amps at Elementstudion in Gothenburg, Nordwall isolates and fearlessly homes in on the recording space's resonant frequencies until you can physically feel the room grinding, whining and shuddering in the kind of spasms that arch the spine and set your back teeth on edge. And he does it relentlessly for the whole record.
The only steady variable in this elemental organism is the sense of rhythm, a metric, pulsing heave that keeps each piece's tangibly immense weight pushing forward from the crack'd slap of a drum that pins The Ideal Black into place, to the quasi-step lurch of Great Mind of Fire, thru the Alessandro Cortini-Like impulse of Extreme Solution for a Simple Problem to the palsied, cogground rattle of System For Psychic Expansion and Black Out at its nether limits.
In the rarest way, thanks to Joachim's direct approach, the mixing of Linus Andersson, and Heba Kadry's master at Timeless Mastering, Bushwick, The Ideal Black is about as close as you'll hear to a 1-to-1 representation of pure, crushing tonal terror. A character-building exercise strongly tipped if you like the biting point sounds of: Kevin Drumm, Alessandro Cortini, Emptyset, Gottfried Michael Koenig

Let it Roll stands as the biggest drum & bass showcase the world has to offer. Welcoming thousands of music lovers from every corner of Europe, their stage aesthetics have proved year after year that they're as impressive as theartists they host. With line ups that are seldom seen elsewhere, featuring staple heavyweights from every part of the genre's spectrum, this isn't a small feat. Friday's opening ceremony has always been a defining moment for each festival goer, whether that's an artist or fan. And this year, Ram Records' stalwarts June Miller provided an open sequence for what turned out to be Let it Roll's biggest year yet.
Following their debut LP on the Ram imprint, June Miller have only grown from strength to strength. Become an intrinsic part of the scene's fabric, they've delivered monumental slices of bass which have resounded across their growing audience. After the climatic hit of their opening sequence, they've condensed the full show into four tracks for this next EP. So even if you missed it, prepare to blow your subs and reimagine the spectacle which opened the world's largest meeting of sonic masterminds.
The meeting of Ram Records, June Miller and Let it Roll was never going to anything less than carefully crafted chaos. And now you can witness their formidability from your headphones

Kid Koala's "Music To Draw To: Satellite" is an uncharted musical 72- minutes journey for the legendary scratch DJ, producer, and composer. Kid Koala's fifth studio album is filled with vast ambient soundscapes and chilling ballads sung by Icelandic artist Emilíana Torrini and is his first longplayer for the Canadian label Arts & Crafts following four previous ones for UK's Ninja Tune.

Kid Koala's "Music To Draw To: Satellite" is an uncharted musical journey for the legendary scratch DJ, producer, and composer. Kid Koala's fifth studio album is filled with vast ambient soundscapes and chilling ballads sung by Icelandic artist milíana Torrini. Set in the gelid Montreal winter, its eighteen movements tell a tale of discovery and loss through the lens of lovers separated by a one-way journey to settle Mars. An album of many
firsts for Eric San, this inaugural volume in the "Music To Draw To" series features Kid Koala collaborating with a vocalist, writing lyrical poetry, and producing and performing all instruments. "Satellite" is the renowned audio-collagist's first non-sample-based record, instead using an array of synthesizers, keys, guitars, strings, turntables, noisemakers and San's
inventive recording techniques to lay out a heartrending musical story. The output is in stark, beautiful comparison an ambient masterpiece: over 72 atmospheric minutes of stardust settling over Kid Koala's trove of turntablesand sentiment.

Medical Records presents a hand-picked selection of home recorded demos from Stoke, UK's Red Fetish. Armed with a Korg 770, Yamaha CS10, Korg Rhythm 55, a guitar here and there and a Teac 244 four track recorder, the band consisted of Neale James Potts and Mike Richardson. Red Fetish featured members from All The Madmen and Decades By Night and later evolved into The Cone and Tiger Club. These tracks were recorded in 1982-83 and all culled from various cassettes that the band recorded. The tracks for this special release (technically not a reissue) were hand picked by Medical Records out of a large demo collection (often multiple versions of certain songs). Red Fetish was heavily influenced by UK late 70's new wave as well as rock staples such as Pink Floyd, Beatles, and Hawkwind. The songs are built from very minimal and sparse synth lines yet the overall feel is interestingly dense and warm. Standout tracks include the playful and futuristic "Modern Age" and "The Last Man". A few of these tracks were previously released (different version) on a 7" on Anna Logue (Germany) but most have been largely unheard until now. Sprinkled in amongst the catchy vocal pop songs are quite a few very warm and synth heavy instrumentals as well such as "The Immortals" and "Blaze". This collection will absolutely be another piece of the highly intriguing and ever-deep well of minimal synth acts such as other contemporaries Oppenheimer Analysis, Twilight Ritual, Iron Curtain, and the like. Certainly fans of early Human League (especially The Future), early cassette culture wave and similar will enjoy this collection immensely. Remastered from cassette by Martin Bowes. Presented on high-quality 180gram heavyweight half and half colored vinyl (red and white) with sleeve design by Steve Lippert. Limited edition release.

Richard von der Schulenburg (known for his classy House tracks as RDVS) drops a beatless EP for V I S. Using analogue gear and exposing the patina of it's sounds, ‚Wanderungen durch Wald und Flur' (a title that might refer to the ‚Wanderlust', a phenomena which emerged in german romanticism) takes you to a place far from the dancefloor. Instead there is an overall krauty feel in these five pieces, which are sparse and calm, but at the same time vitalistic.

In this day and age vinyl releases are getting rare in drum & bass but still we at Demand cherish them. Requisites our brand new 6 part 33 rpm series is an ode to the vinyl culture. Every release symbolizes one particular requisite that you'd evidently need to rock the so called black gold. Here served by, what else could it be, a butler we start of with the headphones...

Musically that includes the ever magnificent Phil Tangent who contributes Misgivings, a roller that effortlessly switches from euphoria to dark tones. The legend Big Bud in collaboration with Austria's finest RoyGreen, Protone & Dual on Gospodi. A smooth liquid outing that we just fell in love. The ever surprising Eastcolors with Naked Skin that brings in low slung tempo with the vocal wonder Tiiu and last but not least Demand's own nurtured talent Phase who rounds of the first part with Abundance. As the name suggests it is absolutely rich in form of vibes!

The statement that is pressed on the vinyl label couldn't be more clear... "listen to it" and we're sure you'll fall in love.

- Asterix Music has collaborated with artist such as Planet Asia, Sadat X, M.C Eiht and Tray Dee - For the past few years Asterix has been at the forefront of the modern funk movement, his new offering 'Cupid's Arrow' has gained traction with the use acetates distributed to key DJ's worldwide - Music videos for both songs on this single to be released in conjunction with a web and print campaign - Video for 'Let Your body Show You How' features some of the world's best poppers (Kid Boogie, Popping John) - Plan on releasing a second 7' single in mid 2017 followed by a full length album titled '4130 Chromolly Way' Funk is a dish best served hot and these two modern funk anthems are bound to get your body temperature up.'Cupid's Arrow' recounts a tale of genuine love at first sight over an infectious synth funk groove, it's honest and true to life content make it very relate-table to anyone who has been awestruck by a woman's beauty. 'Let'Your Body Show you How' is an up-tempo modern funk tune that covers the story of a young man who conquers a high school crush after a chance meeting. The songs hypnotic bass line and hard-hitting drums are well complemented by Asterix Music's silky vocals.

As humans, we are aware of our inner beast and should therefore be able to control it. We understand our hard-wired primal urges and why they exist in an evolutional sense. We understand the relationship between mind and body. Highly evolved and intelligent, we should be able to recognize these genetic hangovers and control them as a means to act positively and move forward as a compassion-ate species. Unfortunately, this is not the case. Recent global events have proven this. The human race is consuming itself.World Eater, the new album by Benjamin John Power's Blanck Mass project, is a reaction to this. There is an underlying violence and anger throughout the record, even though some of these tracks are the closest Power has ever come to writing, in his words, actual love songs.' Maybe subconsciously this was some kind of countermeasure to restore some personal balance,' Power explains. On World Eater, Power further perfects the propulsive, engrossing electronic music he has created throughout his impressive decade-plus career, both under the Blanck Mass moniker and as one-half of Fuck Buttons, as he elaborates upon the sound of 2015's brilliant double album Dumb Flesh. As massive as the sonic world of the new record often feels, its greatest achievement is in its maximization of a limited set of tools, a restriction intentionally set by Power himself. As an exercise in better understanding myself musically, I found myself using an increasingly restricted palette during the World Eater creative process. Evoking these intense emotions using minimal components really put me outside of my comfort zone and was unlike the process I am used to. Feeling exposed shone a new light on this particular snapshot. I feel enriched for doing so.'

Next up on Deep Distance (following the sold-out-in-a-day Sula Bassana LP) is a fabulous newly expanded -first time on vinyl- double LP set of Colin Potter's seminal 1980 cassette only release The Ghost Office'.

The label is gradually working through Colin's revered back catalogue of cassette only releases, with previous titles The Scythe' and Two Nights' selling out instantly. His run of half of a dozen home recorded, DIY / minimal synth cassettes between 1980 and 1982 is rightly granted legendary status, influencing a slew of home produced DIY experimental electronic artists and all attaining high collectors' prices online for original copies. So these LP sets filled out with all manner of unreleased cuts, demos and excluded tracks truly are a treat.

The Ghost Office , was his first full release. It was recorded on 4 track tape at the very first location of IC Studio, in the small village of Sutton-on-the-Forest, north of York.

In Colin's own words: The cassette initially appeared on the Mirage label and this release has been remastered and edited to include all but one of the tracks, the missing piece being removed in the interests of health and safety. In addition there are extra tracks that appeared on compilations or taken from the vaults.'

Nowadays Colin is a longterm member of Nurse With Wound and has worked with Current 93, Ora, Organum and many others, and has run the esteemed ICR label for over 35 years now. The interest in all of Colin's work remains incredibly high and this welcome vinyl reissue is a must for longterm fans or newcomers.

This double LP, with artwork by Jonathan Coleclough (who did the original layout, all those years ago) is an edition of 400 copies and is expected to sell out quick....

Are there any aliens out there (Probably!)
What would they think of the human race

Do the people in power really care about us

What would they think of mass corruption from corporate companies and governments..... But hold on a minute, are we decent to our own partners, families, neighbours, people in need of the essentials and those we work with

Do the police, authorities, prisons, care homes and detention centres look after the vulnerable in the correct way

Yo Aliens!!!!!! You're probably more advanced than us as a race so you've probably worked out ways of stopping inequalty, slavery, famine, war and other general shite. If so, GET YOUR SELF DOWN HERE RIGHT NOW AND SHOW US THE WAY!!!!!!

Marc Barreca's Music Works for Industry is a layered assertion. An economic mantra for the mind to spin, like the many loops on this recording, or churn, as gears of some godhead machine. From the pool of playful compositions, a social subtext appears - a somewhat sardonic riposte to the commercial and cynical abuse of music and musicians. The work profits the listener over industry. Said another way, its motivations are more generative than lucrative.

No longer than four minutes, no shorter than two, each piece on MWFI is a fragment of modern life. Propaganda transmitted between the click of the remote or the turn of the dial. Friend and collaborator K. Leimer checks Cluster, Steve Reich, Iannis Xenakis, and Morton Subotnick as esoteric influences on MWFI in the album's liner notes, while one might imagine Upton Sinclair, Studs Terkel, or Chris Anderson as egalitarian influences.

Made with musicians, performance artists, and a bespoke instrument maker, Barreca combines multiple disciplines into a collective, industrious whole. An experiment fabricated in the synth and tape studio at the artist-run alternative space and/or (Seattle's version of NYC's The Kitchen), Barreca manipulates dynamic sound sources into tidy, minimal arrangements using synthesizers, modified instruments, tape looped voices, and melodic, metallic phrases.

The cover of MWFI features a black and white photo of a figure in silhouette, backlit at a window, softened with curtains and plants. Maybe this is the room where the music was made: a private space, a refuge from some industrial work or at least the dubious fruits of this labor. In a way, listening to the music is entering a space without work, an apple to pluck and eat without wage or taxation.

One can imagine photographer Chauncey Hare listening to Music Works for Industry as he moved from documenting domestic interiors to the bleek efficiency of American offices. His black and white portraits of workers, isolated and obscured by cubicles and files, and published in This Was Corporate America, led to Hare's disillusionment with the art market. Not wanting to sell images, he left photography, and become a therapist: publishing the self-help book, Work Abuse.

Perhaps peering into the music industry led to Barreca's eventual career, and a similar impulse to more directly touch those at the effects of economic systems. While exploring the cassette version of Music Works For Industry, we found a business card tucked inside: Marc Barreca—bankruptcy judge in Seattle. Material traces of the cassette are evident in the record's packaging, the album format a newly manufactured form for Barreca's work.

But even in post-industrial times, Barreca's music offers listeners easily consumable musings on current work conditions. Freedom To Spend accepts your hard-earned and fortuitously won money in exchange for these morsels, but also believes that you need not invest unless pressed

- Hometown: Seattle, WA
- Key Markets: Seattle, Portland, New York, London, Amsterdam, Paris
- RIYL: Moebius & Plank, Cluster, K. Leimer, Esplendor Geometrico
- Marc Barreca emerged from the underground music scene of Seattle / Olympia in the late 70s and early 80s.
- Barreca's Music Works For Industry was originally released on cassette tape in small quantities via Kerry Leimer's record label Palace Of Lightsin 1983.
- Unlike Twilight, Barreca's 1980 album on which he was the only musician, Music Works For Industry draws on a diverse pool of musicians and performance artists.
- Barreca was also a founding member of Young Scientist and part of Savant, a Seattle experimental supergroup' whose archives were collected on RVNG in 2015 as Artificial Dance.
- Freedom To Spend's edition of Music Works For Industry is the first time the album is offered on vinyl, remastered from the original tapes by Josh Bon

Skint Records kündigt mit dem Album "The Invention Of Loneliness" von Sailor & I eine spannende Elektro-Dance-Pop-Veröffentlichung an. Der schwedische Sänger, Produzent und Multiinstrumentalist Alexander Sjödin stellt jedoch nicht den klassischen Archetypen eines Musikschaffenden in der elektronischen Musikwelt dar. Vielmehr begibt sich der Schwede unter dem Namen Sailor & I in das Territorium von Sigur Ros und Bon Iver, die für ihr anspruchsvolles, fein abgestimmtes und melancholisches Songwriting bekannt sind.

'Enter The Spiral' - the title of the opening track by the first collaborative work between Sebastian Mullaert and Eitan Reiter is not just a random name. It is a title which anticipates what can happen if you let yourself go alongside their nine epic musical trips.

They all emerged out of a free flowing improvised communication between the DJs and producers from Sweden and Israel. They both first deeply met on a festival in Tulum, Mexico where they played together at the end of the Maya calendar.

During their Yucatan days they connected intensely and subsequently stayed in touch. Finally Eitan proposed the idea to visit Sebastian in his dropout studio in the Swedish woods in the north of Malmö. Sebastian instantly said yes and added without knowing in February 2014 another chapter to a vibrant artistic year, in which he started to focus on his solo work and took a hiatus from his famed project Minilogue, after playing, producing, and performing with his close friend Marcus Henriksson for more than 16 years. 

Warmly welcomed in a little Swedish village right at the entrance of a big National Park, Eitan, who produces and releases genre-crossing electronic and electro-acoustic music solo or in projects like Loud since the mid of the noughties, found himself right in the centre of Sebastian's family.

Their days been shaped by daily life and they took care of the children, cooked, practiced yoga, meditated and made long walks with out words in the nearby forest. Absorbed by the sense of oneness with their daily existence they started to communicate in the studio to build aimless an intersection between the outer and the inner world.

It turned out to be a celestial dynamic voyage of unconscious emotions in time that made them produce a unique journey in sound. They drift on ambient territories, they let their heartbeats out via knocking techno beats, go deeply into moments of trance and drop some sparkling acid arpeggios while waving into all sorts of electronic musical expressions.

You cannot put their collaboration into one stylistic corner - you can only say that all their music distributes the feeling of an unvarnished musical trip. If you like you can call 'Reflections Of Nothingness' a Roland album, as it is largely made on a Roland TB303, TR808, SH101 and Juno 60.

But there is also Sebastian's Fender Rhodes audible on almost any track. In addition they used strange vocal samples, Eitan sings, cymbals howl, a sounding children's book has been used as an instrument as well as tons of external effects.
In a free-spirited teamwork the sonority can absorb the listener deeply - just like Eitan and Sebastian have been absorbed by their days in the nature.

'To reach the place where everything is perfect as it is, having the feeling that nothing more needs to be done, and then "act" or create from that place, without a specific intention.' was what Sebastian had in mind before Eitans arrival.

'I felt its something that just has to happen. I was really trying to find musicians that I could get along with and just flow.' Eitan says about his prospects while travelling to Sweden. Without intention, with no expectations and almost without any postproduction they created a synergism of sound that does nothing else then reflect their present in time and space with a gently played texture of their very own musical communication.

Both don't know if there was a guardian angel around. They are just sure that the nature gave them unknowingly a lot of creativity with its complex and powerful presence around Sebastian's studio.

'I really feel that the album has a very special feeling of harmony and balance; something I feel in the nature around my studio. I truly believe that you are always part of where you are or where you are is part of you ... if you are in the nature, it affects you ... you can't escape.' he confesses and accidental anticipates what can happen if you get deeply involved with the nine jams of 'Reflections Of Nothingness'.

Cold Busted is the label based in downtown Los Angele releasing trip-hop, lo-fi, instrumental hip-hop, and other downtempo beats showcasing beatmakers from all over the place. Hailing from Austin - Texas, The Deli serves up old school vibes spread across 18 jazz inspired instrumentals.

Last few copies of this refreshing concoction of dark pop songs, from bands that played at the Palais Chalet nights in Brussels in 2012. Showcasing a lively cross-section of new wave, synth-pop, hard beat, and quirky electronic experimentation.

YZ - not to be confused with the rapper - sings Kaifa, a poem by Ahmad bin Said al-Busaidi (circa 1710-1783). YZ's fine, melismatic style is underscored by hypnotic, arpeggiated synthesizer riffs, while the darker B side blends more sufi poetry with a stripped down hard beat. Additional arrangement, recorded and mixed by, d.trep, at Kilohertz Club, Brussels.

Housed in a picture sleeve designed by the artist, with an insert containing more artwork, lyrics and English translation. Mastered by Mike Grinser at D&M

Zerolex is born in 2011 - being a prolific producer, he had formed a duet with Superpoze and in 2012 has joined Cotton Claw. In the mean time, he was also perfecting his own productions. Fed by black music and by hip-hop, the 23-year old producer hailing from Besançon, France has dug into the world of beatmaking before broadening his horizon to electronic music. Inveterate and passionate digger, he got into Dorian Concept, Dimlite, Flying Lotus and many more. But Zerolex has also grown up thanks to fated encounters - he met Zo aKa La Chauve- Souris, Lilea Narrative and Yoggy One, who became his first influences into the electronic scene. That being prior he joins them on stage under the moniker Cotton Claw. The Cotton Claw experience has thus enabled him to explore new musical fields and experiment more. After three EP - Floating in solo (Eklektik, 2013), Dusted with Cotton Claw (Cascade Records, 2014), Eclipse in collaboration with Holy Two (Cascade Records, 2014), the Volutes album (Cascade Records, 2015) and Elusive EP (Cascade Records, 2016) with Cotton Claw, Zerolex gets back to work with his debut album M.I.LD - set to be released this fall. M.I.L.D is more electronic and the textures are as multiple as Zerolex's inspirations. All composed on MPC, the trackson the album mixes samples, retro synths and contemporary beats. M.I.L.D gives way to personal productions - a reflection of his unique universe - setting a new etheral direction, where sparkling and melodic sounds get along future beats.

Contemporary field recordings from the Sahelian empire of Niger. Focusing on guitar music throughout the country, from meditative starlight ballads, fuzzy Hendrix covers, rag tag wedding bands, to politically minded folk guitarists. A beautiful encapsulation of the diversity of guitar as it exists today, documented over years of travels. Recorded live with a single microphone, with a backdrop of children's voices, crickets, and village ambience. A follow up to Laila Je T'Aime and Ishilan n-Tenere. With 16 page full colour liner notes.

Rhodes Island. Bathed in sun, the Aegean's sun, a spring of life and inspiration. Surrounded by it's waters. A wall and a path at the same moment. Where the West meets the East. Where worlds become one and civilizations blend. An island that acts like a witch, that captures your soul forever, that makes you always look for it, crave for it, always want to go back. Beauty, history, culture. Rhodes 'Journey To The Light'. A compilation inspired by Rhodes island and it's nomination for 'European Culture Capital City 2021'



The multi awarded dj, radio producer and compiler Tasos Giasiranis signs the island's 6th compilation. A journey into the magical world of electronic music in a unique combination with the 12 breathtaking postal cards included. 12 pictures by the hands of Stelios Kalisperis, Fillip Fillipou and Harris Zambetoulas. The only thing you need to have while leaving the island.

Memories in a box. The Knight island in a luxurious package. A life's goal, promoting Rhodes in every corner of the planet. Tasos Giasiranis keeps on making a dream come true once again. Rhodes 'Journey To The Light'

Ltd Edition Vinyl Only Single Sided !

After eight years in operation, the Dutch MWM-recordings kicks off its renewed vinyl framework. The imprint serves a wide, underground following and will reveal a new scala of bass-infused records overthe next few months. Fort Lauderdale's Drew's Theory steps up to the plate under a completely new catalogue number and presents you two of his brightest dubstep cuts. The original productions are backed by mouth-watering remix duties from MWM-recordings head-honcho M.A.W. and Deep Heads signees Congi. If you're in for a refreshing take on dubstep music, 'MWMV001' and the label's future material will definitely be something to keep your eyes and ears peeled for.

* Black Manual was formed in 2012 after Jan St. Werner had heard the percussionists Valdir Jovenal, Juninho Quebradeira and Leo Leandro play at a Candomblé ceremony in Berlin. The album 'Mordendo' was subsequently released in 2013 via Brigade Commerz, mixed with St. Werner's musical partner Andi Thoma who have made a name together as Mouse on Mars.On record the dynamics of speaker compositions intertwine with concrete Afro-Brazilian sound patterns, "toques" - drum beat sequences also found in Samba and Candomblé. Sounds rear up, diffuse, and rhythms dissolve into tones thereby creating an unholy conglomerate of frigidly staged disorders, digital fragments, broken melodies and the vibrant, tugging sub-bass caprices of the Brazilian "voodoo" rhythms - "a fala dos atabaques" ("speech of the drums") with violence and passion as if they were trying to force the gates to transcendence open. Portals Editions is proud to release four new distillations of the album, each passed through the hands and hearts of deft aural alchemists. While Cut Hands stays closest to the source, he is able to locate the essence and draw the spirit out in his signature glorious ritualistic fashion. James Ginzburg of Emptyset, as his Bleed Turquoise alias, summons the soul and amplifies it with cathartic synth stabs in unison with martial percussive bursts. On the flip side Africaine 808's Dirk Leyers in his guise as Format01 mechanizes the chaos in to a rhythmic spell to make one's body move as if on command. KETEV spirals it down by carrying the listener off into the great unknown with his amniotic drones and hypnotic inward movements.St. Werner has also generated four video works to accompany each of the tracks, hypnagogic Op Art to entrance and project their mystical properties. Exhibited first on September 29 in the awe-inducing chapel of former crematorium Silent Green for Portals Editions' showcase within Easterndaze x Berlin, the videos will also exist as a piece to be experienced as one whole via a digital portal accessible shortly before the album is released.

Bülent Arel was a Turkish-born American composer of electronic and contemporary classical music. He was also a devoted teacher, a sculptor, and a painter. From 1940 until 1947 Arel studied composition, piano, and 20th century classical music at the Ankara Conservatory. In 1959 Arel came to the U.S. on a grant by the Rockefeller Foundation to work at the Columbia-Princeton Electronic Music Center. By that time the center had just started out under its director Vladimir Ussachevsky.

During Arel's work in Princeton he also met Edgard Varèse with whom in 1962 he worked on the electronic sections of Varèse's 'Déserts'. Frank Zappa lists Arel as a key influence. Today's electronic music - may it be by Autechre's 'Confield', Aphex Twin's 'Selected Ambient Works Vol. II', or Squarepusher's 'Do you know Squarepusher' - builds upon a solid foundation which Bülent Arel helped to pave.

Among Downwards' most recent wave of new flesh, Grebenstein emerged as one of the legendary label's most sullen mutants on a crushing, eponymous debut in 2014, and now
again with this highly stylish, unrepentant brace of drum 'n synth noise pressure. This one's a total killer, especially recommended if you're into HTRK, Raime or Fever Ray.
Depending what angle you survey it from, Strong Proud Stupid and Superior is either industrial techno trained by drill kids, neofolk drone, or the sound of machines coming to kill their human oppressors.
On the A-side Grebenstein harnesses the hollow-eyed, starkly detached vocals of Seefried in a signature, slow demonstration of detached Cold Wave, with a narrative arc that
encompasses intimate confession and paranoid internal impulses sounding something like like a petrified version of HTRK via Andrea Parker's classic Ballbreaker material.
The other two parts feature Joscha Bauer and are texturally more rich and aestehtically subdued, starting with the swelling drone discord of Grauer03, sounding like Cut Hands slowed down by 1000%, before inverting the aesthetic to a far more impending sort of stygian doom with the squashed bombast trudge of Grauer04.

With a path spent traversing between self-illumination and inner turmoil, Gypsy Mamba continues to persevere forward. He is one of California's most raw and uncompromising electronic artists and rips open new portals of energy during his live performances. Signing with Alpha Pup Records last year for the release of Da Feenux, Gypsy Mamba will soon launch out of the gates with his sophomore record Magnetic Syndromes. Gypsy Mamba has crafted his most dynamic and personal record to date. As the title suggests, Magnetic Syndromes is the sonic description of a life filled with unpredictable changes, carved out from the lens intensive view of Gypsy Mamba's life. It can also be seen outside of the artist, defining the inner conflicts many conquer in their lifetime. Gypsy Mamba finds a battleground between the darkness and the light in Magnetic Syndromes. A unique music environment where tracks fluctuate between the frenetic and the subdued. It's all pulled off with a wild array of colors and rhythms that can't be associated to any other artist. Looking at the new album in context of his career and Magnetic Syndromes can be broken down into a system of trial and error. A level of truth Gypsy Mamba accumulated as he interacted with the people helping to bring his music to the masses and the support that has followed thereafter. Following the release of Da Feenux last year, recordings for Magnetic Syndromes took place immediately at Gypsy Mamba's home studio. Makan of Bür Gür and Kelley Mak add vocal treatment, giving the record an undeniable transformation that his music has never seen before. The LP showcases a more complex side to Gypsy Mamba's usual approach, infusing Reason 8 and their built-in VST's that's a fresh take on the popular music technology. On a handful of the tracks, synth solo's flare well outside of the base and find home in a more lyrical terrain, projecting the soul of Gypsy Mamba in a way that takes the music to new worlds. The tracks move in and out of bass heavy club anthems to thought provoking ambient pop pieces. The energy is constantly morphing, retracting and expanding, much like the process Gypsy took on purging many areas of his life to find true happiness.

* With this EP Kator delivers a crisp imprint of his seamless style: By matching sharp edged beats and soft melodic chords as in "Getstacked" or "Clapfresh" he adds his flavour to the Footwork sound. Poised to shake up dance floors within a Punk song's time, each one of the six tracks marks Leipzig on the world map of Footwork as positive feedback by luminaries such as Fracture, Om Unit, Sam Binga and Fanu proves. Kabuki said it best: "It's good to see that the number of artists and labels that are determined to blur the boundaries between Jungle, Juke and Autonomic Sound is growing. Kator's "Getstacked EP" on Defrostatica is a fine example of futuristic Footwork with British hardcore DNA. This is the sound of now."

Kromestar surprises us all again with a long sought after dub from the vaults.