Beats Новости

12" + CD

* Debut album from Mr Joseph on Liquid V, released on a limited edition 6 track 12" Vinyl complete with full album on CD.

* As a custodian of the authentic Liquid D&B sound, Mr Joseph"s debut album strikes a delicate balance between funk-filled, soulful rollers and deep brooding basslines. The result is an album packed full of different musical textures which, combine seamlessly to create an immersive listening experience.

* Having grown up around the London Sound System culture of the 1980s Mr Joseph was soaking up musical influences from Jazz, Soul, Funk, Hip Hop, and Reggae music. All these styles are evident throughout "Inner Haze", which is a melting pot simmering at 174bpm.

* An album that cuts through the dancefloor with ease, but which has enough subtlety and depth for home listening this is a project that will stand up to repeated listens, however don"t be fooled, this is not just a solo affair... Mr Joseph has also collaborated with a host of amazing vocalists and producers to create this debut album. Step forward Youngman, Edward Oberon, T.R.A.C., Deeizm, Kate White, Wednesday Amelia, Identified and Andy Skopes - it"s a real family affair.

* Always known for its deep, forward thinking sounds, 2016 saw Bryan Gee"s Liquid V imprint go from strength to strength.

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If you partied in Bristol in the 90s you'll know all about Ruffneck Ting. The jungle club ran from 1993 to 1999 and during that time put on legendary events at venues like Trinity, Lakota, UWE, Malcolm X Centre, The Fruit Club (Swindon) and The Escape (Cardiff), featuring all the top DJs and MCs in drum & bass.
The record label of the same name was established 1995 and featured tracks by the residents: DJ Dazee, Markee Ledge, Decoder, Felony and MC Jakes. The imprint released classic tracks such as Home Boyz, LF Ant, Rude Girls, Damn Right and many more, plus spawned a successful sister label Breakbeat Culture with Tech Itch, Decoder & Substance and Felony as featured artists
In October 2013, 20 years after the first ever Ruffneck Ting night, the event and the label returned with a fresh look. The first release on the relaunched imprint was a compilation called RNT20 featuring the label's best tracks from the 90s and a launch party took place at Lakota to celebrate.
Since the relaunch, the label has gone from strength to strength with resident artists Jinx, Dazee K Jah and Vytol bringing big flavour plus an ever growing roster of artists including Serum, Saxxon, Aries, Cabin Fever, Genetix, The Force, Habitat and Verdikt helping to firmly re-establish Ruffneck Ting as a leading jungle/steppers label. RNT040 is the fourth Ruffneck Ting album since the label's relaunch in 2013 and the third consecutively to reach the number one spot on Juno Download in digital format. This 6 track vinyl sampler is however the first RNT outing onto vinyl since the late 90's ! To make this journey back to wax even more interesting two of the vinyl tracks are exclusive to vinyl purchasers: "Without You" by k Jah and Vytol is a hefty dance floor stepper with soulful bluesy female vocals contrasting with sumptuous stabby bass. "All Bad Man" by The Force And VerdiK brings rolling jungle breaks, warm pads and dancehall vox samples with huge rolling bass . On the flips of the exclusives we have two sides of two tracks, selected for their high vibe content : all of them huge tunes from the album by Jinx, Sterling Sounds, Bassface Sacha, Morgan Jay, Feindsoul, Danny Lo, Bass Antics & Nino.

Cassette (Pro-printed jelly red cassette housed in a clear double case w/ exclusive silkscreen printed cover-art + postcard with extra download code)Inspired by the famed diagrams and geometric theories of the eponymous Russian mathematician coming from the cold Russian Empire in mid-1800, Matteo Nobile and Luca Scarrone experience, through Voronoi, the changing relationship between sound, structure and space.
In a continuous metric and formal deconstruction, the duo literally 'debunks' and 're-assemble' the musical narrative following a kind of probabilistic calculation that balances sound and rhythm in a seemingly chaotic geometry. As for the Russian mathematician's theories (nowadays used in wireless wave propagation, geo- location systems, graphic modelling and research procedures used for commercials, indexes and cookies) the result is absolutely contemporary.With a track-list that sounds like a cataloguing of experiments, this debut EP by Voronoi opens with V2' in which disrupted synths arpeggios seem to seek refuge into rhythmic clusters that constantly build up and then collapse, bringing the track into different scenarios. An exhausting duel between scientific rigour and raw improvisation leads V3' up to the middle section , where the whole thing turns into a dense hazy down tempo groove that dilates and leads the listener into a more comfortable zone'. Free from preconfigured sequences and grids, follows V4' with its hybrid sounds and asymmetrical rhythms, the track, after a series of schizophrenic upheavals, reaches its climax towards the end where an anxious build-up definitely sets Voronoi's style into those hard to classify. V1' closes this series of musical experiments delivering a sense of unfinished, a vibrating mass full of perspective, as if to present the potential inertia of this project. Matteo Noble (1983) studied music at DAMS in Bologna where he approached the lively experimental local scene and began collaboration with BRTNY. After graduating in music production, he moved to Milan where he established audio / video project "Bellagio Bellagio" with artist Natalia TREJBALOVÁ (who is also responsible of Voronoi's cover-art).

Luca Scarrone (1978) is a trained musician with a double bass degree and a jazz education, finalist for the Jazz Junior Krakow. He grew interest in electronics and electro-acoustic music with projects "Urban Casbah" and "Lower, and consequently embarked on a journey of musical experimentation through the use of software such as Logic, Ableton Live, Max / MSP and Pure Data.

Pro-printed jelly red cassette housed in a clear double case w/ exclusive silkscreen printed cover-art + postcard with extra download code to send to a friend designed by artist Natalia TREJBALOVÁ, realized by Legno. Includes 2 free download codes. Limited Edition of 50.

Mirrors is the second album by endlessly influential South London producer Mala. It follows his 2012 Brownswood release where Gilles Peterson invited the producer to soak up Cuba's music and culture to turn the results into Mala In Cuba. But Mirrors is less Mala In Cuba Mk II and more the realisation of a creative method that works for this most understated and intuitive producer: digging deep into the roots of a culture, recording local musicians and sounds, and using the recordings as source material and storyboard for a record.

The product of repeated visits to dive into Peru's music, it revolves around tempo and flow, working local Afro-Peruvian percussionists, grassroots tap dancers and an Andean soprano into its fourteen tracks. Mala went there for a month, visiting Lima along with Cusco and the Sacred Valley just outside of the capital. I was introduced to music from the jungle, music from the mountains, Andean sounds, native sounds, Afro-Peruvian music,' says Mala. It all goes back to the roots and the rhythms and I related instantly. That primal rhythm is in all of us.'

Dancers bring another sound to Mirrors' palette. Colectivo Palenke are masters of Peru's stomping battle-dance, zapateo, and their feet-first percussion graces the track titled 'Sabateo'. On 'Sound of the River', meanwhile, you can hear field recordings of a stream running through the Sacred Valley and soprano-anthropologist Sylvia Falcon. It's a fragile and human performance that soothes and uplifts in equal measure, and it's a most subtle production.

Mirrors is a bridge joining Croydon and Lima. It creates a link between traditional instruments made from donkey jawbone and dried-out pumpkins and the contemporary box of tricks inside Mala's laptop. Like all bridges it links the past to the present, giving a clear view of where Mala has been - and where he's going next.

Hotflush Recordings is delighted to announce the arrival of a second full length from Sepalcure, the American duo made up of Travis 'Machinedrum' Stewart and Praveen 'Braille' Sharma. Arriving four and a half years since their acclaimed debut, 11 track album Folding Time is a singular and tender statement that lands in May 2016.
This special coming together of distinctive musical minds produced a much-loved, self-titled debut LP in 2011, plus six EPs between 2010 and 2013, all of which suggested a penchant for broken beats and bright melodics. Both have since furthered their accomplished solo careers - Braille released his debut solo album Mute Swan, while Machinedrum's experimental exploration of Vapor City landed on Ninja Tune - that have kept them busy in the studio as well as on the road. As such, and owing to their insistence that any production work had to be done in person "since that results in a certain sound and experience you just can't recreate remotely', the new record took some time to come together.
The album, written over many bottles of whiskey, is made up of brand new music, but also tracks that have been worked on, forgotten, then revived over many years. Its title comes from the fact that, 'it felt like we were connecting the present with the past. Going through each session was like digging through old memories.' Stylistically, of course, this pair have very different musical DNAs, but that means studio work cooks up many surprises along they way and results in an album that is awash with everything from field recordings to guitars and electric piano. It is a mix of playing and programming, has many multilayered tracks full of intimate and personal easter eggs and is, essentially, 'two homies hanging out and having fun; a meeting of our minds.'
Right from the distant vocal mutters and blissful guitar licks of opener 'Fight For Us' featuring Rochelle Jordan there is an seductive r&b sensibility to proceedings. Tumbling drums and pained vocals have you in a love locked free-fall before 'Not Gonna Make It' gets to the point with Sepulcure's trademark stuttering drums and fractured vox. 'Devil Inside,' featuring the pair's long time friend and collaborator Angelica Bess, is future pop from a perfect world, 'No Honey' strips things back to a harmonic headspace of bumpy rubber kicks and percolating jungle percussion, then 'Been So True' shows a playful side, lovable sense of sampling and broken reggae rhythm. The second half of the album explores direct dance floor grooves on 'Hearts in Danger', snaking synths and reverb rich beats on 'Loosen Up' and deeper, more introspective moments on tracks like 'Dub Of' and 'Brother Forest' before closing down with a brace of blissfully melodic and dreamy excursions to a beach during sun down.
With plenty of well paced peaks and troughs along the way, as well as a underlying sense of humour and a very real human warmth, this is an album that works on both head and heel in equal measure.

Ramona is happy to announce that Chinaski will return to Live At Robert Johnson with a hypnotizing-John Carpenter-proto-house EP titled Ghost Rider.

Distal has a nice bit of history already carved out for himself over the past 8 years. After his first release on Soul Jazz he followed things up by releasing on such known labels as Tectonic, Fabric, Om, and most recently Brodinski's Bromance imprint. Distal's collaborated with such greats as Chicago legend Dj Rashad (RIP!), Pinch and one of the godfathers of the dubstep movement 'Silkie'. Distal has successfully completed a couple tours throughout the globe including South America, Europe, Japan and Mexico. The thing about Distal releases is that you never really know what kind of styles you're gonna get, but it's alway's curated to perfection. Distal makes sure every track fits together perfectly regardless of style or emotive qualities. Each release is fine tuned like a neurotic painter and because of this is always very "colorful".

For the fourth release on Anarchostar Distal brings it with 'Psychomagic' a metaphysical cocktail of sub heavy and often emotive club tracks. Psychomagic shines a light on the strengths of every genre it delves into. Psychomagic includes everything from funky 2step, techno, Chicago Hard House, and even Juke. Played on RinseFM, SubFM, NTS & Radar. Dj Support and airplay from Machinedrum, Cooly G, Etch and DMC world champion Dj Shiftee.

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Notes on Cruel Optimism from Lawrence English, October 2016...
Cruel Optimism is a record that considers power (present and absent). It meditates on how power consumes, augments and ultimately shapes two subsequent human conditions: obsession and fragility. This pyramid is an affective ecology of the (ever)present moment.
This edition owes its title and its origins to the wonderful text of the same name by American theorist Lauren Berlant. I had the fortune to come across her writing almost a half-decade ago. In Cruel Optimism, I found a number of critical readings around the issues that have fuelled so much of the music I have been making recently. Beyond her keen analysis of the relations of attachment as they pertain to conditions of possibility in the everyday, it was particularly her writing around trauma I found deeply affecting. It was a jumping off point from which a plague of unsettling impressions of suffering, intolerance and ignorance could be unpacked and utilised as fuel over and above pointless frustration.
When I made Wilderness Of Mirrors, clouds of unease were overhead. As I have worked through Cruel Optimism, what seemed an unimaginable future just a few years prior, began to present as actual. Over the course of creating the record, we collectively bore witness to a new wave of humanitarian and refugee crisis (captured so succinctly in the photograph of Alan Kurdi's tiny body motionless on the shore), the black lives matter movement, the widespread use of sonic weapons on civilians, increased drone strikes in Waziristan, Syria and elsewhere, and record low numbers of voting around Brexit and the US election cycle, suggesting a wider sense of disillusionment and powerlessness. Acutely for me and other Australians, we've faced dire intolerance concerning race and continued inequalities related to gender and sexuality. The storm has broken and feels utterly visceral.
Cruel Optimism is a meditation on these challenges and an encouragement to press forward towards more profound futures.

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sorry, no copies received, was ultra limited

Wie bei der ersten KOLLEKTION sind wir in unsere randvollen Archive hinabgetaucht um nach persönlichen Favoriten und zertifizierten Krachern zu fischen, das Alte und das Neue zu verbinden, den rauhbeinigen Kram und den weichherzigen, den funky Krach und die epische Melodei. Obwohl wir dieses Mal ein etwas größeres Netz ausgeworfen haben, sollte jeder einzelne Track auf dieser Liste als bewährter Klassiker angesehen werden; Sounds die in unseren Ohren das mitdefinierten, was KOMPAKT heute ist. Man nehme zum Beispiel CLOSER MUSIKs schmerzhaft schönes MARIA: KOLLEKTION 2 so zu beginnen, das zeugt von Ambition - damit auch keine Zweifel darüber aufkommen, welchen Grad an emotionalem Einsatz und purer musikalischer Qualität wir hier erreichen wollen.
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* We are proud to unveil our next vinyl release on Dust Audio. The seventh piece of wax begins a series of EP's entitled 3 Squared... Each EP in the series will feature 3 different Artists with 3 different tunes which all follow a similar theme. Part one brings together the majority of artists who collaborated on the massive 'Omega Red EP'.

* Clima & Red Army continue to combine forces with the opener. 'Murder in Dub' has the ability to destroy a floor large or small. The militant beats which are synonymous with these guys do not disappoint. Each kick cutting through with a sense of urgency and driving up to the breakdown which slams in with a menacing stab pattern. This pre-empts a drop of gargantuan proportions with a bass so dense you would need a map to navigate out of it. A future classic for the label
* Ahmad is a firm favourite of our stable and he brings forth a slice of music which is both beauty & beast. 'Retroism' begins with reminiscent strings which entwine effortlessly in an introduction that evokes feelings of melancholy. This is abruptly interrupted by the statement 'I am a killer...' What follows is a solid step out with tinges of yesteryear all glued together by the underlying sub. Before you realise it you are transported back as those strings sneak their way back in.
* Slider & Expose return to wax with a natural sequel to the massive Reference Point. The strangely entitled 'Mannequin' finishes the EP with a ruff tear out. A minor string maintains its presence early on as the filtered break gives way to a two-step build up. Reggae vocal toasts along before the drop, moving subs compliment the rolling break which was crafted for the floor. A midway switch up sees a stab enter the fray for the second act as the tune slips and slides between edits, effects and vocals. A fitting end to what is the 3 Squared EP Volume One...

No one flips it like A-Trak. His limited edition box set In The Loop: A Decade Of Remixes commemorates twelve of Trizzy's most notable remixes - from blog favorites to festival smashes - on six 7" colored vinyl singles in custom sleeves, all housed in a beautiful collector's box. The wax is accompanied by a 32 page booklet featuring original artwork and A-Trak's behind-the-scenes stories on each remix, making In The Loop a must have for any FG fan, #RealDJing enthusiast or forward-thinking music lover in your life. Pre-order it now & read an interview with A-Trak on Forbes.

Manuell gestempelte 12" White Label-Auflage des exklusiven Bonustracks der japanischen Pressung des "Syro" Albums, "MARCHCHROMT30a Edit 2b 96". Die B-Seite enthält eine neue Version des Albumtracks "XMAS_EVET10 (120)(thanaton3 mix)" sowie einen Alternativmix der A-Seite. Aphex Twin weiterhin in produktiver Hochform!

* Deepblak's Chief Alchemist AYBEE will release his fourth full-length studio album, 'The Odyssey', in November 2016. As befitting its grand title, this newest long-player finds him concerned with personal journeys: both the personal one that has brought him to this point - living in Berlin, 15 years since founding Deepblak in his native Oakland - and the one that beckons for him personally and creatively in future: AYBEE sees himself as being halfway up a mountain, looking back on where he has come from, and to where he will be headed next - both concepts play a profound role in the emotional textures of the album, which in true Deepblak fashion draws from jazz, deep house, techno, hip hop, blues, experimentation, cinema, space, time and infinity.

* 'The Odyssey' represents a change-up for AYBEE in several ways, forged from a desire to keep expectations at bay and throw something of a curveball for those who felt they had him pegged: "a good pitcher always keeps you off balance". This newest work saw him deliberately limit his sound palette in a creative exercise that challenged him to create a full body of work from a small pre-selected library of sonic elements. While this was restricting in some aspects, the approach to - as he puts it - "throw the ingredients in a basket and cook with it later" gave him more freedom to focus on atmosphere and groove instead of putting hours into trying out different options - "otherwise I'd still be in the studio now trying to work out which hi-hat to use on the third track!"

* While the resulting collection of tracks, bound together in sounds used yet disparate in their applications of them, may represent a more accessible AYBEE album than those prior, it still contains within it the DNA of his work with Deepblak Rhythm Czar, Afrikan Sciences - most notably in their improvised, one-take album length Miles Davis homage 'Sketches of Space'. That 2014 LP was closely followed by another collaboration, with Jerome Sydenham and Ron Trent as S.A.T., released on the former's Ibadan Records and pursuing a more techno-driven sound to the polyrhythmic jazz experimentation of 'Sketches'. Elements of both styles can be found in 'The Odyssey', as it moves through tempos and styles, yet the approach he has taken regarding the sounds used ensures it will forever be a unique work in his discography - quite literally nothing in his work before or since will sound like this record.

* 'The Odyssey''s artwork is by the artist Grzegorz Redko (www.grzegorzredko.com), whose animations of the cover art will be released online ahead of the album release, lending another dimension to AYBEE's latest statement of artistic intent, with many more still to come as he keeps climbing that mountain.

In 2001 Aybee launched Deepblak Recordings as a creative outlet for his music. Ultimately catching the attention of Legendary House DJ/Producer Ron Trent. This chance meeting led to Trent signing Aybee to the iconic Prescription Records imprint. After joining the Prescription family AYBEE, along with Trent, would come together to co-found Prescription sub-label Future Vision, and go on to create music as the "Indigenous Space People", and later as S.A.T.

* "Ron was exposed to my music through a friend of his in NY. At this time, Ron was in the NY phase of his career and was a resident at the iconic "Giant Step" parties. I was heavily inspired by his USG output at the time, and I think it was reflected in my music. I would go out in the city to the house joints and hear all styles, but when that USG/Prescription stuff hit at like 3am, it was another level of depth... it was spiritual. "

Fresh from his excursions on Critical's Binary series and his recently released remix of Enei's 'Just One Look', Signal steps up with his very first solo EP for the Critical frontline. 'Parallax' crunches through some of the roughest drum & bass into the light respite of Zoe Klinck's vocals and back again, showing just why Kasra and the Critical camp are pushing the Signal sound so hard.

Mash up release from Sledgehead Bristol AKA Ray Mighty (Smith & Mighty)

blue colored, 200 copies, +30 min. playtime, cardboard-inlay (297 x 297 mm), mastered by Manes @ SALZ, Cologne
Four extended anthems between krauty electronica, tinkling house, shuffed minimal and IDM-styled breakbeats.

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

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

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

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

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

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

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

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

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

New 2-tracker by Inigo Kennedy! Moody, fragile electronix on the A-side and a fast-paced techno/dubstep cut on the B-side make sure this 12'' will suit both the collectors and the DJ's.

Jlin returns with the first fruits of her new work since last years 'Free Fall' EP. 'Dark Lotus' is a transition between 'Dark Energy', her debut album, and her forthcoming 'Black Origami' full-length. A-side 'The Return of the Blvck Rxbbit (ft. Avril Stormy Unger)' is the more traditional of the two tracks, starting off proceedings with a constantly switching rhythmic structure and a stop-start sweeping hoover stab panning between the speakers, descending bleeps and Avril's vocals cut into shapes and pushed through effects.

B-side 'Nyakinyua Rise' races headlong into uncharted territory, with a fierce barrage of djembe drums over pounding bass, punchy war cries and jubilant uluations that paint a tension between hot aggression and weightless ecstasy.

As fans since 2014, we're very excited to be releasing the debut vinyl from Danish multi-disciplinary artist øjeRum.

Titled 'when birds fly, the eyes of heaven can rest', the LP features two extended tracks of aetherial, haunting and otherworldly beauty.

The cover art is a hand-cut collage, part of an ever growing body of incredible work from this talented Dane. The artwork expresses the audio perfectly. A floating, drifting haze of light, subtly shifting, organic. This is a world to lose yourself in.

The LP is housed in a reverse board sleeve. Pressed on clear vinyl, cut at The Carvery. Limited to 300 copies.

ver 36 tracks in the mix across 2 CD's, Ray has handpicked a selection of Dread Recordings artists to feature on this album. Tracks and Exclusive VIP remixes from Ray Keith, Blade Runner, Margaman, Mr Explicit, Serum & Dark Soldier plus many more.

* Press / Promotion:

- Promo Video: https://www.facebook.com/RayKeithofficial/videos/1304570812896295/hc_ref=PAGES_TIMELINE
- Editorial sought in all UK music and dance titles as well as national and regional daily and weekly press titles for review

* Radio / Internet:
- Continually pushed on Ray Keith's weekly Rader Radio Show
- E Marketing - Dedicated Music Monday's mailing lists reaching over 10,000 active subscribers
- Social Networking - Facebook page: Ray Keith

Age Coin's newest recording, 'Performance,' drenches industrial-infused techno in high definition details, divining a cracked bump & flex from the condensation of a joyride. With a handful of tapes on Posh Isolation, as well as an album on Luke Younger's Alter, Kristian Emdal and Simon Formann have developed a project whose momentum and reputation has steadily escalated, finding common ground between electro-acoustic methods and quantised club nights. Both Emdal and Formann are best known as members of Lower (RIP), and both have since continued to devote themselves to a series of projects in the band's wake. Emdal has lately pivoted his time around Marching Church, a band comprised of some of Copenhagen's finest, whilst Formann has been working under the guise of Yen Towers, releasing his debut 12" on Posh Isolation earlier this year. "Trespassing on intimate territory," says Emdal of their new recording, Age Coin "cuts a transparent path for everyone to come walking." "The album is ultimately a joint effort to process past as well as present experiences within father son relations. In order to make things tangible, scenes are drawn from memory and merged in a shared fictional collage." 'Performance' thrillingly presents Emdal and Formann in a new cryptically lush aspect. There is a sense that one is watching a slide show—familiarity motions like the tide in the form of acoustic instrumentation, and porous synthesized terrains are crossed with a feeling, not a map, nor a memory. As one watches, the creeping ambience comes to be less an invasive sensation and more of a gravitational pull through time itself. It's as effortless as it is disorientating, like being stalked by a relic. Propellants ascend in to the foreground from all directions. Rhythmic NO2 afterglow comes in waves in reverse. Weightlessness is induced, and rebound. "Take in the view or let yourself be part of the language. Let the engine run and dip in to the swampy collective intelligence. 'Performance' is a hybrid memorial for all domestic actions committed in the name of love."

!! Please note the LP version is 8 tracks and includes *** plus
The Confidence Man (The Emperor Machine Dub)
Ghosts Again (Scott Fraser Ghosts In The Piano Mix) !!
If 'Convenanza', released in February, was a distillation of all Andrew Weatherall's influences in one place then 'Consolamentum' takes that instinct a step further. Here he invites friends old and new to rework the tracks from Convenanza in their own style.On board are redoubtable musical architects such as David Holmes (under his new 'Unloved' guise), Justin Robertson (wearing his 'Deadstock 33s' hat) and the legendary Bernard Fevre of Black Devil Disco Club notoriety.
Leading the charge by the new guard are Heretic, Red Axes, Solar Bears and Vox Low whose tracks have twisted into existence a quiet storm on ALFOS nights.

Benoit B returns to Banlieue for the imprints third 12"! Scatter gun arpeggios ride on top of bolstered machine rhythms. Sitting somewhere between techno and experimental electro this EP is Benoit B's most accomplished material to date.

Stutter & Twitch are proud to introduce to you an alternative take on the world famous sound of New Orleans Jazz. Combining the powers of funk, jazz, hip-hop and soul, Broken Brass Ensemble act as urban brass ambassadors, pioneering on their euphoric groove. Intertwining heroic melodies and leitmotifs, against a loud and proud back-beat, STR003 will soar into stores January 27th, setting a warm and hopeful precedent for the New Year. With origins based in the Netherlands, Broken Brass Ensemble have been firing up a storm all over Europe with an energizing live shows, pairing punchy bass-lines with hard-hitting brass. Selling out on CDs and vinyl from their previous debut album 'Brasshopper' in just over a year, and consistently filling 300 capacity venues without promotion, on merit alone, shows that underestimating this octet is out of the question.

'There was an undeniable feeling of fun, community and coming together when the irresistible rhythms and an abundance of high passion energy got the audience on their feet' - Time Out

Side A 'Hitchhiker', highlights the band's innate ability to orchestrate a nostalgic New York hot jazz sound, in fantastic superhero fashion. The equally thematic Side B contains an exclusive Hunrosa remix (Sam Vicary of Cinematic Orchestra) in the form of 'Windsurfing'. Hunrosa contorts Broken Brass' spatial image through an ambient, electronic and down-tempo journey, without ever compromising on the band's emotive and authoritative signature tone. In addition, the globetrotting act has sold out UK venues in Manchester, London, Exeter and Norwich, with airtime from Reform Radio, Craig Charles Funk and Soul Show, BBC Radio 4 and Radio Decibel. With more than 350 shows under their belt, and no signs of stopping, Broken Brass Ensemble is becoming a live force to be reckoned with.

A sound which has filtered through clubs across the globe, Culture Shock's music is yet again blazing the trail. And since the significant passing of an unmarked demo, his journey's been watched diligently from every corner of the drum & bass community. Standing as a marker, 'City Lights' represents what Culture Shock means to his fan base. After doing the club circuits and developing into one of scene's most notorious dubs, its release was met with great anticipation. As a result, Culture Shock has become a buzzword for the genre's trophy cabinet, coming with yet more fresh cuts to unleash onto an unsuspecting audience. Already becoming the centrepiece in his sets worldwide, whether at Prague's seminal Let It Roll festival or London's biggest electronic music showcase at SW4, the wait for this next single is now over. Radio support so far from: Annie Mac, Friction, Target, DJ Hype. Club Support Andy C / Matrix & Futurebound / Sigma / Jaguar Skills / Drumsound & Bassline Smith / Dimension / Chase & Status

"New polyrhythmic and psychedelic incarnation. Sounding like the music of forgotten people from Venus." (IRM)

It all began with Raz Ohara: His album 'Moksha' in February 2014 was the first release on Albumlabel, the new label from the Shitkatapult house at the time. Moksha, which blew away its audience and was so absolutely spot on, was never meant to dictate the direction of the new imprint in terms of content. In the end, the intention was and still is to impose as few ground rules as possible as to what is good for the ALB catalogue, now and always. Despite this, the album could be heard as a kind of label manifesto. Moksha demands attention and time. And this is precisely what the makers of Albumlabel are about: listening to records and having the composure and powers of concentration required to do so in these times of Internet-induced hyper-anxiety.

One year later, this is where Oliver Doerell aka Cummi Flu drops 'Z'. It is an entirely different kind of music from Moksha, less volatile and blurred, percussive and transparent instead. Yet it is an album that belongs right here on this label, one that demands time from its listener.
Cummi Flu, who likes to generate percussion loops from the twangs of various rubber bands, creates loops with the help of all possible and impossible tone generators. What happens now when these complex, gyroscopic sounds are deflected and distorted, when you send them through the Raz Ohara grinder, so to speak Gnawing tracks emerge from field recordings, acoustic instruments, synthesizers and kitchen utensils. Bizarre and fleeting.

The sound of CUMMI FLU/RAZ OHARA.

It appears that not only do Ohara and Doerell get along well, but they complement each other splendidly. Together they create an extremely fine psychedelia, a kind of dark psychedelic classicism or urban voodoo music. 'Y' is a jungle album for listeners to lose themselves in. For instance, we hear something that sounds like polyphonic, distorted whistling, but can't exactly be placed. And the fact is, it doesn't really matter. The longer you listen, the less you are interested in determining the origins of individual sounds. It's as if the sum of the music and its psychedelic effect mask all rational thought, as if the music takes over control.

Soul fragments, sung by Raz Ohara in his broken yet commanding style, waft around the extraterrestrial sound loops. Again comes the dark voodoo tapping, Ohara's sharp inhale, after which we immediately hear his voice creaking and scratching, maniacally, as if it were part of a cultish act. Various time signatures are intertwined, generating polyrhythmic infinity. And before the extremely filtered flute loops regain the upper hand, the music suddenly grabs your heart and moves you in the same way the soundtrack of your youth perhaps once did - the consequence of having taken the time, who knows.

CUMMI FLU is the latest incarnation of the ever-changing multimedia illusionist Oliver Doerell. Born in Brussels, he was the driving force behind the electronica projects Dictaphone and SWOD, and a sound box in Raz Ohara's Odd Orchestra.
RAZ OHARA's dub-infused productions develop a distinctive sound flow. Ohara has already worked with countless artists and released on just as many labels. His tracks have been remixed by Pantha Du Prince, Noze & DOP, Apparat, NU, Acid Pauli and others.

Recital release the first album of American Gamelan composer Daniel Schmidt (b. 1942). Schmidt, who emerged in the Bay Area music scene in the 1970s, wove the threads of traditional Eastern Gamelan music together with American Minimalism (repetitive music). Schmidt was (and is still) a prime figure in the development of American Gamelan music - studying and collaborating with Lou Harrison, Jody Diamond, and Paul Dresher. He currently is a teacher at Mills College, teaching instrument building.
The recordings on Flowers date from 1978 - 1982, selected directly from Schmidt's personal cassette archive. It holds two studio tracks, along with two live performances. The first track, Dawn (commissioned by composer John Adams), employs an early digital sampler provided by Pauline Oliveros. It holds the sound of a string quartet. The nature of this piece is breathtaking, an ocean of strings pulsing beneath the gliding bells of the gamelan - such a lovely interplay. Furthermore, the title track, Flowers, features the addition of a rebab, a traditional bowed instrument, which reels through the piece, netted and taught.
The final two works are strictly gamelan compositions. Ghosts is a a dynamic piece, rife with dexterous euphoria- it well displays the skillset of the percussionists heard on the LP. The closing work, Faint Impressions, is a somber elegy. Demonstrating the fragility and grace possible with the gamelan, sounding almost as an evening piano sonata
This is album is unique document from an under-represented movement of American New Music. An account of the curious beauty and woven emotions hidden within resonating pieces of metal.

The fourth album of Driftmachine is not an album in the classical context, it´s a collection of new studio music, remixes by Shackleton and The Sight Below, and material previously available only in digital formats.

The album starts off with the surprising Shackleton remix of Radiations, a little gem gleaming with all the spacious percussions you can expect from the British producer. Stretching vibrations over tense atmospheres and post-techno broken beats, Shackleton (who generously offered to contribute this track on his own initiative) delivers a fine feat of rhythmic acrobatics, deconstructing Driftmachine's modular synthesis. The album features Driftmachine's latest studio track, Vermiform Burrows, a swinging composition very much in line with the duo's recent rhythm-oriented work. The Sight Below's remix of Vermiform Burrows offers a very different perspective and interpretation of their music: minutely detailed and nebulous, an expansive ambient-techno track that de-accelerates the original's beat. Other surprise in store, is Call Mr. Moriba, which was originally offered as a digital-only bonus-track on the debut album Nocturnes (2014), Driftmachine's critically acclaimed first LP, and is now available in vinyl format for the first time. Also included is the original LP version of Radiations, first published in the Colliding Contours (2015) album. Driftmachine's Radiations is an excellent showcase of Andreas Gerth and Florian Zimmer's sound: obsessive, symmetrical, multilayered, a deep and elegant language based on the shaky, unpredictable foundations of modular synthesis.

LP limited edition of 350 copies pressed on purple colored vinyl, includes a post card with original artwork and free download coupon.

An exclusive bass-heavy official relick of Tristan Palmer's classic Joker Smoker.

Dub-Stuy Records closes 2016 with one last 12' from Californian producer Dubamine who lends his new school dub touch to a classic- Tristan Palmer 's 'Joker Smoker'. Palmer himself recorded a new vocal to fit with Dubamine's reimagining of the song, which takes the riddim to new deep and cavernous ends. The result is a party anthem that resonates from Jamaica to dancefloors world-wide. This is the first official relick of 'Joker Smoker', which was originally released in 1982 by Greensleeves on the album of the same name produced by Jah Thomas.

On the flipside, Dubamine teams up with another upcoming Bay Area producer, Saule , for 'Jimini Dub'. Together the pair have concocted a stripped back, weighty instrumental that brings to mind classic eyes-down vibes from the likes of Mala and Skream. The pair met in Santa Cruz and their collaboration shows the strength of a new generation of local producers picking up from the trails blazed by the likes of Matty G in the past decade. This will be Saule's second vinyl release, following his debut on Joe Nice's Gourmet Beats label earlier this year.

Last Signs is Eli's first solo release since) and explores a very different side of his unique acoustic universe. One instrument and the hyper-mediated sonic ecosystem of the club sound system in which the macrocosmic percussive collisions of his earlier work give way to a gradual unfolding of dub-influenced rhythmic constellations. Eli has described Last Signs as his response to playing in club environments over the last few years, an attempt to negotiate a delicate balance between the materiality of his acoustic. Coming off like an inspired synthesis between Scientist and Xenakis, Last Signs of Speed is a truly unique work by an artist at the height of his powers.

About Eli Keszler:

Eli Keszler is a New York-based artist, composer and percussionist. His compositions and visual works examine the limits of instrumentation, notation, and space in its insti- tutional, musical and public form.

Eli has released solo records on ESP-Disk and PAN and toured extensively throughout Europe and the US, perform- ing solo and in collaboration with artists such as Tony Conrad, Oren Ambarchi, Keith Fullerton Whitman, Aki Onda, and Rashad Becker. His upcoming projects include a duo recording with Rashad Becker at The Empty Gallery and a collaborative project with Laurel Halo.

Keszler's sound installations, music and visual work have appeared at Lincoln Center, MIT List Center, Victoria & Albert Museum, Sculpture Center, The Kitchen, South London Gallery, Carpenter Center for The Visual Arts (Har- vard), Luma-Foundation, Tectonics Festival (Harpa Hall) Reykjavik, Centraal Museum in Utrecht, Boston Center for the Arts, Barbican-St. Lukes and 3S Arts and Greater New York at MoMA PS1.

Gato Pretos Debüt-Album - Tempo' bringt all das auf den Punkt, was internationale Club-Kultur spannend macht: Rockender Favela Funk aus Rio, rumorende Township-Grooves aus Südafrika und Angolas technoider electro-Hybrid Kuduro sind Grundzutaten die Gato Preto zur Global-Bass-Kernschmelze bringt, wahlweise mit Rave und Breakbeat vermengt. Eine Steilvorlage von Soundtüftler und Gato Preto-Produzent Lee Bass an die Femcee Gato Misteriosa und ihre Power-Punchlines auf portugiesisch.
Egal ob im hippen Electro-Schuppen von Paris, beim Heimspiel im Düsseldorfer Zakk oder auf internationaler Bühne des "Nyege Nyege"-Festivals am Ursprung des Nils in Uganda - wenn die bissige 'Schwarze Katze', Gato Preto zu deutsch, um die Ecke biegt, nimmt sie keine Gefangenen.

Ausgerüstet mit digitalen Effekt-Geräten und Synthesizer - unterstützt von afrikanischen Trommlern und Tänzern, halten Gato Preto ihr Publikum im Schach bis auch der Letzte kapiert hat, dass das Zusammenspiel von globaler Bassgewalt und progressiven Grooves aus den Metropolen der Welt nicht zu bremsen ist.
- Tempo' ist eine Einladung, den beiden Global-Bass-Travellern bei einer imaginären Zeitreise in die Vergangenheit zu begleiten und sich mit ihnen auf die Spurensuche nach ihren kulturellen afrikanischen Wurzeln zu begeben. Die Songs auf - Tempo' lassen sich so auch als 12-teilige Audio-Adventure von Produzent Lee Bass und Femcee Gato Misteriosas hören. In jedem Song steckt eine Geschichte.

Los geht es mit - Moçambique', einem Song bei dem sich MC Gato Misteriosas mit der blutigen Kolonialgeschichte der Heimat ihrer Eltern beschäftigt. - Dia D' ist als Single-Auskoppelung bereits zur Global Dancefloor Hymne avanciert. Mit den afrikanikanischen Highlife Gitarren von V.Themba, ist es eine Hommage an den internationalen Erfolgszug afrikanischer Popmusik der letzten Jahre.

"Polícia' ist eine Kollaboration mit dem Ghanaischen Rapper Delasi und spricht sich gegen die Polizeigewalt weltweit aus und lässt sich auch als Afro-päischer Schulturschluss und Solidaritätsbekundung mit der #BlackLivesMatter-Bewegung in den USA hören. "Barulho" ist Favela Punk und zusammen mit ihrem Global Bass Mitstreiter Edu K aus Brasilien entstanden. Im Song "Pirão' spüren Gato Preto lang vergessene Traditionen, Kochrezepte und der Heilkunst aus Afrika nach und interpretieren sie, angeschlossen an die digital vernetzte Diaspora und verbunden, über die auf ihren Reisen geschlossenen Kontakte zur aufstrebende kosmopolitische Mittelschicht Afrikas neu.
Letztendlich gelingt Gato Preto der Zeitsprung - Zurück in die Zukunft'. Als aufgeschlossene und selbstbewusste Afro-Europäer kehren sie aus der Vergangenheit zurück um neue Trends am Himmel des Global Pop vorherzusagen.

Ltd. Edition on translucent blue Vinyl !

Plaster Falling was recorded at the same time as John Bender's first album, I Don't Remember Now / I Don't Want To Talk About It. Released in 1981 on the artist's own Record Sluts label, copies of Plaster Falling's initial pressing came hermetically sealed in plaster (and later latex). Thus, listeners had to literally break open the record to find what's hidden inside.

Produced in relative isolation, Plaster Falling is a beacon of brilliance in the nascent minimal-wave sphere. Veering towards skeletal urgency, these recordings set bright analogue melodies against half-whispered vocals and expand Bender's electronic cryptography thru a series of lone signifiers: "Station," "Plaster," "Women," etc.

As Bender explains in the liner notes, "I began to distance myself from the present and describe scenes as if in a movie - seeking concrete, terse, juxtaposed imagery."

This first-time standalone reissue is recommended for fans of Gareth Williams and Mary Currie's Flaming Tunes, Minimal Man and Grouper. Pressed on translucent blue vinyl in a limited / numbered edition of 1000 copies.

Julian Stetter might be best known as 'one half of the electronic pop duo VIMES', but he is no stranger to the Cologne club scene. His debut EP 'Insides' stems from a long history of djing and organising underground parties across the city. A resident DJ and collaborator at Cologne's famed JackWho club, it was these surroundings that drove Stetter to dive deep into producing. His first solo project is now set to be released on the label PNN. It features three tracks plus a remix by Beyou. Stetter's sound is polished and the precise production of each three tracks make this EP feel far from debut. 'Emily' is the first track set to be released this Friday. It draws you in on shimmering waves that rise and break into a deeper and spacier sound. Warm beats are interjected with random snippets of whale song. Listening to Emily feels like receiving a welcome hug at an after party.

COTCH INTERNATIONAL presents their debut release of innovative, globally minded and visceral music, from Jumping Back Slash.

UK born, but now a ten-year resident of South Africa, a country currently exploding with exciting new talent, JBS has immersed himself in the Mzansi scene, having collaborated and worked with the cream of forward-thinking artists in SA, from the likes of Spoek Mathambo, Fantasma, Okmalumkoolkat and Big Space

With distant glimmers of downtempo RnB, Gospel and alt-pop, as well as rhythmic nods towards Gqom, Kwaito and Pitori House, Slow Oceans is a statement of intent for an artist that has truly found their own lane.

Recorded over a week-long studio session in Johannesburg in April, Slow Oceans also brings to the fore two extremely talented South African vocalists, Hlasko and Nonku Phiri, and bassist Shane Cooper who all effortlessly glide over music, lacing the beats with lyrics and melodies charged with longing, romance and emotion.

- 'Come Rescue Me' received it's radio premier as the lead track on Oneaman's long-awaited BBC Essential Mix.

- 'Come Rescue Me' due for premier on Boiler Room Debuts

- Videos forthcoming for 'The Sirens Call' and 'Signs In The Stream'

- Initial plays from Oneman, Ben UFO, Skinny Macho, Charlie Bones

- Previous support: Auntie Flo, Esa and Mervin Granger, Branko, Braille, Sepalcure, Scratcha DVA, Mosca, DJ Simbad, Totally Enormous Extinct Dinosaurs, Alexander Nut, Okzharp, Chrissy Murderbot, Jackmaster, Teki Latex, Benji B, Falty DL, Oneman

Wolf Eyes' Nate Young's Regression series has provided some of the most compelling dread-electronics spewed out by the North American underground in years, with instalments released by Demdike Stare's DDS label and Aaron Dilloway's Hanson, as well as NNA Tapes and others.
It all began back in 2009 with this first volume issued by Joachim Nordwall's Ideal label, an incredible set that's now being released on vinyl for the first time ever, just in time for Wolf Eyes newly minted (Warp sponsored) Lower Floor imprint to make its debut this coming spring.
Young is one of those artists whose output is instantly recognisable, his take on primitive electronics is both innovative and unnerving, and in recent years has really dominated the stylistic direction pursued by Wolf Eyes. It's a kind of creaky, bare-boned deconstruction of classic horror scoring jolted by noise and industrial motifs, sounding somewhere between Demdike Stare's early work, John Carpenter and Mica Levi's by-now-classic soundtrack to Under The Skin.
You could neither classify Regression as a Noise record nor an Ambient one, instead the synth dissections and tape treatments more closely reference early electronic music. 'Trapped' offers little of the claustrophobia suggested by its title, although the continual woody knocking sounds and filthy oscillations do engender a sense of unease, while 'Dread' brings to mind the Desmond Briscoe soundtrack to Nigel Kneale's The Stone Tape. 'Under The Skin' returns to the more esoteric, intangible sound designs that characterised the album's opening, writhing around in a spluttering, tactile fashion that's at once sonically rather beautiful but deeply sinister, modulating through grisly synthesiser gestures while more textural, percussive sounds flood through dub-style tape delays.
Young has an uncanny ability to make sonic extremes sound incredibly seductive, and this volume is perhaps the most engrossing exposition of that unique ability.

Quarta 330 aka Toru Koda from Tokyo has a long relationship with Hyperdub, dating back to 2007 when he remixed Kode9 in his own then-unique 8-bit dubstep style. In 2017, with 'Pixelated EP', his music has evolved and accelerated, this set of detailed, energetic chiptunes makes you take notice. It has all the hallmarks of what makes Quarta's music unique and exciting with a fierce sense of fun. The EP kicks off with 'Resonate 3', perhaps the melodic highlight of the set, with an open-hearted, jazz fusion-like tune that Yellow Magic Orchestra would be envious of, and shivering chords set to a sparse, rattling beat. 'The Fairies Homecoming' reaches back to his dubstep roots with its reggae offbeat, but this time the reggae feel is matched with hyper-speed drums, reminiscent of early jungle. On the flip, 'Yatagarasu' bends whooshing, emotional chords and a bright snaking melody against stiff kick drums and deep bass, while 'Digital Lotus Flower' is pounding and energetic with complex low-end bass and drums reminiscent of a heavy rain shower, tearing out to a stuttering bleeps and chords. The 'Pixelated EP' is just a taste of the new batch of Quarta 330 goodness on the way.

Third reissue (of seven planned) in the incredible series of nature-themed libraries originally released in the first half of the Seventies by Cardium, Chic, Nereide, Musical, Rhombus, Spring, and Weekend labels. Seven never-reissued-before albums, real hardcore collector items, which gave birth to a small cult during the last four decades.

"La natura e l'uomo" (Italian for "Nature and mankind") first came out in 1973, despite being part of the same series of "Biologia marina" and "Ittiologia" (earlier reissued by Intervallo), it is actually a different affair, in which the avant-garde urge partly leaves room for sweeter, acoustic atmospheres. But there are also amazing examples of ambient experimentations (like the ones of the previous volumes of the series) such as "Protozoi" or "Venus", both featured in two versions. The main characters of this release are pretty much the same ones we met in the other volumes - Alessandro Alessandroni, Franco Tamponi e Amedeo Tommasi - but "La natura e l'uomo" also introduces two new names. Marco Di Marco, author of the tracks with a more definite easy listening mood, is a pianist and a jazz composer from Bologna, while the alias Kema hides Alessandroni's wife, the amazingly talented Giulia De Muittis. She and her husband are responsible for the most enticing tracks of the album: "Bassa marea", "Pescatori" and "Venus".

Visible Cloaks' Reassemblage is a collection of delicately rendered passages of silence and sound that invokes - and invites - consciousness. The foundation of the duo's second album is gently poured upon the ground their musical predecessors explored, using the materials of chance operations, MIDI translation,' and other generative principles that favor inclusive musical environments over the narrowly constrained.

In 2010, Spencer Doran, one part of Visible Cloaks alongside Ryan Carlile, prepared the first volume of Fairlights, Mallets, and Bamboo, a mixtape indicated by Doran as an investigation into fourth-world undercurrents in Japanese ambient and pop music, years 1980 - 1986.' These mixes contextualized the outré orbit of Yellow Magic Orchestra-related solo projects and their abstract, radiant forays as forever futuristic modes of music.

Reassemblage evokes similar musical futures celebrated on the Fairlights mixes, but does so observantly rather than reverently. The title Reassemblage, for example, is taken from a film essay by Trinh T. Minh-ha, which explores the impossibility of ascribing meaning to ethnographic images. The author aims to speak nearby' rather than speak about.' In other words, to embrace lapses of understanding, and realize that the impulse to map direct meaning across a cultural gap often results in further disconnect.

In an effort to speak nearby' rather than speak about,' Visible Cloaks filters and forms source material to become young again. Often the duo strip tonal elements of their specificity or randomize melodies so they become stirring and lucid. Essential patterns emerge, conscious experience heightens. In these moments, the musical language of Reassemblage finds unlimited resonance and presents a path to uninhabited realities.

The origin of this language could be described as translingual or polyglottal, working within the eastern / western feedback loop of influence, Fourth World ambiguity, and the universality of human emotion. Incorporating an international array of virtual instruments to advance the idea of panglobalism through digital simulation, tones and colors cohere into a living, breathing pool of sensorial experience in Visible Cloaks' environs.

Beyond embracing the fluidity of worldly musical influences, Visible Cloaks works fluently between mediums. The contribution of stalwart digital and installation artist Brenna Murphy's dream dimensions to Reassemblage's cover artwork and surrounding videos extends the album's exploration of global headspace into a visual, visceral reality.

Experimental LP inspired on the streets of the big city, listening to the sounds from different angles and perspective of the city. Created just for listening, not for the dancefloor.

"Although I did not think deeply about it but I felt that a certain time had come for me and I decided to produce my solo album. It was 20 years since I first started playing drums and since then, out of all the brilliant artists who live in Japan that I played with, I wanted to freely enlist players who I really wanted to create music with. The initial catalyst was my strong yearning, wanting to know, what sort of creativity would result, if I produced my own album."
This is what Keiichi Tanaka says about his intention in making this album.

In 2014, Japan's leading 8 piece Afrobeat band with a cast of characters, Kingdom Afrocks put a halt to their group activities. For the past 8 years, firmly maintaining their steady & indispensable rhythmic core to this band's energetic live performance and music, their drummer, Keiichi Tanaka became the first member of this group who will be releasing a solo album after their split. He started working on his solo album entitled, KETA IICNA HIKA on October, 2014 and finished it at the beginning of 2015.

Kingdom Afrocks were a band whose sound centered around Afrobeat and also implemented various musical styles such as Jazz, Brazilian Music, Latin, Rock, etc. and cooked up their own distinctive musical style and also managed to release 3 albums. Their frenzied live performance encompassed the overground to Japanese club scene's prestigious stages such as Fuji Rock Festival, Sunset Live, Gilles Peterson Presents Worldwide Showcase, Felabration Tokyo, Francois K.'s Deep Space which earned them a great reputation in Japan.

In addition to Kingdom Afrocks' ex-colleague, Nao Ito, OKI of Oki Dub Ainu Band and several other artists who Keiichi has recently performed with, he has also enlisted legendary Japanese Jazz piano master, renowned for the Japanese Jazz masterpiece, Watarase, Fumio Itabashi who he wanted to previously collaborate with. Furthermore, Keiichi has enlisted many African musicians living in Japan. So, along with conventional instruments, traditional African instruments such as a banjo-sounding traditional string instrument popular in countries such as Mali and Guinea, N'goni, traditional Karafuto/ Ainu instruments that OKI plays, Tonkori, and a bamboo mouth harp, Mukkur, are superbly intermingled in natural fashion. It is as if Keiichi is trying to create a compelling, new style of music by collaborating with an assorted variety of different musicians who play their unique instruments living in Japan. Furthermore, not just confined to Afrobeat, Keiichi also includes various African music and traditions such as Benga from Kenya, a lullaby from Congo, inspiration from Somaliland and Mali. Keiichi intermingles it with dub from OKI, traditional Japanese music such as his own roots music of Tenjinbayashi and traditional Ainu sounds. Also, Keiichi undertakes a Jazz- flavored cover of Afrobeat founder, Fela Kuti who he deeply reveres. As a result, Keiichi has created a deep and an unparalleled, melting pot like album that only he was able to produce. He stubbornly insisted on recording each song "live" and as such performed with his collaborators mostly in one take.

Keiichi completed this album in 2015. The record was ready to go but tragedy struck and Keiichi was taken from us by a fatal accident. KETA IICNA HIKA represents Keiichi`s musical vision, a culmination of all he had learned in this twenty years as a drummer and musician. In tribute, his family and friends have worked determinedly since Keiichi`s death to ensure that his music will reach audiences, not just in his native Japan but also across the globe.

Original copies of this brilliant 80's French ambient album from our friends at DDD.
A1b Part 2, A1c Part 3, A1d Part 4, A4b Part 6, B1b Part 8, B1c Part 9, B3b Part 11, B3c Part 12

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 are a true labour of love. Abstract electronics of the highest order. 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.

What ever happened to The Avalanches Diese Frage stellte sich gewiss der eine oder andere in den 16 Jahren, die seit dem Release des Debüts "Since I Left You" im Jahr 2000 vergangen sind. Immer wieder poppten seither Gerüchte auf, dass dem Kultalbum ein zweiter Langspieler folgen würde. Nun, eine halbe Ewigkeit später, ist es soweit: "Wildflower" kommt via XL in die Läden. Damit dürfte das Album das am längsten erwartete Zweitwerk der Musikgeschichte sein. Ausgeheckt von Robbie Chater und Tony Di Blasi, ist "Wildflower" eine wilde Achterbahnfahrt durch halsbrecherische Loopings voller Samples, die einem mit schrillen Sounds den Kopf verdrehen. Einen treffenden Einblick ins Geschehen bietet die Vorabsingle "Frankie Sinatra", die in knapp vier Minuten ganze Welten entstehen lässt und standesgemäß mit einem abgefahrenen Video einhergeht. Mit von der Partie sind Danny Brown und MF Doom, während Wilmoth Houdini und Rogers & Hammerstein den Soundteppich ausklopfen. Das Video dazu wurde von Fleur & Manu (Drake, A$AP Rocky, M83) produziert und zeigt eine Handvoll Einwohner von New Orleans, die auf einem Jahrmarkt durch Zufall in Kontakt mit Halluzinogenen kommen und dadurch jeglichen Kontakt zur Realität verlieren.

* Deepblak's Chief Alchemist AYBEE will release his fourth full-length studio album, 'The Odyssey', in November 2016. As befitting its grand title, this newest long-player finds him concerned with personal journeys: both the personal one that has brought him to this point - living in Berlin, 15 years since founding Deepblak in his native Oakland - and the one that beckons for him personally and creatively in future: AYBEE sees himself as being halfway up a mountain, looking back on where he has come from, and to where he will be headed next - both concepts play a profound role in the emotional textures of the album, which in true Deepblak fashion draws from jazz, deep house, techno, hip hop, blues, experimentation, cinema, space, time and infinity.

* 'The Odyssey' represents a change-up for AYBEE in several ways, forged from a desire to keep expectations at bay and throw something of a curveball for those who felt they had him pegged: "a good pitcher always keeps you off balance". This newest work saw him deliberately limit his sound palette in a creative exercise that challenged him to create a full body of work from a small pre-selected library of sonic elements. While this was restricting in some aspects, the approach to - as he puts it - "throw the ingredients in a basket and cook with it later" gave him more freedom to focus on atmosphere and groove instead of putting hours into trying out different options - "otherwise I'd still be in the studio now trying to work out which hi-hat to use on the third track!"

* While the resulting collection of tracks, bound together in sounds used yet disparate in their applications of them, may represent a more accessible AYBEE album than those prior, it still contains within it the DNA of his work with Deepblak Rhythm Czar, Afrikan Sciences - most notably in their improvised, one-take album length Miles Davis homage 'Sketches of Space'. That 2014 LP was closely followed by another collaboration, with Jerome Sydenham and Ron Trent as S.A.T., released on the former's Ibadan Records and pursuing a more techno-driven sound to the polyrhythmic jazz experimentation of 'Sketches'. Elements of both styles can be found in 'The Odyssey', as it moves through tempos and styles, yet the approach he has taken regarding the sounds used ensures it will forever be a unique work in his discography - quite literally nothing in his work before or since will sound like this record.

* 'The Odyssey''s artwork is by the artist Grzegorz Redko , whose animations of the cover art will be released online ahead of the album release, lending another dimension to AYBEE's latest statement of artistic intent, with many more still to come as he keeps climbing that mountain.

In 2001 Aybee launched Deepblak Recordings as a creative outlet for his music. Ultimately catching the attention of Legendary House DJ/Producer Ron Trent. This chance meeting led to Trent signing Aybee to the iconic Prescription Records imprint. After joining the Prescription family AYBEE, along with Trent, would come together to co-found Prescription sub-label Future Vision, and go on to create music as the "Indigenous Space People", and later as S.A.T.

* "Ron was exposed to my music through a friend of his in NY. At this time, Ron was in the NY phase of his career and was a resident at the iconic "Giant Step" parties. I was heavily inspired by his USG output at the time, and I think it was reflected in my music. I would go out in the city to the house joints and hear all styles, but when that USG/Prescription stuff hit at like 3am, it was another level of depth... it was spiritual. "

* Billy 'Daniel' Bunter & Sanxion - '88 to '94 captures the spirit of the best days of Old Skool rave music.

* Going from Acid House, through euro and UK rave, into the dark UK sounds of the early 90's and ending up with the beginning of Hardcore and Drum & Bass, the album sets out to evoke your greatest raving memories.

* This is a package any self-respecting raver and rave DJ will want in their collection.

* Bespoke, Triple pack, shrink wrapped vinyl LP

* Limited to only 500 copies.

* Heavy weight vinyl.

* Cut loud for DJ's.

Having announced the release of their debut album, 'Paradise Lost', Delta Heavy unleash the unmistakable rave weapon, 'Oscillator'.
Whereas the bouncy house of their previous single 'Punish My Love' saw the duo treading in more experimental waters, this double A side is a classic demonstration of the sound they have become notorious for, uncompromising and aimed unashamedly for the dancefloor.

The sci-fi tinged 'Oscillator' has created a huge stir on social media ever since a clip of it being dropped on NYE fast went viral and amassed 150,000 views in less than a day. Now, backed with the equally explosive 'Fun House', anticipation for the duo's imminent LP is set to reach a new level.
Receiving support from Annie Mac, Mista Jam, Friction. Beats1 mogul Zane Lowe, and Julie Adenuga plus pivotal figures across the press and blogosphere, it’s no surprise that this next single only adds to their building momentum. With their previous single 'Ghost' nominated for 4 awards including a Vevo Year In Video 2015 and a UKVMA as well as amassing over 2 million streams worldwide, we're coming one step closer to an LP set to cause dance floor annihilation across the globe.

* Young and gifted, Kator delivered the tune that founded the label. 160 BPM minimalism, with a smell of aerosol leaving the can after midnight. Lightless labelboss Fanu delivered an arctic heartbreaker, a yearning slowfast reinterpretation with bursting drumfills. Singapore's Kiat squared the circle with a catchy drum and bass beat, razorsharp percs and a bold surprise. The ever talented Daniel Myer aka Hexer found himself on the b-boy tip, layering and destroying oldschool breaks on a firm sub bass.

Deformer and Bong-Ra present Voodom Tribesmen.

Following from the ltd edition black label, 'Keysound Sessions Anthem' is the second 12' in Keysound's Rollage sub-series. Produced by Blackdown, all four tracks are built from from the same constrained sound palate and center around a short audio recording made on a mobile phone at a Keysound Sessions club night in 2015, during a Riko, Kahn & Neek set. As well as using the same family of sounds, all four tracks - original, feverish weightless, - techrollage & 8bar mixes - roll at the same 130bpm so can all be mixed into each other. But they also are designed to suggest a diversity of possible spaces, energies and intensities within nominal constraints. Early DJ support comes from Rinse FM's Mumdance, Logos, Lee Gamble and more.

A new double-LP of glacial electronics, strung-out drone-punk and smouldering space-rock minimalism from Bremen, the Swedish duo of Jonas Tiljander (Brainbombs) and Lanchy Orre (Brainbombs, Totalitär). The band's points of departure are specific: a particular organ sound from J.A. Seazer 1970s recordings, the squalid alien guitar tone of Chrome, the cranked, psychic roar-out riffage of Hawkwind, the melancholic mode of Swedish jazz pianist Jan Johansson, minimalism from La Monte Young to Eleh, 'cold eighties electronic sound", and sloppy, lo-fi psychedelic rock from the likes of Pärson Sound and Träd Gräs och Stenar. Tiljander's icily poised synth/organ drones and the grieving cosmic howl of Lanchy's guitar dominate the landscape, but Bremen's instrumental palette has also expanded to include various percussion treatments, saxophone, strings, dissolved vocal fragments. Their exploratory jamming, overdubbing and dub-savvy mixing yield a music of unbelievable eloquence and physicality, and Eclipsed is another masterpiece of black-hole psychedelia from one of the greatest underground rock'n'roll units on the planet.

Traxman style of Footworking... A footwork builded up with cheap sound defenitly mastered in a super way, making them existing like devil music.

Call it future-step. Call it deep-step. Call it autonomic. Call it whatever you wish, but one thing is for sure - Hidden Element hailing straight from Kiev, Ukraine fail to make their music disappoint. With a fresh take on electronic sounds ranging from breathtaking beat-less layers to +/- 170 BPM heavy hitters, these two have been making waves in the industry for some time already, releasing on 22:22, Alphacut, Med School, Pinecone Moonshine, and Translation - to name a few. But it is Absys Records that is the home for their full-length album entitled 'Together'. The release is a collection of 13 amazing pieces of work, each hitting a slightly different tone, but making a wonderfully coherent whole. An entity that is enjoyed best when all of its components are played together, as the title suggests. The album focuses in majority on a rather home-listening experience, with tracks like 'Aura' or 'The Night' setting the pace for a pleasant evening chill and boosting the laid-back mood even further with "Quite Place" or 'Without You feat Kiyomi' - both infused with lovely vocals - that can serve well as modern-day lullabies. But there are also more lively accents ('Long Way Home with Physical Illusion', 'Who Knows'), traces of live instrumentation ('The Next Day feat John LaMonica'), or ambient ('Bridge'). All in all, you get a fantastic cross-section of contemporary electronic music, a masterfully composed package of nothing but pure listening pleasure.

REPRESSED !!

REPRESSED !!
After well received second LP -'Subconscious', Radikal is back to present the' Digitalizer Riddim' EP.
Release is based on one of the biggest anthems from the album - ''Stay Calm'' featuring UK veteran deejay YT known for his outstanding collaborations with the ones of Mungos-Hi-Fi,Zion Train, Congo Natty or Kanka just to name a few.

Following the reggae music tradition of releasing different 'versions' of one song, Radikal Guru invited two other well respected vocalists, to put their own versions on the main riddim track.

Well known from his previous collaborations with Radikal Guru, singer Cian Finn delivered another excellent performance. In a track called 'Sound System' they're proving to create a very solid duo together.

Third version on the EP is 'Get Up' by El Fata, who's adding flavor to the release by showing his unique vocal style. Everything is completed by Radikal Guru's heavyweight dub version, making the record a must have for every sound system music lover. Soon available on 12" vinyl & digital in all good record shops!

Perhaps best known under his aliases Dalglish and O.S.T., Chris Douglas has been operating under the mainstream for the last 24 years, releasing on labels like Pan, Icasea, Phthalo, Highpoint Lowlife, Shitkatapult and many others.

Douglas has certainly had an interesting history and the places he's lived unquestionably define his sound. From his early beginnings in San Francisco organising parties and DJing, he relocated to Detroit where, hanging out with the likes of Underground Resistance's Mad Mike and the late James Stinson of Drexciya, he began to release his own work.

The competition in Detroit was fierce and the crowds were very particular so artists found themselves having to work a lot harder, which ultimately led to the consistent quality of the product at that time. His story then led him to Europe, after Autechre invited him to appear as their opening act during their Confield tour in 2002 and then at their curated All Tomorrow's Parties in 2003, where he finally settled in Berlin.

This time we're presenting the less familiar work of his moniker 'Rook Vallade' with a collection of his as yet unheard works from 1992-2000 - a very welcome addition to the Touchin' Bass catalogue.

The 12 tracks featured on 'Vestiges' represent Douglas' Detroit influences and early electro, techno and hiphop are all evident in these recordings. Each individual groove represents a warm and moving sound aesthetic, rich in texture and melody, providing an insight into the varying depths of machine and soul. Each track portrays a mood and feeling of its own, with the emphasis being firmly placed on the outcome and direction of each individual sound, reflecting a barrage of alternative feelings, thoughts and moods. The tracks are also documentative of Douglas' first productions working predominantly with a hardware set up.
From the clear electro influence heard on 'Aemldbr', 'Badlstmp' brings captivating warm synths with fine metallic sounds surfacing above the layers, giving this track the feeling that it is much more current than the production date suggests. The blend of wavering strings, industrial ambience and chilling synthesiser pads demonstrated in the hauntingly dramatic short piece of 'Scrintv' leads to the punctuated percussion of 'RI_25' and the heightened tension, chaos and confusion of 'RV7ScF'. 'Endtb_' is like going into the unknown, a bit like how Jacques Cousteau must have felt when first filming underwater.

Frustratingly, Douglas never seems to have gotten the recognition that he so richly deserves. His experimental attitude has always put him ahead of his time and this album still firmly places him at the forefront of electronic music. These are timeless relics from the past, coming from an era where the concept of atmospherics very much dominated the production. There may have been less to work with but Douglas has somehow captured more. Under 'Rook Vallade', his music stands the test of time.

As The Wire once wrote of him: 'His music is one of the most striking evacuations of the life of the mind that you're ever likely to hear. This still stands true to date.

After the first thrilling Deep, Dark & Dangerous compilation follows Truth's next release outline named after the 'Devils Game' EP. Again, the duo from New Zealand is up to something with this triple tracker, which is packed with their take on the ever-evolving sound of dubstep.

They way they reach out to the world with their carefully selected set of cuts is something worth mentioning; dragging many through hell and back with a mixture of the darkest vibrations, mirroring, charming vocals - and by unloading a fatal amount of overweighing bass repository. It's the established contrast between light & darkness that makes this lineage extraordinary.

The vibe in opener 'Devils Game' turns bitter sweet almost instantly, as it escalates into a contemporary jam that might remind you of their classic Tempa or DEEP MEDi catalogue. A scorching roar pulls listeners right into a vortex only Truth know how to form, unleashing a brick wall of bass, numbing vocal and intelligent sample placement that will hit the brain like blind fire. The relentless impact of such a firestarter might upset your stomachs - watch it!

Remember Devil's Hands See Truth's collab with the gifted Animai and Alicia Kiah as its 2.0 exciter. This heavily sought-after dub plate hits many on a vast number of levels, whether it's in the audible range of 30 Hz or by aiming straight for the heart. The bad boys Truth allow Animai to take her lyrical wisdom to the next level, with Alicia Kiah's glorious efforts in playing strings in the background. Ensure to head eyes down when Smoke hits you with its powerful high.

The joint strike force is in full command with Innamind-signee Quest joining Truth's third Deep, Dark & Dangerous operation. 'Tunnel Vision' deals several punches through 808 bass galore and an exotic percussion lick. It all smears salt in the wounds as the track grows in magnitude and power, slowing down the healing process and affects your vision. If you love minimalistic, hard-hitting bass music, this EP closer will easily become the track of choice.

Gourmet Beats 007 is the Los Angeles EP featuring Introspekt, Mesck, Oxossi, and Subtle Mind. The idea behind the EP was to bring together some of the hot talent emerging out of the LA bass music scene.

Support from: JoeNice, BunZero, Raggs, E3, Kursk, Mesck, Gantz, Emmo, InfraDub, VIVEK, SapLeo, Dub DIggerz, Basstrace, DubPhase SoundSystem, Nousless, Malleus, Moonstones, FKOF, Trusik, True Soldiers Productions, DataSetClothing, SubFM.

With each release, GourmetBeats gives money to a charity or organisation of the artist's choice. Introspekt, Mesck, Oxossi, and Subtle Mind's charity is The Children's Music Fund. This 501(c)3 nonprofit organisation brings musical instruments and provides musical therapy to children and young adults suffering from chronic and life-changing illnesses in the United States.

As soon as we heard them we fell in love with these tracks and could not wait to press them on heavyweight vinyl. This Scrub a Dub will not be around for long. Von D got excited over his new hardware and has succeeded in reaching the holy grail of dub. With this simple but effective master Von Dizzle shows off even more than his usual finesse. Egoless can do no wrong. After years meditation on the meaning of sound he is here with his latest lesson. Drums. Bass.

Forming during 1997 in Providence, Rhode Island experimental group Black Dice have without question paved their own way through their 20 year career. Doing what you want to do when you want to do it, no questions asked with a fully informed yet blatant disregard for everything surrounding them, always with acute execution and an ever changing singular sound. No gimmicks, no nonsense, since the beginning.
Somehow it would only make sense for Dice and L.I.E.S. to link up and after a long friendship we see it come to fruition. With this two track 12 inch Dice put their foot on the gas and ramp it up. You wanted to shred Well this shreds. Is it a snapshot of the past A possible nod of things to come A moment frozen in time We leave it for you to decide.

different coloured vinyls!

the original track is an industrial and distortion experimental project of the owner label Federico Amoroso which contain a really metallic and dark sound.
Positive Centre his remix it's a Dark walk into Industrial noise and distortion audio bites, with ambiental moment and powerfull distroy counter.
the first track of B side it's remixed by Italian producer Plukkk which heavy dominating with relentless attitude and distortion driving kick - drum, with big impact for the dancefloor.
the last remix is an collaboration with the japanese producer Yuuki Sakai which has an original idea to add a lyrical singer in the middle of distortion broken techno beat.

The new label started well: arriving the big names of the genre and industrial noise Skarn Division label founder Federico Amoroso, a new label that will touch many different genres and musical nuances: techno, industrial, noise, drone, ambient and experimental, a melting pot of sounds joined together by a passion for harsh corners and futuristic electronics. Artists who remix the first disc of the founder Federico Amoroso are Positive Centre (who played several times in places like Berghain and Tresor), Plukkk and Yuuki Sakai: every producer knows that long in the field of industrial techno and noise music (just look, to name one, the presence of the same Positive Centre to the latest editions of the Berlin Atonal festival, or even Yuuki Sakai: remixed by Oscar Mulero .. and so on!).

"EREDI" the new solo album of RHumornero. A photograph of modern society through the scrupulous vision of social networks, the modern era and its epochal change in communication takes us to raise the question of what is the legacy left by our predecessors, including human misery, beach holidays and the great opportunities that the crisis has to offer. The individual "UM MILIARDO DI ANNI", "METALLI PESANTI", "SPIRITI", "MASCHERE" and bonus track "Last Christmas (non si sentirà) and "SOTTO LE STELLE" have the artistic and executive production Pietro Foresti, manufacturer rock the year 2016 to Mei! I RHumornero born in 2005, the rock sung in Italian dark atmosphere mixed with post-grunge sounds that fade into metal embracing Italian singer making the recognizable and unique project of its kind. Three albums : "Umorismi neri", "Il cimitero dei semplici", "Eredi" and four Virgin Radio compilations "Virgin Rock Style 6/7 (with" L' equilibrio "and" Un miliardo di anni ") and " Xmas in Rock "in 2015 / 16 (with "Last Christmas (non si sentirà) and" Sotto le stelle "composed by request of Virgin Radio).

Escapism II is a continuation of Gellaitry's bright experimental production, following up to last year's critically acclaimed Escapism EP..

Presenting the new ssaliva release on Ekster: We Never Happened'. 180g vinyl packed in a pantone printed outer sleeve with drawing by Charles-Henry Sommelette. Comes with printed inner-sleeves and silk screened plastic oversleeve.
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I am a vessel. A muffled mass. A bulk. Extent. A womb. I move. So I am neither here nor there. Always somewhere in between. To give substance to this frame, I carve out a piece of me. Sometimes a shape, sometimes a form. Into this space I pour the siege of me: words, pictures, you. So we can become me. Viscosity and temperature dictate the time it takes. When it is done, I break the mold I am. I take the cast inside and place it by the others. Choose one and take it home.

pure electro stuff by the french guys with full artworkcover !! great !!

DECISIONS is proud to announce its second release: Empty Gallery EP by waterhouse, a Melbourne based producer, DJ and vocalist. The EP spans 3 years of waterhouse productions (2013-2015), charting a sonic emergence suffused with spatial, textural and emotional complexity.
The EP opens with 'Breathless', a heady rush of ambience, shimmering cymbals and field recorded textures. 'A Little Sheep' follows, progressively immersing the listener in accumulating layers of vocal melodies. On '3415' rapturous choral textures encircle delayed claps and a reverb-drenched kick drum to form the most urgently rhythmic cut on the record. Side A ends with title track 'Empty Gallery', in which an intricate constellation of strings, pads, rumbling sub frequencies and brusquely dry percussion meet lyrics confronting life after loss.

'Empty Room' begins the B side, a gentle miasma of sound breathing to an 808 kick that dissolves into a haunting vocal refrain. 'Untitled 2 (12:48am)' builds a cathedral of bells, concrete percussion and deeply resonant drums to house a barely discernable vocal. waterhouse's alchemical ability to turn raw material into something sublime is illustrated on 'Broken Violin (afternoon recording)' in which snippets of detuned violin and vocal improvisation entwine. 'song for a prince in exile' closes the EP with a bubbling slab of ambience that is steadily subsumed by searing distortion. As if cauterising an open wound, it dramatically marks both an ending and a beginning.

Empty Gallery EP arrives on vinyl and digital on Friday 11 March, as much primed for deep listening at home as it is for the more intimately challenging moments of a DJ set. waterhouse has been making waves in Australia with her intense live performances, visceral DJ sets and her recent opus 'waterhouse at the Little Girls Orchestra' for FBi Radio's multi-award winning experimental show Ears Have Ears. Empty Gallery EP is her debut release.
Mastered by Sam John at Precise, pressed on 140 gram vinyl and presented in a printed cardboard sleeve. Cover artwork by waterhouse.

Nach Kelela überrascht das Label Fade To Mind aus L.A. mit einer weiteren R&B-Queen, Dawn Richards (ex-Mitglied von P. Diddy's Girlgroup Diddy-Dirty Money). Ihre vielgelobte "Infrared EP" inklusive des Tracks "Honest" ("Best New Track" bei Pitchfork) erscheint mit 10 brandneuen Remixes erstmals auf CD und LP. Die Remixes kommen u.a. von Kingdom, Ikonika (Hyperdub), Rizzla, Helix (Night Slugs) und Divoli S'vere. CD im Digipak, LP mit Poster (12x24") und Download-Code (mit vollständigem CD-Tracklisting, 14 Tracks).

Emptyset is the innovative electronic duo of James Ginzburg and Paul Purgas.The duo composes within a complex set of self-imposed parameters or rule sets and the results of their expeditions on Borders are at once minimal and visceral. Focusing on shifting timbral changes over melody, Emptyset's work is an exploration of the relationship between rhythm, texture and space. The pair shares a history in Bristol's underground music scene as well as an impressive list of production credits. Ginzburg, now Berlin based, runs a network of record labels including electronic music label Subtext and Arc Light Editions, whose reissues include a work by Arthur Russell. He's a prolific
producer and remixer for both independent and major labels, with diverse projects such as Faint Wild Light, Ginz and more recently Bleed Turquoise. Purgas, now based in London, founded the We Elude Control label in 2009, a curated collection of rare experimental music. Purgas is an artist, writer and curator who has presented projects with Tate, Whitechapel and Serpentine
Galleries, and he is also an active promoter of electronic music in eclectic spaces from a carpark to a Modernist pavilion.
Each project's framework and parameters dictate how the sound or performance evolves. In the past, Emptyset have explored the ways in which the sonic and spatial interact within different architectural contexts: often site-specific locations such as the decommissioned Trawsfynydd nuclear power station in
North Wales, or the neo-gothic Woodchester Mansion. Borders takes a different approach, centering around the performative and the performer. Having each created their own tactile instruments, a six-stringed zither-like instrument and
a drum, Emptyset focuses on how organic sounds interact with the analogue processes that have defined their work to date.
Contrasting typical approaches to making electronic music, Emptyset set out to emphasize live performance rather than creating sequences within devices.
While Purgas and Ginzburg utilize vintage analogue electronics, compressing and distorting the signals, the album itself is performed entirely live, where subtle movements make for substantial changes in sound.
From the very first track, 'Body,' one can hear how the physicality of the instruments have imbued the sound's texture. The physical characteristics of the metal strings create a layer of dynamic juxtaposition to the grinding timbres emerging around them. The broody 'Ascent,' features the album's clearest call-and-response between the stringed instrument and the drum, barking and
thudding back and forth at one another. Evident in tracks such as 'Border' and 'Speak,' Emptyset uses basic rhythmic structures drawn from an array of broad cultural practices, expressed neutrally and without overemphasis on the
source. Taken as a whole Borders distills the duo's inspirations to their essence and the resulting music is as raw as it is captivating.

EshOne (Donnie Valdez - Gourmet Beats, Artikal Music UK, Dataset Clothing, Elk Beats) is a 31 year-old graphic designer, music producer and dubstep DJ from Albuquerque, New Mexico now living in Poland. EshOne has performed in twenty states and several countries, including: Canada, Denmark, Poland, The Netherlands, and Slovenia. Donnie's earliest musical memories were his electric guitar playing days and listening to heavy-metal bands from twenty-five years ago. Learning this instrument and listening to heavy-metal expanded Donnie's musical horizons to signal processing and sound manipulation. Armed with technical knowledge, Donnie shifted his focus to music production in 2004, specifically, drum and bass. EshOne makes tunes quickly because of his innovative production techniques and instant application of his craft. His frenetic production pace is closely related to his high-energy live three deck sets. Donnie learned how to mix in 2003 and had plans on becoming a turntablist. Currently, Donnie prefers to mix and blend his productions, which focus on heavy basslines and anthemic grooves while keeping a dark vibe and gritty texture. Donnie's love of nature and music gave him incentive to create his record label, Elk Beats. The elk is very similar to Donnie's music, internet presence, and online persona: peaceful, present, and powerful. Donnie enjoys spontaneous activities, such as: fly fishing, skateboarding, and snowboarding. His other passion is music, and EshOne's productions are custom-made for large rooms with low-lights, loud sound systems, and an intense emotional experience.

Rawabet is a live album from Helm documenting a special performance that took place alongside Maurice Louca in front of a sold-out audience at the Rawabet Theatre in Cairo on October 22nd, 2015. It's also a snapshot of a period of pan-continental touring which took Helm from Egypt to Austria and then to Canada in three days. During these shows material from his recently released Olympic Mess album was re-imagined, expanded and performed alongside new and "other" material to add an alternative perspective to the original recordings. What ended up being performed in Cairo that night owed a lot to the energy of the city and thanks to a superb recording and mixing job by Khyam Allami, Rawabet can be seen as the definitive live document of Helm to date.

REPRESSED !!
Our favorite Lush, back with further idilic musical visions . Think more Hassell free than Kenny Gcz..*Double sided Silk Screen Sleeve* designed by Cosmo Knex...

Walter Benjamin begins his Berlin Childhood around 1900, a book in the form of a series of vignettes, with the following two sentences: "Not to find one's way around a city does not mean much. But to lose one's way in a city, as one loses one's way in a forest, requires some schooling."

Entitled Tiergarten, after the eponymous park in central Berlin, this passage from Benjamin's memoir written in the 1930s which refers to the city as a sometimes alien piece of nature that you moonwalk through can still be resuscitated, even a century after the initial experiences described.

It may be tempting to describe the first collaborative album by Katharina Grosse and Stefan Schneider, titled Tiergarten as a collaboration of an internationally renowned visual artist and an equally internationally renowned musician. Grosse's distinctive approach to non-representational painting on an architectural scale, well beyond the limits of the canvas, has been the subject of exhibitions worldwide, at art institutions including New York's MoMA PS1, Chicago's Rennaissance Society, or the Palais de Tokyo in Paris. And Schneider's musical activities have gone from being a founding member of Dusseldorf outfit Kreidler, through his longtime commitment as a member of Berlin-based trio To Rococo Rot, to his many performances and recordings with musicians including Krautrock legends Hans-Joachim Roedelius (Cluster), Klaus Dinger (Kraftwerk, NEU!), and Hans-Joachim Irmler (Faust), or contemporary drumming virtuoso John McEntire (Tortoise, The Sea and Cake).

But while each of Grosse's and Schneider's activities have resonated around the globe, the rather technical, disengaged term "collaboration" seems inept to describe what they do together. Rather, it's a sort of almost telepathic understanding that has grown out of a long friendship. Tiergarten is an instrumental album of two performers on analogue synthesizers interacting, communicating, contemplating, complementing each other through their instruments and intuitions.

The two first met in the late 1980s. Both were studying fine arts at Dusseldorf Academy. Grosse painted, Schneider photographed. Conversations between Schneider and Grosse never stopped, throughout the 1990s and 2000s, on their different trajectories as artist and musician respectively, they stayed in touch.

After a number of performances between 2008-2015, often with and within Grosse's painted and sculpted environments, the two decided to record an album together. Over the course of two years, with a self-imposed limit of two players and a sparse set-up of just a few synthesizers, the two made recordings. They prepared for these recordings, but separately - and then, intuitively and listening to one another playing live, formed clusters of sound, an intensive conversation "without fixations" (Grosse). However, what these tracks evoke are not concrete, static images, but surprising, lively scenes. Analogue synthesizers - at least the way Grosse and Schneider make use of them in a sense of personal as well as aesthetic trust - are in themselves reminiscent ofliving organs in the sense that they can be more than simply tools giving a linear output to straightforward input, instead drifting into unknown territory.

Benjamin's way of navigating the city almost like blindfold, perceiving the street names like the snapping of twigs and the sunlight in small streets like the echo of mountain valleys, becomes the musical programme of the unprogrammatic.

"We don't discuss, but we do come to an agreement nevertheless," says Grosse. There is no target they aim for, other than the formal parameters of an album, with nine tracks, with the shortest, Schattenmodell, just over a minute - sounding like a positively nervous flock of robot birds -, and the longest the opening track Blueberry at 8:19 minutes, a slowly probing venture into the bass and treble strata of a musical exoplanet. The nine tracks form a cycle in which certain motifs or soundscapes reoccur and subtly mutate - like sirens, dark rivers, gravel, a rippling water surface, cells multiplying, ice melting.

And the album artwork in turn is a visual resonance of that relationship. The cover features the close-up onto a detail of one Grosse's spray-painted works, shimmering in hues of green and blue on a corrugated cardboard surface. You see paint runs and spray coronas, and still the tones and textures make you think of an insect's wing, or snake skin. The inner sleeve, in turn, shows photographs by Schneider: a scree slope up in the high mountains, just at the upper end of the treeline, a bird's eye view onto a majestic yet delicate structure punctuated by green brushes and grey stones. Just as the music, the artwork of cover and inner sleeve suggests a flip-flopping between micro- and macro perspectives.

As Grosse puts it: "In our music, affects such as aggression or delicacy are not active agents that are good, or objectionable - instead, they just are." There are no role models to embrace or personas to identify with. Hence one may attempt to describe the music palpably as reminding of Sci-Fi worlds or organic tissue under the microscope. You still need these slightly lopsided metaphors to describe something that you, strictly speaking, never heard before, because Grosse and Schneider manage to squeeze and tickle sounds out of these instruments that are still quite unfathomable.

After Weissensee by NEU!, and Neukoln bei Bowie and Eno - both named after districts of Berlin - Grosse and Schneider, with Tiergarten, bring their very own, fresh approach to this short but significant tradition of pulsating analogue synthesia dedicated to Berlin and its historic and aesthetic landscape.

Jörg Heiser is a writer living in Berlin. He is Editor at large of frieze magazine, the Director of the Institute of Art in Context at the University of Arts in Berlin, and a member of the band La Stampa.

As a formal conclusion to 2016, Youngbloods' 13th release is the sophomore album from Dutch producer and vocalist Kratos Himself, 'Stay True'—on Powder Blue 12' vinyl. As a stunning follow up to 2015s Loon Garden and its exploration of the zeal behind new love, Stay True soundtracks the producer's iliadic journey from betrayal to the forging of new independence and self love. Opening to a quick descent, Kratos Himself (real name Jethro Hopmans) carefully narrates his transformative ascension, playfully winding through footpaths lined with warm Rhodes piano chords and off-kilter percussive rudiments. In telling his story, Hopmans finds himself the humble servant to a beast larger than himself, and in doing so puts his musical aptitude on display while illuminating the woodland caricatures of contemporaries Caribou, Bonobo, and Shigeto. As if leaving a watermark on a tale bound to outlive him, Stay True sees the introduction of Hopmans own voice, most prominently featured on Heartless' and woven throughout the rest of the album. Stay True also sees the return of London's Bev Lee Harling and Hopmans' first collaboration with Toronto Hip-Hop artist and singer Copasetic. Loose synths and gently swaying rhythms comprise each of the ambient, jazz-infused tunes...pulling at your heartstrings with unwavering persistence. Quivering melodies, Four Tet style percussive loops, and delicate accents fluttering in the background mark...the LP as easy listening, awe-inspiring headphone music.' - NESTHQ Building ever so gradually in the beginning, Kratos slowly introduces gentle splashes of colour and melody before a relaxed beat takes the lead, guiding us through a series of fragile, interweaving melodies.' - Complex UK

Back in 1996, before Moritz Meschonat a.k.a. M.Flux became well-known through his collaborational works with Dr Walker as Dr. Walker & M.Flux and being part of former electronic supergroups like Rei$$dorf Force and the notorious Computerjockeys he released his very first 12' under his M.Flux name - a mysterious limited pressing with as little information given as necessary.

On the hunt for some classic treats from the past we rediscovered a small amount of this hardly known gem that perfectly showcases the state of stripped down, yet not necessarily minimal, Techno in those years. Four skeletal, positive and slightly experimental tunes with one crossover exploration of slightly psychedelic but sweetly groovin' Ambient / Electronica realms.

Six years after his last album on Miasmah, Schattenspieler, it's great to find Marcus Fjellström resurrected after several long years spent composing his audio-visual opera Boris Christ.

Born out of shattered dreams and an obscured vision of the future, Skelektikon is a delirious yet lucid exploration of the farthest and most conflicted reaches of the heart, teeming with confusion, passion, and ghostly shadows. Being no conventional composer in any way, Marcus stumbles further down his musical domain of detuned orchestral (re-)arrangements and pain-inducing synth passages, arriving at a most unique and personal result. Where Schattenspieler gave way to noir filled alleyways, Skelektikon fills them with paranoia. It's the sound of Limbo, of dancing amoebas, of deviant skeletons, nostalgia and futurism, or quite possibly none of that.

Inhabited by the bizarre and the beautiful, Marcus's music is a blurred yet encouraging representation of how you can never trust your own feelings - or eyes and ears for that matter. And yet, we can't shake the idea that the truth is to be found somewhere within this alien language, as delivered to us through the speakers. Opening our eyes after the final track has dissipated, we wouldn't be surprised to find someone or something there, staring at us, in silent and unsettling knowledge.

"SIRENS" - the new album from Canadian Spoken Word poet MYRA DAVIES with music by Berliners GUDRUN GUT and BEATE BARTEL.

Myra Davies is back with a new packet of witty stories and poetic reportage in a dynamic current of electronica by Berliners, Gudrun Gut and Beate Bartel. Movement is a major theme. Davies' eye, insightful yet detached, wanders assertively over land to sea to outer space, through time, past to present to future. Her observations and reflections on art, culture, convention, capitalism, express instability, the contingent even conjectural nature of existence. Yet they suggest (without promising) the possibility of optimistic resolution. For Davies, the personal is political and Art is more so.

The album includes a three-track riposte to Götterdammerung, the final opera in Richard Wagner's Ring Cycle. Two tracks tell the story. The third (DO YA) links the epic to us. Wagner was called 'the great seducer' because he aimed to 'take' his audience in an emotional gut grab that's been described as 'artistic rape'. No invitation here to sink hypnotically into the dark ambient tones Gut and Bartel provide for Davies, who in telling the story frequently pops out of it to comment. Indeed, the point of revisiting this End Time for Übermenschen is to draw attention to the eagerness with which we give ourselves to art, politics, love, war, consumption, work, religion, pop culture, technology, vanity, and thus to bondage. Fortunately,the message is delivered in a tempestuous roil of words and music, i.e. — seductively.

MYRA DAVIES: A personal Note: The word 'siren' contains both allure and danger warning. Come hither. Stay away. Such isometric emotional dualities can drive a person around a post like a work donkey. I question such 'native' impulses and the Romantic notion that emotion is the seat of authenticity, our true core. Our minds - amygdala included - are colonised. Yet the human brain is flexible. It's possible to take territory, to write our own code. 'Your mission, if you choose to accept it'. Thanks for listening.

With a career spanning two decades, five studio albums, over 16+ million records sold world-wide, and a plethora of accolades, Nelly Furtado is a proven chart-topping luminary.  Furtado is now readying her sixth studio album, The Ride, due out 31st March 2017 via her imprint, Nelstar Entertainment, through 10th St. Entertainment/Eleven Seven Music Group.

With a career spanning two decades, five studio albums, over 16+ million records sold world-wide, and a plethora of accolades, Nelly Furtado is a proven chart-topping luminary.  Furtado is now readying her sixth studio album, The Ride, due out 31st March 2017 via her imprint, Nelstar Entertainment, through 10th St. Entertainment/Eleven Seven Music Group.

Electronic, Experimental, Minimal, NDW (Germany 1984).

NU Lp for RS marks No UFO's first proper LP (as Soft Coast on Spectrum Spools was considered a demo) and having been diagnosed with Carpal tunnel syndrome, will likely be the last of its kind. Eschewing the heavy gestures of today's musical zeitgeist, NU Lp... finds Konrad Jandavs utilizing tape machines, foley libraries and rare synthesizers / amplifiers to construct an oblique sound world evoking reception, perception and agency. Of NU Lp..., Konrad states I was trying hard to avoid making another 3 Feet High And Rising and that basically meant I was making a De La Soul Is Dead, but in the end it seems clear to me that I skipped ahead and made a Buhloone Mindstate.'

POW! continue their danse macabre in the laser glow of hi-beam synthesizers, with a new batch of synth-punk candy that will rot your teeth: Crack An Egg.

Vacuum-sealed, chrome gleaming, propulsion pounding, eyebrows arched and slightly pixelated, this album is like the cupie-doll face beckoning from a digital billboard outside your hovercraft window. From a none-too-distant dystopia and on to your turntable — VCFs slowly open across a smogged-out horizon as they urge you to take that Necessary Call,' warn moodily against a Cyberattack,' and inexplicably Crack An Egg' in honor of the human race. Synthetic earworms squirm into and out of view like twinkling city lights through evening's opaque air, feasting on terse punk skeletons. The neon is buffed to an aerosol sheen by Chris Woodhouse behind the blinking motherboards, with a streetlight or two of Gary Numan's slanting through the door. The automatons know where the party's at — follow them.

Midwich is very proud to close out 2017 with what we feel to be our paramount release. VIKI Viktoria's New Victorian LP is a crowning achievement in abstraction and time-folding. Its metallic futurescape could be the product of 2072 or 1972, harnessing an individual mindset at the peak of its powers. The sound vibrates, doubles up on itself and generally plays havoc with the senses, in the most pleasurable way. Deploying a dizzying array of primitive and advanced electronic techniques, this is one for the ages. Whether your first or hundredth listen, the album breathes with life and feels fresh each time. Years in the making, New Victorian is a timeless piece of electronic music. VIKI Viktoria (aka VIKI) is the pseudonym of Detroit multidisciplinary artist, improvisor and composer Lindsay Karty, whose work involves historic and contemporary electronics, custom circuitry, sound spatiaization and language experiments into combinations of live and telematic performance. VIKI formed from the same pond of DIY electronics as Wolf Eyes, Maximum Cloud, Nautical Almanac and went on to obtain an MFA, studying with composer Pauline Oliveros. Karty continues to host Deep Listening events in Detroit, as part of her ongoing certification. VIKI moves fluidly between sound worlds, street-smart as well as school-smart. In 2016, she co-curated Detroit's inaugural Trip Metal Fest, which hosted Morton Subotnik, Heiroglyphic Being + Marshall Allen & Danny Ray Thompson, among many others. VIKI has toured with Wolf Eyes, ADULT. and Paper Rad's Extreme Animals. She is also a member of SLIKI, a duo with Stallone the Reducer. She actively practices and collaborates in live multi-channel speaker performance in acoustically interesting spaces and club situations. Drexciya's Gerald Donald called VIKI 'The Gary Numan of Noise'.

Highlights: - Years in the making, New Victorian is the result of VIKI's studies with composer Pauline Oliveros. VIKI is an active practitioner of Deep Listening and continues to facilitate events in Detroit - VIKI has been active since the early 2000s, with releases on Load, Animal Disguise & others. - VIKI has collaborated and toured with Wolf Eyes, ADULT. and others. She is a co-curator of Detroit's inaugural Trip Metal Fest. - Drexciya's Gerald Donald called VIKI 'the Gary Numan of Noise'.

For their second collaboration on Odio, Arcanoid and Diffuse Arc continue to define their dreamy Electro signature sound with five cuts oscillating between ambient and downtempo.

Needing little introduction, and having scored a Beatport number one with latest single 'Shatterdome', this fresh cut from Audio yet again reinstates his dominance. Slick and standing with fortress-like tightness, these two sonic slabs of bass bear down on you aggressively. Then again, what can you expect, from one of the most resounding names within the genre; even from his very first output

'Make it Happen' is bulking and rolls forward like a freight train. Snapping between breaks and bass that bulges with power, it's a muscular number which brings another meaning to 'dancefloor anthem'. Broken up by interjecting sample, frequently pounding loops of distortion and warbling beat patterns pull you deeper and deeper into the mix. Pausing before ascending yet again into all-out chaos, Audio proves his intimidating production standards are upheld with every release.

Instantly recognisable from the vocal snippet, 'Napalm' promises to explode on impact. Detonating crowds at festivals this summer, from Prague's Let it Roll to stages across Europe, it's a chunky, clunking record which has already caused devastation across the continent. Distorted and with a warbling, low frequency, prepare to be taken by the synapses into drum & bass' murkiest waters.

Yet again, Audio demonstrates his unbridled capabilities. Gritting his teeth and once again proving a darker edge to the Ram imprint, this presents one more step towards an Audio LP...

Aware is the alias of Alexander Glück, born 1983, who studied philosophy and physics in Vienna, where he currently lives. Apart from music, he writes monographs in the field of philosophy, which revolve around Christian mysticism, Buddhism and the poetics of modern cosmology, recently Poesie des Kosmos (2016). He wants to believe that someday, out of nowhere, a human, animal, or extraterrestrial being will accidentally produce the right sounds in the right order, and suddenly, everyone will be saved, forever.

Simone Weil believed that only downward motions are real. In contrast, the will to ascension always constitutes an illusion. She noticed the strange feeling of sadness mixed with joy,

naturally occurring when hearing sounds that gently move from higher to lower notes, from

greater to lower expression, from intensity to stillness. Feelings of joy rely on the reassurance that no one has to conquer the world. Sadly enough, music is only a small glimpse of a pacified universe. The Book of Wind is a collection of short essays which never reach their goal, but vanish into nothing, to which they belong.

We are proud to present to you the legendary MC, Chali 2Na of Jurassic 5 fame who has teamed up with touring partners, The Funk Hunters, hailing from Vancover, to release a booming bass heavy EP, Illectric. Here we feature two of the more dance floor friendly tracks, Oh Shit which has got anthem written all over it and on the flip the upbeat reggae infused Right Right Up. Limited to 500 copies - don't sleep!

Massive boogie-heavy electro from Caustica Waveform main man Diffuse Arc on his fourth release, proper analog goodness!

Just when you thought you knew a producer they turn around and fire a curveball in your general direction. Russia's most celebrated
drum & bass kingpin Enei returns to the frontline and does just that with the Goliath EP. From the heavy old school jungle styles of the
lead track 'Goliath', through to the cinematic thunder-step of 'Prometheus' and the full-on drum edit onslaught of 'Hot Plate', Enei yet
again runs rings around us with an EP of huge proportions.

Will Saul's AUS Music has seen a number of new additions to the roster this year as the label continues to prosper. Now - adding to names such as Timothy Blake, Geeman and Escape, AUS welcome in another auspicious producer by the name of Fold. Having released records on Man Make Music and Electric Minds - Fold lines up his 'Netflix & Chill' EP: a potent stack of Hip-Hop indebted House tracks backed up by the extolled and shady Kassem Mosse on remix duties. 'Calmer Mood' kicks things off, hopping between bpms and driving grubby and groovy samples over a rough kick. Filters control builds peaks and troughs guaranteed to set things off before 'Wallop' rattles off with powerful 909 drums and truncated samples in a manner that will please fans of his 'Mr Wood' no end. 'Dreamscape' then melds deftly chopped breaks with Jazz melodies to set a rich, blue tone that's propelled into overdrive by splashing drum solos stitched together with flare. Workshop owner Kassem Mosse then offers up his interpretation of 'Dreamscapes' and in doing so introduces a subtle degree of melancholy to the original that links rich, spectral pads with tumbling breaks and delayed Sax stabs that round off another fine addition to AUS' catalogue.

On her 3rd album Berlin's GOLDEN DISKÓ SHIP enlargens her pop / experimental sound cosmos for a new component: BASS. In consequence, "Imaginary Boys" was mixed by SCHNEIDER TM and RASHAD BECKER took care of mastering and the vinyl cut.

"Imaginary Boys" sets a new landmark in the work of THERESA STROETGES alias GOLDEN DISKÓ SHIP. The album was conceived during her stay in Lisbon in the summer of 2015 where the multi-instrumentalist found plenty of inspiration in traditional and experimental music. These elements left their traces not only as field recordings but also led the classically trained musician to re-consider the use of her former main instrument viola which is more present than before. One dominant compositional element of "Imaginary Boys" is a deliberate use of time, influenced by the perception of electronic music and techno. While songs like the euphoric "Pacific Trash Vortex" or "Swarm Of Bees" come to the point without any deviation, tracks like "Sundrunk" and "Lifelike Showdown" take their time to develop tense atmospheres of psychedelic intensity. A second characteristic that is accentuated more than on her previous albums "Prehistoric Ghost Party" (Klangbad, 2012) and "Invisible Bonfire" (Spezialmaterial, 2014) is BASS as an aesthetic constant that connects the individual songs / tracks. This way GOLDEN DISKÓ SHIP's sound cosmos, right from the beginning an open and broadly framed matter ignoring boundaries between pop and experimentation, gains a clearly audible additional depth. The choice of electronic artist SCHNEIDER TM for mixing and D&M's studio wizard RASHAD BECKER for mastering / vinyl cut is not only a highly coherent and consequent decision but gives the seven tracks on "Imaginary Boys" the best possible finishing.

Happa kicks off the year with the third 12' on his PT5 imprint and the first of several releases
planned for the mercurial Leeds producer in 2017. Lead track 'Bum Trance' pitches futurist Drexciya synth optimism against frantic metallic drum programming adding another level to Happa's increasingly diverse production armoury. Intense punk techno monster
'Hallunciations' first appeared in 2015 on various mix tapes and radio shows and now appears in it's full release to complete the 12'.