Beats News

Head-turning debut from classically-trained, Boston-based Kaan Erbay a.k.a Insha featuring ten tracks of pure tension/relief informed by reconstituted club music and video game scores, highly recommended if you're into Arca, Burial, Actress, RabitEmerging from right under Type's nose, Dysplazia by Boston, MA's Insha debuts a remarkably absorbing push-and-pull narration of sci fi sonics and collapsed R&B haunted by the ghosts of British dance music; forming a mid-air collision of sawn-off soundtrack noumena and tumultuous grooves that diffuse Burial's worn down soul by way of Arca's lacerating dynamics with a unique sleight of hand. At an aerially severed yet intimately involving perspective, the founder of Boston's DRAW collective subsumes himself with cybernetic assimilation into the ten tracks of Dysplazia, offering an oneiric representation of the physical body simulated thru decontextualised rap samples and a twisted backbone of encrypted 2-step rhythms.In a synaesthetic, metaphorical sense reflected in Dysplazia's cover art - which uncannily recalls the analogue-to-digital phase shift of Cybotron's Enter sleeve design - this record is about transcending physical and virtual spaces; about locating and inhabiting the ambiguous interzones which lie between and outside of taxonomic conventions. It models these processes of transformation with a keen sense of narrative, navigating mutable circuit boards of grey goo with a beguiling sense of melancholy and elusive glimmers of hope.Panicked intercom chatter and hyperprismic harmonies light up the gravelly torque of Breaking Point at the album's turbulent intro, giving way to a captivatingly tortuous series of flashpoints and perilous junctures that flare up as quickly as they move back into the ever-looming murk, most memorably in the tangled 3D coordinates of Ima, Physique, and the woodblock 'n scimitar punctuated dynamics of Coming Down, which perhaps most undeniably nod to Burial and Arca, whilst the amorphous, melancholic ending of Reason leaves the session perfectly unresolved and open to a sequel.Dysplazia is a startlingly astute debut record from Insha, providing Type's freshest insight since Clams Casino's Instrumentals back in 2011.

Melody As Truth is proud to announce this split 7" by Jonny Nash and Suzanne Kraft. The release features two tracks of melancholic ambience and kicks off a new string of releases for the label in the latter half of 2016....High Price On This Due To Large Production Costs - The Label Apologise. Limited to 350 Copies. TIPPED!

Pale Calling presents the fruits of the first collaboration between Oren Ambarchi, Kassel Jaeger and James Rushford, recorded at GRM studios, Paris in 2014. Although drawing on aspects of each member's solo works, the trio mark out their own unique territory, a mysterious space of slowly cycling electronics, distracted vocal mumbles and often unidentifiable field recordings. These two side-long pieces are composed of distinct layers that gently rise up and recede, obeying a dream-logic that feels entirely disconnected from traditional electro-acoustic composition, forming surreal sonic images in which half-remembered fragments of everyday life mix with the quiet intensity of dreams haunted by natural forces.Over the course of the first side a slowly thudding electronic pulse eventually gives way to a distant organ, detouring through reverberated guitar shimmers, moments of Ashley-esque vocal automatism and waves of insects and bats. The second side utilises similar ingredients, this time layered over the top of what sounds like radically slowed down film music. As the field recorded and electronic spray slowly builds, the listener is left with the impression of hearing the last moments of a dying television abandoned in a field overrun with animals and insects.Francis Plagne

Petrels returns with a thunderous new album, Flailing Tomb. Taking the exhilaratingly huge sonic expanse that Petrels has become known for and pushing it further still, Flailing Tomb draws on a breathtaking sonic palette of influences and instrumentation to craft perhaps the strongest Petrels release to date. Flailing Tomb's underlying theme is a many-layered obsession with - and joyous celebration of - the defiance in persisting with lost causes. Building on the mythological foundations of previous albums - Haeligewielle, Onkalo and Mima - Flailing Tomb takes an underlying current that ran beneath each of these and pushes it to the fore. Flailing Tomb draws inspiration from sources as wide-ranging as Ursula K. Le Guin's speculative fiction, Indian-Celtic connections, self-mummification, Jude The Apostle (patron saint of lost causes), and Jean-Luc Godard's seminal sci-fi masterpiece, Alphaville (much of the second-half of the album is adapted from music originally written as an alternate score to the film), weaving all this and more into six intricately-layered parts - at once forthright and ambiguous. With a much broader range of instrumentation and contributors than previous Petrels albums - from the melodic cacophony of album opener We Are Falling Into the Heart Of The Sun, to the euphoric choral backdrop of Orpheus with a lead vocal from NEVER SOL and the epic motorik finale of L. Caution - Flailing Tomb is both an expansion on and refinement of the Petrels sound and an album that confirms the arrival of a singular artist. Petrels is the solo project of London-based musician and illustrator, Oliver Barrett. Since releasing his debut Haeligewielle in 2011, Petrels has toured across Europe and shared a stage with the likes of Tim Hecker, FIRE!, Nate Young (Wolf Eyes), Trouble Books, Demdike Stare, Nadja, and Hans-Joachim Roedelius (Cluster). Having also collaborated with and provided remixes for artists as varied as Duane Pitre, Brassica, Talvihorros and Max Cooper, Petrels' output is proving to be thrillingly eclectic and unpredictable. Vinyl: thick sleeves, thick printed inners, different vinyl colors, 180g vinyl, free download code. CD digipak.

The second album from SHRUBBN!! (aka Schieres and T.Raumschmiere) displays a map of Europe on its cover, as might be expected from the title. And it is an old map, a real one, from a time before comprehensive digital measurement - brown, green, red, and somehow easy to place as a landscape. Unlike its predecessor Echos, which represented something rather hidden and gloomy, from black and white and light and shadow - musically speaking, EUROPA has also clearly changed direction, towards land and people.

The original Environments album was conceived and written back in 1993. It became one of the great lost albums by The Future Sound Of London before the guys took in back to the studio to complete and issue in 2008. Since then has come the success of further instalments and following additional studio work during a period of extreme creativity comes two further volumes. Released separately but simultaneously, Environment 6 and accompanying Environment 6.5, when combined, create two CDs of 46 tracks. Sweeping between luscious dreamscapes to delicately melodically compositions to intensely highly programmed electronics sculptures Environment 6 and Environment 6.5 continue the journey towards the boundaries of the future of sound.

The original Environments album was conceived and written back in 1993. It became one of the great lost albums by The Future Sound Of London before the guys took in back to the studio to complete and issue in 2008. Since then has come the success of further instalments and following additional studio work during a period of extreme creativity comes two further volumes. Released separately but simultaneously, Environment 6 and accompanying Environment 6.5, when combined, create a two CDs of 46 tracks. Sweeping between luscious dreamscapes to delicately melodically compositions to intensely highly programmed electronics sculptures Environment 6 and Environment 6.5 continue the journey towards the boundaries of the future of sound. Silent Around Them' exclusive to LP vinyl (no CD/digital)

Since their eponymous arrival in 2010, L.A.'s DVA Damas have emerged as the most distinctive players on Downwards' new wave of techno mutants.
Clear Cut leads on from their sought-after Wet Vision (2015) 12' for Downwards America to farther stake out and crenellate their own grubby mound in the no-mans-land between post punk pop and industrial techno.
Tooled up with asphyxiating bass pressure and camouflaged in stringently minimal-yet-rudely physical electronics, the four songs on Clear Cut embody the spirit of all-night,
'phet-charged techno raving, keeping your heart rate high but your head ice cool with an unswerving intent matched by ascetically measured production levels.
The sullen, ætheric swagger of Clear Cut carves up from the front, placing Taylor Burch's gaunt vocal in acres of warehouse space for 10 minutes of surgically cut, bleedin' tech 'n roll marking up one of the strongest in their catalogue, whereas the panting, auto-erotic phyxations of Do I Dub sutures the wound with sheer bass pressure alone.In The Clear opens the B-side with a stylus troubling sub-bass (set your weights right and don't come crying) moulded into a dead-eyed, grinding come-on sounding like HTRK
in heat, and Clear Cut reappears in a truncated Radio Edit upping the techno canter and condensing the vox for closer, cocksure effect.

The Ram Records 2017 Drum & Bass Annual doesn't just stand as a testament to the imprint. After working over two decades within the genre, standing at its forefront and delivering piece after piece of ground-breaking dance music, they're immortalising their twenty fifth anniversary with the biggest drum & bass compilation to be released since the label's inception. Featuring a massive 60 tracks, with every name who's trail-blazed this year's must have releases, prepare to be thrown into the world of drum & bass like never before. With cuts from head honcho Andy C, as well as Symmetry's underground boss Break, neuro pioneers Noisia and break through artists such as Urbandawn, Voltage and many more, this LP caters to a range of palettes. A huge spectrum of sound is covered by the album, giving a glimpse into every corner of the genre's entirety and delivering the finest cuts seen over the past twelve months.























































[ZZA] 53 | Mohican Sun - Where Did You Go
[ZZB] 54 | June Miller - Hide & Seek
[ZZC] 55 | Tyke - Blessing
[ZZD] 56 | LSB - I Need Love
[ZZE] 57 | Slang Banger - Sterns
[ZZF] 58 | Derrick & Tonika - Gate Is Open
[ZZG] 59 | Voltage - Right Now
[ZZH] 60 | Noisia & The Upbeats - Dead Limit

Anders Enges interest in modular synthesizers comes from a desire to shut down conscious decisions about form and to focus on rhythm and timbre. This does however not land in traditional techno but rather in a riff-oriented style, the riff being both rhythm and "melody" and also a morphing entity in the music. Drums and percussion attempt to follow this entity, while maintaining a link to the dance music pulse. The resulting style makes for a hybrid timewarped experience of travelling a parallell electronic music reality, a brooding technoid that grooves.

After These Hidden Hands re-surfaced earlier this year with the collaborative single These Moments Dismantled featuring Lucrecia Dalt, Tommy Four Seven and Alain Paul a.k.a. Shards are set to release Vicarious Memories, their second full length LP, on August 8th 2016. Vicarious Memories builds substantially upon the sound forged with their debut album and brings a considerable new level of detail, complexity, and musicality, which ranges from flowing mellifluous grooves, somber drones, to the outright bizarre and unexpected. Although loosely an instrumental electronic album, the album makes extensive use of guitar and vocals and features prominent guest vocal contributions from underground Berlin based musicians Julia Kotowski and Ale Hop. The album's preceding single, SZ31X71, a track which features on the LP is out July 11th, featuring a remix by revered Tri Angle artist, Roly Porter. Vicarious Memories will be released via the group's own imprint, Hidden Hundred available both digitally and as a 12 vinyl LP featuring gatefold cover art by Norwegian illustrator Anders Røkkum. Vital Sales Points: - Upcoming press: The Quietus, Thump, I-D Magazine, XLR8R, Future Music, Boiler Room, Mixmag, Resident Advisor, Ransom Note, Tsugi, Rockerilla & more - These Hidden Hands play Berlin Atonal, August 2016

180g Vinyl , Deluxe 4C Comic Style Artwork ! Quartet Series, an independent record label founded by Maurits Verwoerd (Nachtbraker) and Giuseppe D'Alessandro (KiSk) in 2016.

Contrary to popular belief, good things don't come in pairs. The A-Team, the Teenage Ninja Turtles, Grand Theft Auto IV That's right, foursomes are the real deal. So it's with great pleasure that after two years of frantic preparations, the Quartet Series is ready to be uncaged. A fresh imprint, run by Nachtbraker and KiSk, with four releases in the pipeline, featuring four different artists and commissioned storyboard comics on the sleeve. To see how the story unravels, you'll need to catch them all...

The Good Guys take care of the A side, while the Bad Guys take things over on the flip. An epic clash of brutal force and rivalry is inevitable. Things take off with an undecided arm wrestling match in Groiler's pub. Boiling. There is only one way to blow off steam. Lets enter the ring!

For the first missive, The Good Guys will be represented by pianowizard Crackazat (Local Talk, Futureboogie) bringing the optimistic vibes we need to start this fight, while Saine (Sleazy Beats) - the king of subtle moods - provides that voice of reason to keep both our feet on the ground. The Bad Guys enlisted the services of groove maestro Nachtbraker (Dirt Crew, Heist Recordings) to help out with the detailed footwork and master of multiple galaxies Gnork (Blorp, Blind Jacks Journey) steps up to the plate with unmatched stamina to roughen things up.

Let the fight begin.. DING DING!

For fans Of: - Stone Throw records - Analog experimental sample based music - Psychedelic rock - Afro Ancestral "I may have no possessions, but here lies everything one needs" This is Alexandre Francisco Diaphra's motto as governor of his own life. A multifaceted artist from Guinea-Bissau, based in Lisbon: rapper, poet, edutainer & beatmaker, creating music based on improvisation in which he blends his psychedelic, black music, afro ancestral influences and love for the non-quantized beats in the same way as with experimental jazz, mixed contemporary and urban styles. Last year Diaphra wons the 3rd place at the 1st International Poetry Slam in Rio de Janeiro (Flupp). In 2012 Diaphra featured & toured Europe as MC/performer for Angolan/Portuguese project Batida's eponymous debut album (Soundway),"a record that could change the african electronic music on the 21st century" (Songlines) - their live show was also "one of the best 10 acts from Womex" (NPR Radio). Diaphra's Blackbook Of The Beats is following the idea of building instrumental bases on the outside environment wherever Diaphra feels inspired. A backpack, some vinyl records, a portable turntable and a sampler for self deconstruction / recreation from which resulted this (mainly) instrumental album and which is documented in form of musical videos in the dvd. The particulary of this project resides in the non-quantized beats over which the enlightening poetry is spoken, rapped and chanted in portuguese, where trial and error take part of the compositions which are enhanced with the use of instruments played by invited musicians and sometimes by Diaphra himself. Add to this various carefully handcrafted editions " including a silkscreened reproduction of the real Diaphra's Black Book Of The Beats " and you get the kind of artifact we love to bump into. Available as CD also.

It's no exaggeration to say that J:Kenzo is one of the leading lights of underground bass music today. As a producer for labels as diverse, venerable, and crucial as Tempa, Metalheadz, and Exit Records he makes much of the music defining the moment from drum & bass to steppers. He also shapes our listening and dancing through the careful curation of his own Artikal Music UK and Lion Charge imprints, to say nothing of his monthly Rinse FM show and non-stop global touring. Needless to say we were extremely pleased when he approached us with two tunes tailor-made for ZamZam.Without" is a 140 workout, at once minimalist, muscular, meditative and sinister. A deep skanking pad and synthetic percussion set the stage for the leaden kick and steady hi hat pulse calling all dancers. Rockers' drum fill and test tone sprinkle dubwise flavor as the haunting melodics waft through, as hypnotic as smoke trails in a cloudy studio. Without' is perfectly crafted in every respect.

The flip side Within' is another expertly honed journey into deep 140 waters, heavy on the atmospherics that recall wide open vistas and treacherous seas. Synth and bass work as one, surfacing and diving to both anchor and propel a massive riddim both heady and totally physical. The hi hat is again steady with punctuating snares & claps, huge chasms of space open up leaving the listener stunned at the depths within.

'Satan's Slave' is the latest release from Moscovitch Music (Terror/Prey), the brainchild of producer/compiler Joel Martin (Quiet Village/Velvet Season & The Hearts of Gold/Maxxi & Zeus) whose 'de Wolfe Music' compilations 'Bite Hard/Bite Harder' are considered essential primers of the library genre.

This Holy Grail Black-Magic British Jazz soundtrack from 1976 is the most requested movie score of cult film composer and top English Jazz saxophonist/flautist - John Scott (Symptoms/Wake in Fright/Craze).

For aficionados of rare library music and obscure Horror soundtracks this is an essential album.

'Satan's Slave' - The original soundtrack to Norman J Warren's (Terror/Prey/Inseminoid) nihilistic tale of Witchcraft and occultism conjures an uneasy yet compelling experience for fans of exploitation OST's, and a veritable smorgasboard of dark progressive samples for the producers. The ritualistic tribal beats of 'Sacrifice' could have been culled from the KPM library catalogue (John Scott was a regular session player for them) while 'Drive to Alexander's and crash' is forgotten filmic UK Modal Jazz with a tropical flavour which harks back to Scott's legendary Columbia Lansdowne LP from 1967 'Communication', a firm Gilles Peterson favourite. 'A walk in the grounds' is pure mellow heat - fuel for the MPC 2000, with its crisp Fender Rhodes chords and 'Dusty Fingers' vibe, and 'Unused Cue' which is an additional recording we discovered on the reels is a fiery free-Jazz odyssey for explorers of the fifth dimension!

The complete 'Satan's Slave' soundtrack, which is being presented here for the first time on any format, has been lovingly remastered from the original half-inch master tapes courtesy of Sean P(Z Records), and sounds as edgy, fresh and relevant as it did back in the swinging seventies.

Pour the Absinth, switch off the lights and say a little depraved prayer!

Opalescent, the debut album from Mercury Music Prize and Ivor Novello award nominated artist Jon Hopkins has been remastered and reissued for the first time on vinyl for its 15 year Anniversary in a special edition 2 LP gatefold with liner notes .

Opalescent was originally released in 2001 when Jon was 20 and just signed to ambient label Just Music, yet today it still sounds so distinctive, musically and emotionally complex. It is in the contradictions between beauty and bass, gentleness and volume, ecstasy and elegy, that Opalescent derives its enduring otherness. Even 15 years on, it is never quite what you think it is.

Mele comes back with two heads down 4/4 rollers off the back of his huge debut single on Lobster Boy, 'Ambience'.

Championed across the board in clubland by every man and his dog.

Fresh out of the Lobster Boy factory, both these cuts are built strictly for the DJ looking for a decent club tool to keep the party bubbling and they don't disappoint. Check them out.

2 x 12" vinyl with download card

Steffen Laschinski`s project Rising Sun, make a welcome return to Fauxpas Musik after the album Release "The Lamentations Of Rising Sun". Here we have the final single in the series of 3 including five brand new full-length Tracks from the EP Serie Trilogy. Vinyl tastes better...

1x each customer!

Sounds of the Sir !!
Sir Spyro on the production featuring Teddy Bruckshot, Lady Chann + Killa P on vocals.

Our 14th release takes us to the darker side of the sound. Boylan has been the unsung hero of our label over the years- engineering and mixing down the majority of our releases and becoming a real architect of the foundations of our sound. Following his work with Edgem and general ubiquity on London's stations over the last year or so, it was only natural that he and Spooky found themselves in the studio together. Earlier this year they brought "Peckham To Hackney" to the second Boxed 12" and we thought they needed a release of their own. This 10" is the product of it. Low Rider starts the process. A malevolent take on the West Coast walking bassline style, we signed it before it was even a track - just a 4am 8-bar loop, haze and sub. After listening to that sparse 20 seconds on repeat for a while, they brought muscle to the skeleton - DJ Quik in Peckham. All Black Winter, meanwhile, takes their sound in a much harsher direction. Growling saws, gutteral strings and a brief morse code arpeggio meet violent gunshot snares and Boylan's bass science. One for the 2am rideouts, the double drop at 2:40. Support from Slackk, Slimzee, Murlo, Soloman, Logos, Grandmixxer, Mr. Mitch, Trends

The late 1990s was a fertile time in the American electronic underground. A growing body of artists, spread around the nation, were engaging in the latest round of a decades-long transatlantic musical conversation. At the convergence of hip-hop, electronic, and soul music, these artists sought to carve out their own lane. In September 2001, New Orleans' Telefon Tel Aviv, high school friends Joshua Eustis and the late Charles Cooper, joined the conversation with their debut album, Fahrenheit Fair Enough, released by Hefty Records. A labour of love, Fahrenheit was an attempt by the pair to contribute something meaningful' Eustis says today, something definitely American, and kinda southern too.' On the fifteenth anniversary of its release, Ghostly International is reissuing Fahrenheit Fair Enough with a vinyl edition and bonus digital material

Living in New Orleans in the late 1990s, Eustis and Cooper were in the thrall of two musical orbits: black America——New Orleans' bounce, Detroit's techno, Chicago's house——and British electronica——Au-techre, Aphex Twin, Jega. Recorded over the course of a year in Eustis' childhood bedroom in the Riverbend neighborhood of New Orleans, Fahrenheit mapped out a potential for American electronic music in a time of hope. The music features delicate Rhodes and guitar instrumentation wrapped in a southern bounce shell, smothered in r&b, and cut up by digital rhythm programming. The tracks were meant to be constantly, evolving sculptures.' Fascinated by IDM, the pair sought to inject some swagger into it, loosen it up a little but also make it hyper romantic.'

Eustis and Cooper had imagined making a hard club record,' but instead Fahrenheit came to be seen as a delicate slice of electronica by fans and critics who misconstrued its stylistics roots. This was, perhaps, hardly surprising. Telefon Tel Aviv arrived at a time when there was no roadmap for an American electronic music scene comparable to what the UK had produced in the 1990s. They were the latest artists to find themselves in a strange middle ground between hip-hop and electronic music that had yet to be understood.

Following the loss of Cooper in 2009, Eustis spent years unwilling to revive the Telefon Tel Aviv project, doubting his ability to do it justice. But time is a great healer. After seven years Eustis is now working on new Telefon Tel Aviv material. And time is also proving the pair right. The sonic sculptures of Fahrenheit Fair Enough they spent thousands of hours' carving have proven resilient. The music sounds all the more relevant in 2016 because the roadmap Eustis and Cooper desired then exists today. And because today everyone listens to what the South has to say.

We just wanted to see if we could make it work,' recalls Eustis. We didn't know. Our aim was to make something we could be proud of.'

Reissue of classic 2001 LP originally released on Hefty, out of print for years

Gorgeous yet completely devoid of cliché, Fahrenheit Fair Enough is a quiet, unpretentious beauty of a record. Treat yourself." - BBC

2xLP housed in gatefold jacket with liner notes by Laurent Fintoni & download of bonus material

The Prodigy getting remixed by Bad Company on Ram Records: It doesn't get any more heavyweight than this. Sizzling and spiking out with a 1.21 gigawatt electric bass force, all ravaged and unkempt, the awesome foursome give an already ruthlessly frantic and punk-like track a whole new dimension of energy. It's been the epic finale to most of Bad Company's sets this year... Now it's yours. Limited 1-sided etched 12

Ethnomusicologist Hugh Tracey made 35,000 recordings across Africa between the 1920s & 70s, in an epic bid to preserve the music of Africa for future generations. Sixty-five years later, artists are being allowed to access the archives of the International Library of African Music (ILAM) for the first time, with contemporary producers putting a fresh perspective on the never-heard-before sounds to help bring them to a new generation. Beating Heart is a music initiative which seeks to use sounds of the past to address problems of the present - money raised will go directly to help communities where the music was originally recorded.

A staple since its first edition in 2010, UKF's yearly UKF Dubstep compilation is back for 2016, featuring some of this year's most essential tracks from dubstep and beyond.

Representing the full spectrum of influences of the genre, this year's album boasts hits from European bass music powerhouses Noisia, Flux Pavilion, Feed Me or Eptic as well as a string of some of the most prolific US artists like Datsik, Jauz & Snails - all having made dubstep history throughout the years. In addition to the heavier sounds, UKF Dubstep 2016 also showcases the influence of grime on current productions, with tracks from Shm and Foreign Beggars x Asa x Sorrow.

Melodic dubstep fans will be delighted to find Koven's Telling Me on the album alongside Bare Noize's huge come-back release: vocal single Elemental, a collaboration with producer friend AFK featuring vocalist Anna Yvette. Last but not least, the album features throwbacks to the sound that kicked off UKF and dubstep in 2010, with Myro's Playa and Cookie Monsta's Soundboy, both echoing the wobbly sound that grew dubstep into the worldwide phenomenon it still is today.

This year's edition is the best UKF Dubstep album yet, confirming the strength and vitality of a genre that's as relevant as ever, supported by its cult following.

* Horizons Music have time and time again upheld their ethos. This is something which is becoming abundantly clear with each release. Their mission statement is to deliver only the best, most versatile and dynamic pieces of static artwork and to ensure they line the sets of artists from every DJ type. It's impossible not to become entrenched within their discography, every part of it as spectacularly moulded as the next. And it's the artists they hand pick for their roster which makes their music so especially perfect for late night rendezvous on the dancefloor. Villem & Mcleod, two artists whose synergy is apparent from each release they've put out together. It's an energy which is about to take the helm once again; throughout the next three tracks Horizons Music will further lodge itself within your musical subconscious.

* 'Wonderful' opens the EP with an intricately written intro, including lofty piano notes and shaking percussion. With a bassline that quivers and flutes which add to its waif-like atmospherics, prepare to be taken into the sound of Villem and Mcleod. However, the light has a darker side, and you're quickly plunged into a low frequency distortion of bass. Female vocals add yet another shade, dicing up the segments and presenting a huge colour palette of sound. 'Spiritual Value' and 'Mystic Ritual' both give a valuable insight into the minds of Villem & Mcleod, but channel their own vibe individually. 'Spiritual Value' bleats through elongated note arpeggios and precarious samples of speech. But as always, they take you down a murkier path and drop the level two or three notches below zero. Following this up, 'Mystic Ritual' switches up a notch, this time not leaving you guessing and firing you synapses first through a chasm of plucky strings and carefully laid out pads. Drums push through the mix giving it an edgier feel, whilst vocals are utilised to soften the blow. The drop, although slightly less illusive, still catches you off guard. You find yourself brought forward on a jazzy riddim, one that'll take you into the darkest nights of any club. Horizons present a package of three delights.

* Three delights which are here compliment the record collections of any drum & bass fan.

Continuing where his 2015 debut 'Seeing Sounds' left off, 'Dreamland' is an album concept that reflects on the world today. Encouraging people to challenge the barriers and comfort zones we blissfully exist within, DLR seeks to resist the inadequate reality we are sleepwalking into; an inherently greed based system, where numbers govern art and culture, whilst popularity determines the success of social causes, as issues are picked up and dropped in the blink of an eye.

* Musically, the album is honest, straight up and sound design focused, as DLR pays homage to the older styles of DnB, building on the genre's core principles, writing his own chapter in Bristol's long running heritage.

* A statement of intent towards soul and groove driven music, each track is personified by simple ideas meticulously arranged, as DLR prioritises the raw elements to enhance the groove and sub bass, allowing each aspect enough space to breathe and develop.

* Before the full album drops, this sampler will feature two DLR tracks, including 'Pyoyb' (as supported by Friction two weeks in a row on Radio 1, also aired by Noisia on their Radio show series), plus a collaboration with Script, available exclusively as part of the sampler release, entitled 'Wheel Of Fortune' (as featured by DJ Randall recently on Rinse FM).

The Maghreban returns with essential new house odyssey 'Brooklyn', named after his dead cat.

* His second outing on Black Acre, 'Brooklyn' is a breathtaking night flight, viewed through a prism both phantasmagorical and seedily terrestrial. Trance inducing Caribbean percussion, possessed chants, Motown bass, sci-fi synths, wayward filter sweeps, analogue free jazz - all get their moment to shine in the weird and wonderful 8-minute microcosm that is 'Brooklyn'.

* Flip-side 'The Carpenters' strikes a more domesticated tone, with motorik industrial dub eventually giving way to haunted sci-fi bachelor pad lounge.

DJ Feedback:
Pangaea (Hessle Audio / Hadal) - 'Very groovy!'
The Black Madonna - 'Super cool'
Laurent Garnier - 'Just got this from the man himself. This is GGGRRREEEAATTTTTT'
Tom Wrankmore (Eliphino - Brownswood / Somethinksounds) - 'dope! Something different, really interesting sounds'
Axel Boman (Hypercolour / Pampa) - 'Super cool! As usual. Thanks!'
Santiago Salazar (DJ S2) - Some funky dark stuff
Alice Moxom (Moxie - NTS radio / BBC one) - Great record, already been playing this one out. Cheers'

Two long sides of doomed out distorted techno. Full improv on the machines with vocals and a shitload of attitude. Fallbeil have been making serious waves lately and we are happy they are back at NYH with some of their heaviest jams to date.

Berlin based Adam Marshall and Christian Andersen collaborate as Graze. In the latest installment of our UFO series, the Dekmantel Records offshoot dedicated to experimental and futuristic electronic music, the Canadian veteran producers serve up a 50/50 lethal/dreamy drum trax package. Many have applauded the versatility of Graze, and their Xup EP is yet more proof of their original minds.Xup' is an abstract 4/4 jugular, beating out devious percussive patterns and rattling hi-hats over a grizzled and arpeggiated synth mortar-fire. 'Vast' on the other hand is an esoteric slow-burner, a hallucinatory trip to the depths of analog synth paradise and a perfect intro, outro or home listening gem. On the flip, the hyper-lean gearshift of 'Tryptch' pumps energy through off-kilter and plunderphonic basslines, while 'Shadow Play' is a classic piece of breakbeat bliss including a celestial synth arrangement that makes a perfect soundtrack for slow-speed sci-fi rides.

* Four cuts from BCee's 'Come And Join Us' LP get the remix treatment from some of the finest producers around right now.

* The River Runs Dry get the treatment from Tokyo Prose who takes it moody yet musical.

* Newcomers Pola & Bryson step up for remix duties on 'Sun Goes Down' and inject their own flavour of d&b goodness.

* Legend of underground d&b Klute steps up and injects a slice of old skool jungle into 'Come And Join Us'.

* GLXY take 'Think Twice' and switch it to a laid back liquid roller.

* Support from Radio 1, Kiss FM, London Elektricity, LTJ Bukem, Technimatic, Bryan G, Etherwood, BCee, and a whole load more...

This Is You proposes a metaphysical feedback loop involving the lens, a broadcast system, biological ocularcentrism and the Sun. Using the birth of user-generated content as the starting point, the work traces the 25-year history of the TV programme Funniest Home Videos in an attempt to describe the prism of existence
as solar vanity. This Is You meditates on the desires of the self, bathed in light and rawly exposed without anymore intent than being itself.
In 1989 American TV producer Vin De Bona launched a TV special inspired by two Japanese programs:
Kato-chan Ken-chan Gokigen TV & Waku Waku Animal World. An open call was made in the local newspaper for amusing home videos, that would later be edited together with music and sound effects to produce a collage of amusing mishaps and spectacles interlaced with commentary from a host (then Bob Saget).
The resulting special was later transformed in 1990 into America's Funniest Home Videos and is regarded as being the birth of user-generated content for Western television. In many ways fashioned similarly to blooper-reels and Candid Camera, the Funniest Home Video format placed the content-making (or indeed harvesting) with the audience. The program's immediate success saw Australia and other countries following with programs soon after.
So hungry were audiences for their 15 minutes that De Bona Productions received up to 1,600 tapes per day in the 90's, and was the sole reason for the Hollywood post office employing extra staff at the time. An adhoc ethics committee comprised of comedy writers looked over and assessed these tapes, ranging from
mundane to incriminating, allegedly requesting written confirmation from the creators of the videos that nobody was seriously hurt, before they went to air.
Even today, as unfiltered user-generated content permeates every corner of society, royalties continue to be paid to Tokyo Broadcasting System for use of style and presentation for America's Funniest Home Videos.
What did TV producer Vin De Bona, under the influence of Japanese TV, do... to us all
If self-awareness is essential to the human condition, then can light forced through an oculus (through the lens, on the skin, in the prism, against the CCD chip) be responsible for consciousness Do all sensory feedback loops comprise self or is self an artefact of light waves and other physical phenomena If light from the Sun is older than anything living on Earth then... maybe Like Narcissus with his nose in the pond, light strives
to get a better look at itself by improving upon the technological extensions of the biological world (cameras, selfie sticks) and will eventually drown in stored memories (reflections, hard drives) over time. 
Australian composer Chris Cobilis set about transcribing episodes of both Australia's and America's Funniest Home Videos to develop an animated graphic score and accompanying script which conceptually speaks of the feedback loop This Is You proposes. The work was performed live in studio by Chicago's Spektral Quartet and American poet Kenneth Goldsmith at Electrical Audio with engineer Steve Albini.
Chicago's Spektral Quartet perform repertoire in the traditional canon while equally embracing present-day modern composition. Notable releases include Chambers (2013) and Serious Business (2016). 
American poet Kenneth Goldsmith is the author of ten books of poetry, is the founder of UbuWeb and was a broadcaster at WFMU for 15 years. His most recent book Wasting Time on the Internet was released in 2016.
Chris Cobilis is a self-trained musician based in Perth, Western Australia.

[A] thinkin' about you baby

Out of sight of the Discogs radar. Originally printed in 1979, currently in the oblivion, again available soon through Galaxy.

Mumdance and Logos present a special 21-track DJ mix of exclusive new music, dubplates and tracks from the Different Circles stable - including 13 unreleased tracks.
Spanning acousmatic sound design from Shapednoise and Fis to hollowed out dancefloor abstractions from Airhead and weightless devil mixes from Boylan and Rabit, Mumdance and Logos survey a path through the Different Circles catalogue guided by a shared love of UK rave music and its hidden echoes and tributaries.
Different Circles launched in 2014 with the scene-defining EP Weightless Volume 1 which to wide acclaim re-contextualised grime through the lens of ambient and noise music.
Vinyl-only plates from Logos (the Glass EP), Rabit and Strict Face (Tearz, Into Stone) and Airhead (Kazzt) followed. Late 2016 will see the return of the founding Weightless series
- Weightless Volume 2 (slated for early 2017) will feature tracks from Fis, Mumdance & Logos, Sharp Veins, Yamaneko and Shapednoise.

Blackout continue their global search for the next 'everyman' DnB producer and, by jove, in Rido they've found an absolute gem. Friction has picked up on 'Fade Away', battering it on his BBC Radio 1 show, and many other DnB luminaries are jumping on the Rido train for good reason.

Having cut his teeth on a number of high-profile labels such as Subtitles, Viper, Hospitaland Metalheadz to name a few, Rido's stock is set to rise stratospherically with this well-constructed and honestly- conceived longplayer, 'Rhythm Of Life'. The origin of the word Rido comes from clan conflict in the Philippines, and whether or not that was the inspiration behind the moniker, the sentiment is strong and true across this debut album offering. Packed full of tough beats and scintillating basslines punctuated with vocal excerpts is a delight for and assault on the senses in equal measure.

Reflective, personal, intelligent - these are all words we can easily associate with the Czech DJ as he effortlessly zips from one high-octane dance floor killer to another. Whether it's the rave-inspired, euphoric sound of 'Thursday Funk' or the straight up and down toughness of 'Movin', there's a little something for everyone inside.

On this new album from the Tape Loop Orchestra, Andrew Hargreaves producers his most substantial and absorbing full-length to date, accompanied by the vocals of Beth Roberts. Inspired by skools of parapsychology and 20th century avant garde art to broach one of the big, esoteric questions, 'is death the end and are those who passed to other side trying to make contact with us, their journey gradually builds to create huge emotive impact.
With the highly sought after predecessor, Go Straight To The Light Of All That You Love still glowing in the rearview, Tape Loop Orchestra this time opt to conure a widescreen perspective squared between the parapsychological studies of EVP, the cosmic noise noumena of Sun Ra; a mysterious book entitled The Invisibles, by an anonymous author; and the work of Dutch conceptual artist Bas Jan Ader, whose final,
incomplete work involved a failed, solo transatlantic crossing in a small boat, which was found, without its captain, 150 miles from the Irish coast.
Taking that all on board, The Invisibles forms a study of what lies beyond. Using a sublime production palette to gradually bloom a vast sound intended to dilate the listener's consciousness; conflating notions of high and low brow art to open a space for intuitive reception and perception. Their expansive multi-tracked
production methods enable a broader, non-linear arrangement of familiar base elements, allowing them to keen away with an amorphous agenda that has long underlined Tape Loop Orchestra's music through themes of decay and renewal, yet always previously circumscribed by their relatively rudimentary process.
Across both parts of the extended, singular piece, TLO's exhaled strings and voices now ebb and swell with a more organic, melted meter and texture and unfathomable depth of field, creating exactly the sort of conditions required to ponder matters of such enduring artistic importance.

We are extremely happy to forward the first vinyl release from Cheyne Taylor Bush AKA Tetrad, a member of LA's B-Side collective. From the moment we heard these tunes we knew we wanted to get behind them, and behind Tetrad. It is extremely rare for us to hear music from a young, as-yet unsigned producer that immediately strikes us as this fresh, original, mature, and self-aware.

Awaken Dub' is a 140 power stepper driven by a shimmering melodica figure, delicate guitar plucks, insistent photon torpedo snares and pure 4/4 bass and kick forward motion. Awaken Dub' was inspired by Tetrad's return to dub-inspired music' after an absence, and the personal awakenings this return brought him.

Turn 1' is among the best 'proper' dubstep plates we've heard in ages, that perfect combination of eyes-down deep hypnosis for the mind and massive body-blow to the corporeal form. All about movement, Turn 1' is among a set of tunes that got their start on the bus and train, inspired by the bustling motion and feel' of urban transport. From the rocking, lurching drums to the deceptively simple single-note bassline that won't let go, sweeping you away like a wobbling lava flow, to the reverb-soaked voice that is Turn 1"s calling card, this one will focus the dancefloor as few tunes can do.

Mastered and cut by the one Lewis at Star Delta Mastering in Devon.

Units and Measurements is the collaborative project of Christopher Hreno, Mathew Jonson and Colin de la Plante. The project sees these long times friends and veteran producers exploring the limits of hardware based improvisation and deep synthesis and effects programing . Documenting a single epic 24 hour session at Jonson's mothership studio in Berlin, this first release sees the trio exploring some of the headiest ambient and tunneling hypnotic techno to be found in any of their admittedly vast individual back catalogs. This release is without question a portrait of 3 masters of their craft at work, and quite unlike anything else you are likely to hear this year.


Units and Measurements will be available in a double vinyl and digital formats on November 4th via BLKRTZ, with worldwide distribution via Kompakt.

Katsoulis has been making avant-garde electronic pop steadily since the early '80s, but it wasn't until 2014 that he transcended cult status. That year, Into The Light issued a collection of Katsoulis' early and unreleased material, The Sleeping Beauties.

In October, Alex Bradley's Utopia Records will handle a new record from the low-key artist. The press release says of the opener, "All The Blue Skies," "Katsoulis and his accompanying musicians deliver a diverse and contemporary work with a level of sophistication that will challenge the current electronic musical landscape." The label adds that "'Grand Delusions' sounds like it could work in a Berlin techno club, from a man that has probably never been to one."

Katsoulis is becoming more active in the underground electronic music scene as of late. He performed at the inaugural Strange Sounds From Beyond festival in Amsterdam in June. A 2015 remix EP featured Young Marco, Max D and Telephones interpreting tracks off The Sleeping Beauties.

180G black vinyl with A3 fold around insert and plastic sleeve

One of New York-based experimental artist Fred Welton Warmsley III's (FKA Lee Bannon) many monikers, Dedekind Cut (pronounced "Ded-da-kend Cut") has set up the release of his debut LP titled $uccessor (DED004). Sharing his lead single "46:50" featuring Active Child in the guise of a modern approach to Noise, New Age, and Ambient music.
$uccessor will be released digitally on November 11th along with NON Worldwide limited vinyl and limited cassette via Dominick Fernow's Hospital Productions label

The launch release for Broken Beats Recordings brings this 4-track jungle EP from artist KeeZee. All 4 tracks harken back to the 94-95 golden age of jungle - atmospheric pads alongside heavy amens & basslines.

Brand new Innamind Recordings release from loyal crew member Mikael. Two prime slices of bass heavy music designed for the sound-system.

Doc Scott's original 'Prototyped' mix from 1996 remastered and paired Hidden Turn's 2016 remix.

In early 2016 Lifestyle released Signal's seminal track 'Indirect'. This masterpiece from one of the most exciting young producers currently in drum & bass, went on to become the labels most successful release to date, reaching number 2 on Beatport, with support from some of the scenes biggest acts including Noisia, Icicle, Ed Rush, and S.P.Y to name but a few.

Now after some time waiting in the wings, comes the anticipated VIP alongside a remix from Australia's very own Lockjaw.

This release is being put out digitally, as well as seeing a limited vinyl pressing via Triple Vision, Lifestyle's first vinyl for over 3 years.'

The second outing from BTG follows, in tradition, their 2 originals and 2 remixes format. This time round TOYC creates a slower paced dance floor obliterator titled 'Kicks' sounding like a wonky laser gun trapped inside a broken 808 landing somewhere between broken techno and bass. On the remix Project Mooncircle and 20/20 LDN affiliated Deft deconstructs and reconstructs TOYC's track into a maximalist beast fusing the current sounds of 160 BPM 170 BPM and half­time DnB with the technical precision of Amon Tobin. Up next the booty­shaking stormer they call Itoa, known for releases on Bad Taste and being featured in storming 160­/170bpm sets by DJs and tastemakers such as Om Unit and Sam Binga. 'Snake Pass' is a classic Itoa track, playful bouncing subs and flickering percussion and shards of vocal, landing somewhere between footwork and booty bass. BTG co­founder Etch sets the pace with his remix of Snake Pass, coming through with a schizophrenic beats influenced sub heavy stepper that slowly evolves into a breakbeat onslaught.

* Joining the Subaltern camp for his debut release on the label is arcane beat maestro Ago, member of the infamous Numa Crew from Italy.Backlash': 'Backlash' opens the release with an eerie western atmosphere and spacey bells, before emerging into a tsunami wave of bass that should only be unleashed with extreme caution. Foundation shaking.Trust Inc.' Pulling the listener into a subversive mindstate is 'Trust Inc.', with vibes and a hypnotic rhythm carried by pumping subs and executed with clinical precision. Bound to shake up every dance - eyes down, gunfingers up.Opium Riddim': Rounding off the record is the dreamy 'Opium Riddim', letting the mind wander off into the void. Melancholic vibes creep through pads and percussive lines, moving in trippy and spaced out realms.

* Following on from last years 'Come And Join Us' LP, BCee has hand picked some of his favourite artists and asked them choose a track from his back catalogue to bring their own personal touch to.

* Ulterior Motive tackle 'Firebox', whilst bass maestro Break reworks 'Morning Star'; scene legends Calibre ('Typical Description') and Klute ('Come And Join Us') also feature alongside Tokyo Prose and Muffler. The next generation of drum & bass talent is represented by liquid up-and-comers Pola & Bryson ('Sun Goes Down') and GLXY ('Think Twice').

* A varied and textured body of work, the remixes contained within the 'Thanks For Joining Us' LP are awash with signature musical clarity and production prowess scattered throughout.

* Support from London Elektricity, Technimatic, TC, High Contrast, S.P.Y, Etherwood, Spectrasoul and a whole load more...

"Meat. The story needs meat. (And blood ... coagulated blood (Gore)). The substance we are seeking here lies beyond the bare bones of fact, thewhen and the where (founded in 1988, Mülheim an der Ruhr) or personnel and instruments (a trio since 2016, built around keyboards, saxophone, bass & drums). The story is more than the sum of its facts. Mysteries may very well lurk here or there along the way. What keeps the final two foundermembers going after all this time Do Morten Gass and Robin Rodenberg have skeletons locked in their closets How dearly we would we love to know the answer to that one, alas the most beautiful puzzles tend to remain unsolved.
Including their debut Gore Motel' (1994), BOHREN & DER CLUB OF GORE have amassed an impressive eight longplayers. Four album titles allude to the night - their debut was followed by Midnight Radio' (1995), Sunset Mission' (2000), and Black Earth' (2002), whilst the most recent instalment carried the name Piano Nights' (2014). The nocturnal quartet was punctuated by Geisterfaust' (2005), Dolores' (2008) and a mini-album entitled Beileid' (2011), adding rather eerie overtones to the after
hours ambience. The BOHREN & DER CLUB OF GORE legend has grown stronger both at home and abroad with every record they have released and every show they have played. Strange as it may seem, there is a uniform consistency to their reception. Whatever the band does, critiques are unfailingly positive,
yet repetitious. References, links and associations recur almost word for word.
Consider the arrival of Christoph Clöser in 1997, by way of illustration. When he joined the group, his saxophone replaced the departing Reiner Henseleit's guitar as one of the defining instruments in the band. This was arguably the sharpest break in their sound to this day and a significant marker in terms of the band's reverence for Dutch instrumentalists GORE
(the clue is in the name), whose repetitive riffs paved the way for how the guitar would be deployed in a post-everything future. Nevertheless, this fissure in the BOHREN continuum has barely merits a mention in the greater scheme of things. Similarly conspicious by their absence in the BOHREN chronicles are the numerous instruments which they added to the mix - vibraphone, organ, tuba, bass trombone to name just a few. The
introduction of choirs at least had a clear visual impact. Since Thorsten Benning left at the end of 2015, the band has continued as a trio, sharing shifts on the drums (although they have equipped themselves with mechanical brushes).
A decrease in personnel was conversely accompanied by quantum leaps forward in the group's musical development - or more precisely, minor adjustments triggered major effects. Such changes may not get any easier to spot in the future, such is the intensity of internal imagery sparked by the music, a maelstrom of distractions so powerful that its promises are too sweet and too dangerous in equal measure. The music of BOHREN & DER CLUB OF GORE opens up remarkable rooms of association, from a warm burrow to a pristine secret lodge, from a
dusky woodland tavern to a smoky quayside dive. Individual and collective floods of images rush forth irresistibly. Loneliness is not at all problematic: empty multi-storey car parks, nighttime drives, remote bridges to nowhere. All in your mind. This is the temptation, a sweet, guilt-free addiction. It's all in your mind - and only there. These sinister crackling songs are invitations to secrete oneself in darkness. With track titles such as 'Maximum Black', 'Zombies Never Die' or 'Dandys Lungern Durch Die Nacht', the mind wanders inexorably into filmic spaces.
Echoing the masters of midnight cinema, stories evolve all by themselves. As the American Film Noir Foundation observed so smartly: 'the vivid co-mingling of lost innocence, doomed romanticism, hard-edged cynicism, desperate desire, and shadowy sexuality.' Their definition of Film Noir serves just as well as an appraisal of the group, 'Bohren For Beginners'.
Which says it all really, doesn't it A final word of warning! Sources close to the band describe the double CD
released in October 2016 as a gateway drug to the Bohren universe. Enter at your own risk, some have never found their way out again."
(by Lars Brinkmann)

DJ Marcelle is one of the most seasoned and widely respected DJ's in Europe. She's a true pioneer with her 'free', brave and creative way of mixing. Besides this she has always been following the latest developments in forward-thinking music and has therefore a keen ear for exciting new sounds. For the label Klangbad, owned by Hans-Joachim Irmler of krautrock band Faust, she has released four double vinyl albums, mainly dedicated to and comprising her three turntable composition/mix talents. The Munich based label JAHMONI is proud to release her first 2-track Club EP.In The Wrong Direction echoes what she does on stage: it's non-mainstream club music, and it's highly functional. Marcelle is on a life-long quest of proving that most music in club culture is quite boring but that's justified as having to be so because of functionality and audience expectation, while she claims that this is not true, it's just a lack of intelligence, courage and creativity on the part of most dj's. According to DJ Marcelle, you can make the most boring crowd dance to the most awkward music recording, it all depends on attitude, mixtalents and in which context you present it. And it's in this spirit, that the two tracks on this 10inch are both provocative and unusual, but at the same real club smashers - the stuff you play at prime time in your set.
Genre-wise we're speaking NL tribal techno, post dubstep, broken beats, glitch, eclecticism, but really, we're talking about attitude, roughness, freedom and - a raving dancefloor.

Notwist, Tied & Tickled Trio, Lali Puna, 13 & God - Markus Acher definiert sein Musikuniversum
bekanntermaßen bandübergreifend. Was aber nur die Wenigsten wissen: im Nebenprojekt Rayon seit zwei
Jahrzehnten auch solo. Auf seinem Album "A Beat Of Silence" präsentiert Acher hypnotisch-verschachtelte
und minimalistisch arrangierte Instrumentalwelten. Wie der Titel bereits vermuten lässt, spielen dabei die
Leerstellen zwischen den einzelnen Tönen eine entscheidende Rolle: Es sind Melodien, Loops und
Arpeggios, die sich in die Höhe schrauben, die scheinbar gegenläufig sind und dabei doch so ineinander zu
Taktkombinationen verschränkt, dass einem schwindlig werden kann. Einen zentralen Faktor stellen in
diesem Kontext javanesische Gamelan-Klänge dar, deren Ensemble von Metallophon- und BambusflötenSchichtungen in etliche Richtungen zugleich anhebt und dabei doch ein aufbrausendes, schwirrendes
Ganzes bleibt, etwa wie eine Formation von Sperlingen. Wie die meisten Aufnahmen von Rayon gleicht auch
"A Beat Of Silence" dem Soundtrack zu einem verschollenen Dokumentarfilm, in dem schemenhafte,
verstaubte Archivbilder von Städten zu sehen sind, die im Zeitraffer entstehen und wieder vergehen. Das
Album erscheint als CD sowie auf 500 Exemplare limitierte LP.

Synths Versus Me is a prolific duo formed by Vanessa Asbert and Nico Cabañas. They already put out a bunch of releases edited by Oráculo Records. Minimal Synth, EBM and Cold Wave from Lloret de Mar (Spain).

This 12' EP (ltd. 300 copies) includes two brand new tracks and two exclusive remixes. The original version of 1987' is an atomic bomb of pure vintage EBM in the vein of Signal Aout 42 and Front 242. The remix done by Dirk Da Davo from The Neon Judgement keeps the feeling of the track but adding some drums, guitar samplers and sequences trademarked by this Belgian legend. On the b-side there is the original mix of Aimless Device', an electro-pop tune with catchy melodies, analogic bass lines and female voices. The remix prepared for this track by the new american sensation Boy Harsher is a surefire dancefloor full of hypnotic beats and dark atmospheres. All tracks remastered by Eric Van Wonterghem at Prodam Studios (Berlin).

Limited release 10 track 12" on collectable Japanese label "Snaker" The GNOCCHI a.k.a. GNOC-THE-CHI a.k.a. DJ N- ZK is the label owner of oriental 10"oriented label as "I- I- P"and he is also known as a real hard digger soft drinker.
Leaving signature FM synthesis work Arcade Game, blends with soft reggae feelings, his programming make more minimalismic, polyrhythmic and even funky approach through eerie,vertiginous,glistering and ominous without long dramatic notes. This primary sound make us mad, it has something common to lo-fi feeling or raw house groove.

A collection of atmospheric tracks between classical compositions, Detroit techno and oldschool deep house.

Dublin born A/V duo CLU release four track 'Mood' EP, set for release through Gobstopper Records on 18th November 2016. Dublin born musician Sean Cooley and visual artist Kevin Freeney formed CLU in 2011 as a way to play music and showcase artwork simultaneously to their friends in venues and galleries across the city. Growing up in the 1990s, they witnessed the birth of mass produced 3D computer animations and the conceptual god complexes that came with the Internet. These two very apparent influences made them immerse themselves in the ever intertwining mediums of sound and vision, giving CLU a very unique approach to their live AV shows. Influences of trance, R&B, videogame and film scores, grime and industrial permeate Cooley's productions, which bubble with multitudes of synths and maintain a focus on bass driven twists. Visually, Freeney engages in a surrealist depth that skips on the brink between digital film and generative animations. This connection between the two forms a symbiotic chemistry that aims to bridge the gap between the white cubed galleries of visual art and the dark basements of electronic music to create soaring galactic oddities.

Occulti Music is proud to present the first vinyl sampler of the new Impish LP.

The 'Silence LP' is the follow-up to Impish's 2014 full length debut 'Underwater LP' which was made together with vocalist Vasilisa. Working as a drum & bass producer, instrumentalist, engineer, promoter and graphic designer Impish has been building a steady following worldwide with numerous releases on Dutch imprints Fokuz, Citrus and Blendits receiving support by the likes of Technimatic, LTJ Bukem, Spectrasoul, BTK, John B and many more. For his most recent project the multi-talented Muscovite takes manners in own hand releasing an 11 track LP on his own Imprint 'Occulti Music'.

On the A side of first sampler we find head honcho Impish delivering massively with 'All Right'. Dropping with his trademark heavy sub bass and a techy groove, this one always delivers the goods on the floor.

On the flip we find St. Petersburg based producer Meta teaming up once again with Impish. A modest but weighty stepper with soulful and techy influences, this B side works as a club or home listening spring flavour.

This sampler will appear on 12" vinyl in the end of May.
The LP will appear on 2 x 12" pack including download this summer.

Double 12" on PRSPCT Recordings from Limewax

Following on melancholic Ono-Sendai Cyberspace, Morkebla's latest outing is a 5-track EP titled A Field Of Secondary Craters. Opening with The Ground Under My Feet Became Water, an obscure and incantatory looped segment made entirely with found sounds and field recordings (a plaintive horn, metallic sounds, water), A Field Of Secondary Craters is due to be released september xxth 2016 on Edinburgh-based cassette label Czaszka.

The next tracks from A Field Of Secondary Craters pull away from the vaporous introductory loop-based process, not so far from Lee Gamble's Diversions 1994-1996, revealing a more luminous facet of his (by whom) work. Utilizing some analog drum machines (Alesis SR 16 and MFB 522), tape echoes, delay effects and a Roland Juno-106, Morkebla's new EP is a twenty minute long journey throughout synth-laden textures with moments of pure reverie.

While Snow Canvas is an ode to minimal composition, a celestial held chord accompanied with chugging beats, third track Infrared Ice Image is a one-minute synth bass loop in slow-motion, reminiscent of an early Boards of Canada interlude.

Disrupting the peacefulness that the ambience suggests, Astro:Dynamics'signee and Posh Isolation's remix contributor Quiltland delivers a remix for Snow Canvas emphasizing on the ambient chord intro and a progression that stirs the listener up from quietude through an incursion of more assertive snares and hi-hats, fnishing up with gradually built Autechre-esque synth harmonies.

To conclude Morkebla's A Field Of Secondary Craters, elegant eleven-minute long synth arpeggios entwine on Submerged Dunes with a simple hi-hat and strangled bell as rhythmic elements, leaving a unsettling feel as the synth fares slide across cut-off and filtered sounds. We are now literally sunk and submerged into another world. As we let go of the fear of uncertainty, A Field Of Secondary Craters plays a second time, starting all over again from the shamanistic introduction. The dunes, the ground, the water....

BBC Radio support from Benji B, Huw Stephens, B Traits, Mary Anne Hobbs.

Initial DJ support from: Ben UFO, Pearson Sound, Joy Orbison, Blawan, Pariah, Objekt, Call Super, Midland, Kowton, Peverelist, Tessela, Martyn, Luke Slater, Hodge, Anthony Parasole, Mosca, A Made Up Sound, etc.

At time of writing reviews confirmed with: Crack, FACT, XLR8R, DJ Mag, The Wire, Electronic Sound, Future Music, Electronic Beats...

Features/premiers - Boiler Room, Mixmag, Red Bull, The Quietus.

Hessle Audio present the debut full-length album from label co-founder Kevin McAuley, aka Pangaea. In Drum Play's ten tracks cut deep into stripped-back techno structures, yet remain infused with the ravey intensity and rogue experimentalism that has placed his work among both the strangest and most banging dance music to emerge from the UK in the last decade.

Since his debut 12" in 2007, Pangaea's music has existed in a continual state of metamorphosis. From the ghostly flex of his early singles into the rhythmic vortices of his self-released Hadal EPs, and now the mesmerising dance of In Drum Play, it's evolved into a freewheeling strain of ruffneck techno - one ear jacked into sound system culture, the other in the stomping nocturnal psychedelia of UK pioneers such as Surgeon. His DJ sets have developed in parallel, becoming fast-paced acrobatic voyages at the interface of loopy techno and more exploratory UK styles, an aesthetic captured on his 2014 mix for the Fabriclive CD series.

As its title suggests, In Drum Play is a product of that feedback loop between the studio and the club. The devilishly funky intensity of tracks like 'Rotor Soap', 'More Is More To Burn' and 'DNS' emerged froma desire to write music that mirrored the late night dancefloor environments that McAuley has been DJing within. Crafted around sharpened motifs that burrow simultaneously into mind and body, they rank among his headiest and most forceful music to date.

Yet these tracks remain alive with the subtle diversions and shifts in mood that have always made his music so distinctive. The snakelocked metal drums and glowing melodies of 'Skips Desk', 'Bulb In Zinc' and 'One By One' are pure volatile energy, their bubbling percussive momentum building on killer earlier Pangaea cuts like 'Hex' and 'Viaduct'. Elsewhere, the record drifts off into increasingly dream-like zones, 'Lofty Can' and the pirouetting flute melodies of highlight 'Send It In' slow the tempo to a simmering steppers' groove, creating beautifully tangled musical puzzle boxes that, as with the blissed-out ambience of 'Scaled Wing', equally recall the roaming sensibilities of Amber-era Autechre and contemporaries like Lee Gamble. Just as intrinsic to Pangaea's aesthetic as his body-shock dancefloor tracks, these form the vital connective tissue of a record that's focused and immediate, yet just as compositionally subtle as ever: a fitting debut album from a producer and DJ who has now been releasing unpredictable and exploratory dance music for almost a decade.

Powell recently announced his debut album 'Sport' via e-mail to fans. Billboards featuring the producer's email address appeared in London and New York and fans got in touch seeking details about his next record. Now he's made a proper announcement.
Emerging five years ago with little announce but an instantly strong aesthetic both musically and design-wise, Powell's sound immediately stood out in a world of producers making techno that sound took its cues from post-punk, turning the style on its head he made post-punk that had techno ideals.Sport' is an album that sounds like the perfect snapshot of his eclectic DJ sets and live gigs, Melon Magic NTS shows and the Diagonal imprint he co-runs with Jamie Williams (home to the releases from the likes of EVOL, Russell Haswell and Not Waving).On the subject of 'Sport': I called it that because I wanted it to be fun and playful, hence the games we've been having via these billboards,' Powell wrote in an email to one fan. People think of my music in certain terms I think, but I don't agree with them most of the time.
Also, like sport, I think of this record as being something for mind and body. I mean, you're shit at sport if you don't bring both things to it, so yeah, the music is physical and you can dance to it, but I also want to drag people's brains along for the ride too.
It's not a techno record, a dance album, a 'no-wave techno' thing, whatever the fuck that is. It's just the sound of what goes in my head.Vocals on 'Frankie (feat. Frankie)' are by Jonnine Standish. Jonnine is a musician and visual artist best known as one-half of the lauded minimal electronic duo HTRK.
LP format includes digital download code.

RP Boo returns with 'The Ultimate RP Boo', showing off six brand new cuts that mix a range of styles with his vivid use of samples and improvised drum programming. 'The Ultimate' kicks things off with a sliding synth riff that wouldn't sound out of place on a '91 Prodigy track with cut up rave vocal interjections over Bu's trademark pulsing bass. 'Bang with the Funk' crushes the 1-2-3-4-5 Sesame Street song, chopping its samples into hard shapes. Things turn dark and minimal with 'The King' which features a sample from Fresh, with strange atonal tones playing off against spooky chords and a tactile bass. On the flipside 'What Am I' pairs syncopated snares and 4/4 bass pulses while percussion bangs and shimmers over clipped diva refrains and anxious piano. 'Bu'Moon' meshes together some pumping horn blurts and some old fashioned steamy synth wooshes that wouldn't feel out of place on a 50's sci-fi film into a relentless battle track. 'Electric Energy' finishes the EP, sampling an unusual pop source and chopping them over pulsing half time subs that pitch up and down around slipping and sliding drum hits.

Finally repressed

White & Green Heavy Splatter Vinyl !

The 5th album, was billed as, ' A Voyage of pure exploration beyond the broad established horizons of electronic music.It is an adventure into perceptions of an unparallel universe all it's own'. Originally released in 1998 on CD only! A one track album 42.10 mins.

a sound collage of oscillator noises and sounds with percussion. Available for the first time ever on vinyl.

The 5th album, was billed as, ' A Voyage of pure exploration beyond the broad established horizons of electronic music.It is an adventure into perceptions of an unparallel universe all it's own'. Originally released in 1998 on CD only! A one track album 42.10 mins.

a sound collage of oscillator noises and sounds with percussion. Available for the first time ever on vinyl.

The 5th album, was billed as, ' A Voyage of pure exploration beyond the broad established horizons of electronic music.It is an adventure into perceptions of an unparallel universe all it's own'. Originally released in 1998 on CD only! A one track album 42.10 mins.

a sound collage of oscillator noises and sounds with percussion. Available for the first time ever on vinyl.

Obwohl das Berliner, aus T.Raumschmiere (Marco Haas) und Schieres (Ulli Bomans) bestehende NoiseProjekt Shrubbn!! schon fast 20 Jahre auf dem Buckel hat, stellt "Europa" nach "Echos" von 2012 erst das zweite Album dar. Klar, Shrubbn!! ist für die beiden neben Soloaktivitäten, Labelarbeit und Kunstmachen ein
reines Neben-, um nicht zu sagen Liebhaberprojekt, das immer mal wieder auf Eis gelegt wird, um dann mit einem musikalischen Update reanimiert zu werden. Glich "Echos" einem echogetränkten, beängstigenden und haltlosen Fall durch Raum und Zeit, fühlt sich "Europa" geradezu warm, traumtänzerisch und beständig an. Jedes der 14 Stücke trägt den Titel einer europäischen Stadt wie "Hull" oder "Valladolid". Was die Städte
verbindet: sie haben einen klingenden Namen. Deshalb bekommen wir auch einige völlig unbekannte
Ortschaften zu hören, zum Beispiel "Elk", "Lom", "Eskilstuna", "Freistritz an der Gail" oder "Anenii Noi". Der Clou dabei: Haas und Bomans haben keinen persönlichen Bezug zu den Orten, sie ließen sich bei ihren Kompositionen allein durch den Klang inspirieren. Was bestens funktioniert hat, die Resultate überzeugen auf ganzer Linie. Und es spricht für die Qualität des Albums, dass man dabei keinen der Titel kennen muss. Wer
denkt bei "Nea Koroni" schon an Alpentäler und Kuhglocken

Third volume for "Beautiful Cover Version" .A collection of classic pop, and rock revisited in genenre jazz, lounge, chill. and d acustic

Written and recorded by Cindytalk between 2013-2015 at Roi Vert, Okamoto, Japan and Thirteenth Floor, London, UK

Film clips on Sea Of Lost Hopes, Lost Unfound and Filthy Sun: Ghost Dance (UK 1983), directed by Ken McMullen

Design/images: David Coppenhall

In praise of The Invisible College

'The Labyrinth of the Straight Line' is a compilation of chimerical poetry. Ambiguous haikus of agony, melancholy, obscurity and dissensus are unfolding over time. Walking on the shapeshifting paths of transgression, on the search for new realities since the early 1980's, Cindytalk's latest release pays hommage to their industrial roots, comprising brutalist outbursts in abstract sceneries of beauty and abysmality.

As surreal and introspective as a film by Jean Cocteau, as labyrinthic and enigmatic as a story of Borges, Cindytalk succeeds in spatializing subjectivity. These introverted detournements follow the logic of dreams and form the unsettling soundtrack of an unresting mind. The outcome can be abrasive and balearic at times, but also delicate and melancholic. 'The Labyrinth Of The Straight Line' forms an alphabet of dark and obscure detachment. Acid shivers of a body without organs and convulsive pumps of arteries alternate with poignant murmurs of the past that dissolve in tender shades of hushed despair and graceful debris.

We find ourselves in spaces with walls crumbling down or concaved by glazed mirrors terrorizing the claustrophobic body. From time to time we can hear a disembodied voice, speaking soft and clear like a narrator from a different reality.

Sonic psychogeography between somnambul dark ambient, claustrophobic post-industrial and nightmarish techno. Delightful sketches of escatology.

After Damu's epic weightless cassette, up next on Keysound Recordings is a grime white label from DJ Sinclair. Ricky' flips an iconic jungle ident over a dirty 8bar drop. The flip sees former Roll Deep and Dizzee-producer, Wonder's What' remade as a Wiley-style devil mix, with an explosion of Waifer gunshots and AMS bass to boot. The details around DJ Sinclair are indistinct. His Soundcloud handle is DJ Sinclair 2002,' but none of the grime OGs can remember him being about in those times. Mumdance, Logos, Spooky, Dusk + Blackdown, Kahn & Neek have been playing the release and Sinclair beats circulate amongst London's wider Boxed crew. Grandmixxer, Rinse FM and Novelist DJ, thinks he's the best newcomer' and videos have emerged of Grandmixxer completely losing his ish while dropping Sinclair beats at Outlook with Nov on the mic. What happened to DJ Sinclair We don't know but he just fires shots.

"The stars we are given. The constellations we make. That is to say, stars exist in the cosmos, but constellations are the imaginary lines we draw between them, the readings we give the sky, the stories we tell." Rebecca Solnit The above quote by the American author Solnit inspired Parisian producer Jonathan Fitoussi's debut album for Further Records, Imaginary Lines. He used those words and the concept of Harmony Of The Spheres to create the six ravishing interstellar evocations on Imaginary Lines, to spin his own intriguing yarns about the cosmos. While conjuring the vastness of space, Fitoussi imbues the journey with profound feelings of awe and beauty. "This idea that the constellations are an imaginary representation that man drew in the sky to serve as landmarks in space and on Earth is greatly appealing to me, and works very well with the story behind this album, on which each song title bears the name of a constellation," Fitoussi says. "With Imaginary Lines, I wanted to work with this idea as its core; on one hand geometrical and linear, like the shape of the constellations, characterized by the use of repetitive sequences, and on the other hand, through sections of improvised organ to evoke the more spiritual dimension, and l'invitation au voyage." Imaginary Lines sounds like it was made with acute academic rigor yet it is also lavishly beautiful and sensuous. "I like having a mixture of a solid base to work from," Fito

Nadja return on November 4th with

The Stone Is Not Hit By The Sun, Nor Carved With a Knife - their first release for Gizeh Records. The Canadian/Berlin-based ambient doom duo of Aidan Baker and Leah Buckareff continue their ultra-prolific output with a monolithic record which explores the depths of heavy noisescape-related music. Encompassing distorted riffs and hypnotic rhythms the album sonically attempts to continue on from the more structured elements

of the duo's recent

Queller album, coupling that approach with Nadja's more traditional sprawling, dense and challenging sounds.
The relentless fuzzed-out textures repeat and build into a blissful and cathartic whole - a place to be completely immersed. In the deep, glacial and all-consuming world that Baker and Buckareff provide us with here, there is a will to dissolve, to let the record wash right over you or perhaps even through you. At times crushingly beautiful,

Stone, Sun, Knife is brought to life by its clever restraints with quieter interludes serving a perfect purpose against it's more intense, heavier moments.
The album's intriguing title comes from a runic inscription on an Icelandic burial stone but the phrase also appears on the Eggja Stone which provided some of the lyrical content on the record.
Nadja have a habit of transcending genres and indeed throughout their career they have been incredibly difficult to pin down.

The Stone Is Not Hit By The Sun, Nor Carved With A Knife is a welcome addition to that hefty catalogue and stands up tall against their most impressive work.

Re-Release des dritten Albumklassikers der Singers & Players, einem losen Kollektiv um Prince Far I und Bim Sherman. "Staggering Heights" gilt als Höhepunkt ihres Katalogs und als UK-Dub-Meisterwerk, an dem diesmal Mikey Dread (frisch nach seiner Arbeit mit The Clash), Ashanti Roy (The Congos) und Mitglieder von Dub Syndicate und Roots Radics mitarbeiteten. Mit den beiden legendären Tracks "Bedward The Flying Preacher" und "Snipers In The Streets". Re-cut by Dubplates & Mastering, Berlin. LP auf schwarzem Vinyl mit Downloadcard und 24x12" Poster.

Original release from 1977" Reissues of a legendary artist, pioneer of the French electronic music." The French proto-electro is making a come-back as we've seen it with the success of both Cosmic Machine compilations." Their 7 Onyx' sold over 3 million copies worldwide." Space Art is behind the massive hits: Onyx", Give Me Love", Love In C Minor' and more" One of half of the band, Dominique Perrier, is one of legend Jean-Michel Jarre's closest collaborators. Recognized as a keyboard virtuoso, he worked on all Jarre's albums from Rendez-Vous' (1986)to Oxygène 7-1 (1997) and still tours with him around the world. Space Art also toured with him in China in the early '80s." Alongside Jean-Michel Jarre and Cerrone they are one of the most influential bands that pioneered electro music.

Reissues of a legendary artist, pioneer of the French electronic music."The French proto-electro is making a come-back as we've seen it with the success of both Cosmic Machine compilations."Their 7 Onyx" sold over 3 million copies worldwide."Space Art is behind the massive hits: Onyx", Give Me Love", Love In C Minor" and more"One of half of the band, Dominique Perrier, is one of legend Jean-Michel Jarre's closest collaborators. Recognized as a keyboard virtuoso, he worked on all Jarre's albums from Rendez-Vous" (1986)to Oxygène 7-1 (1997) and still tours with him around the world. Space Art also toured with him in China in the early '80s."Alongside Jean-Michel Jarre and Cerrone they are one of the most influential bands that pioneered electro music.

Yeah, we know. Every day is recordstore day.
But this year we deliver something special. Two old downbeat tracks from Spätes Frühstück. Remastered and on white marbled 7 inch. The record comes with recyceled an stamped innersleve and peripherally fullcover by paulizia. Limited to 100 copies.
Old Stuff from Old Dirty Dessau.

Sakadat Records first vinyl presents two great pieces of dynamism on the classical house and modern techno basics .

Upfront Support from :

Raresh , Shlomi Aber , Oshana , Ody , Dan Noel , Ittetsu , Faster , Vid , Dan Farserelli , Nima Gorji , Fabio Ferro , Tulbure , Negru

The most known Christmas songs interpreted in perfect lounge style of jazzy, chill-out and bossa nova from No-Lounge, Dhany, Miscellaneous Beat, Mr. Bone and many others. The perfect soundtrack for the most awaited festival of the year. Traces 18 for an hour of revisited successes, from Last Christmas Santa Claus Is Coming to Town, from Christmas in Love Silent Night. Lounge Christmas!

Swedish duo Gidge present their debut album Autumn Bells out on Atomnation.

Mystery, poetry, a play of masks: artistic creation according to John Cravache. His collaboration with Versatile dates back to the beginning of the millennium. A childhood friend of I:Cube, he is 44 years old, lives in a Paris suburb, and is not a professional artist. Getting involved in writing, he has been boasting his artistic and economic independence and his crafty attitude outside of the industrial system. He gave himself time to invent a personal world, wild and funny, which eventually gave birth to the album "Cités Nomades". Even though his influences are quite varied and avant-garde (Magma, Captain Beefheart, Tom Waits), they did not really affect this unclassifiable project. Poetry and mystery come before all, because John Cravache is appearing masked.
John Cravache and Nicolas Chaix (I:Cube) have recorded radio creations since the early 90s, in particular for Chimère FM in Paris, as well as numerous long improvised music sessions. At the approach of the millennium, they embarked on the creation of an album that was not completed until sixteen (!) years later. John is a poet, accomplished pianist, and registered truck driver and Nicolas, a self-taught musician, have both made the realisation of "Cités nomades" possible.
This is not an ironic pop album, this album is simply all you want.
Listening will do you much good.

There's no doubt that Tom Rockwell's debut album 'Obsolete Medium' last year was a huge breath of fresh air for electronic music. Making its way into Billboard's top 10 LP's of 2015 and receiving enormous support from the likes of Zane Lowe, Friction, Mistajam, Annie Mac, UKF, Mixmag and many more, Rockwell's long playing take on modern day drum & bass left an indelible mark. Now we ready ourselves for the first official new music from the Rockwell camp since then as he introduces the 'Chorus Of Disapproval EP', another telling title preparing us for Tom's lurid, uncompromising trademark production inside. Described by DJ Mag as the 'punky junglist', there's no doubt that the Rockwell's subversive styles and unchallenged ingenuity are still burning brightly as ever. Long may it continue.

SUNANDBASS Recordings returns with the four track 'Fade Away' EP from ArpXP, brilliantly showcasing the producer's ability to turn his hand to a wide range of different styles of Drum & Bass.

Well known and recognised for both the quality and diversity of his work, ArpXP has released with iconic labels such as Metalheadz, Critical and of course SUNANDBASS Recordings, but now his 'Fade Away' EP gives him a platform to really showcase what his work stands for, and where he is musically at the moment.

With the smooth, melancholic vibes of 'Fade Away' alongside MC Fava, and the shoe-gazing vibes of '˜Fifth Step Is Goodbye', ArpXP shows his ability to build a solid groove, with well sculpted sounds all interwoven together to form strong memorable tracks.

'Dancers Of The Stars' brings a darker vibe to the table, with skittering old-skool breaks bouncing off a huge reese bassline, bringing a bit of a jungle vibe to proceedings and making for a 4am dancefloor destroyer. The EP is tied up with '˜Endless Summer'', where you can almost see the heat shimmering off the tarmac, and tight drums and an ever-building arpeggiated synth line build the intensity.

7th Storey Projects in conjunction with new label Peace On Wax are proud to announce our new joint-release - a double 12" pack of rare and previously unreleased tunes from Fozbee & Cooz/The Matchstick Man.

Featuring tracks from the highly sought-after Matchstick Man EP, plus the title track from the fantastic 'Magic & Mystery EP', backed up with four previously unreleased tracks hand-picked from his 1992-1994 archives - we hope that this release will offer something for everyone!

'Raise The White Flag / Dreaming Of A White Christmas' by Canadian/American violinist/singer Hannah Epperson is one of the four singles released as part of the fourth edition of the Snowflakes Christmas Singles Club. On 'Raise The White Flag', a composition Hannah wrote herself, she creates an atmospheric song in which silence is as much used as an instrument as her voice and violin and as the subtile pulse that lingers somewhere far in the background of the song. Hannah calls it 'a post-apocalyptic, deeply somber christmas song'. The poetic lyrics reflect on Christmases past - 'when we'd sled as kids' - and present - 'but now the snow is gone'. A song for the darkest of the dark days of Christmas. A few years ago, Hannah recorded a live version of the Irving Berlin classic 'White Christmas', during a session for the 'Fresh Independence' webzine. She reprises the song, retitled to 'Dreaming Of A White Christmas', on the B-side of the single. Hannah creates an atmospheric neo-classical piece of music, over which she sings 'White Christmas' in a very fragile and delicate way. The two songs taken together create what will probably be the most avantgarde Christmas single of 2016: a single to be played in the middle of the night, when silence and darkness surround you.

Born in Salt Lake City, Utah, moved to Vancouver, BC, Canada as a teenager and now living in Brooklyn, New York City, violinist and singer/songwriter Hannah Epperson has gathered a range of influences, that found a place in her music. Besides the violin and her voice, Hannah's main instrument is a loop pedal, which she uses to built up an almost orchestral sound during her live performances. Hannah started playing violin at five, mastered classical repertoire, which culmilated in joining the Utah Youth Symphony for the Cultural Olympiad in 2002. After moving to Vancouver she further broadened her perspective on music by collaborating with all kind of musicians and performers. In 2011, Hannah debuted with a self-released 5-song digital EP, 'Home Batch', recorded and written at home, representing a wide array of influences, ranging from classical and folk to southern European music and Latin. In 2015, Hannah released her first 7', 'Burn', that featured the tracks 'Shadowless' and 'Brother'. Now living in New York, Hannah recently released her debut album '/Upsweep', that features ten songs, five songs in pop versions (Amelia) and five different songs in neo-classic versions (Iris). The album is part of a diptych 'Slowdown / Upsweep', with both albums having the same songs, but in different (Amelia or Iris, pop or neo-classic)

'Satan's Slave' is the latest release from Moscovitch Music (Terror/Prey), the brainchild of producer/compiler Joel Martin (Quiet Village/Velvet Season & The Hearts of Gold/Maxxi & Zeus) whose 'de Wolfe Music' compilations 'Bite Hard/Bite Harder' are considered essential primers of the library genre.

This Holy Grail Black-Magic British Jazz soundtrack from 1976 is the most requested movie score of cult film composer and top English Jazz saxophonist/flautist - John Scott (Symptoms/Wake in Fright/Craze). For aficionados of rare library music and obscure Horror soundtracks this is an essential album.

'Satan's Slave' - The original soundtrack to Norman J Warren's (Terror/Pre /Inseminoid) nihilistic tale of Witchcraft and occultism conjures an uneasy yet compelling experience for fans of exploitation OST's, and a veritable smorgasboard of dark progressive samples for the producers. The ritualistic tribal beats of 'Sacrifice' could have been culled from the KPM library catalogue (John Scott was a regular session player for them) while 'Drive to Alexander's and crash' is forgotten filmic UK Modal Jazz with a tropical flavour which harks back to Scott's legendary Columbia Lansdowne LP from 1967 'Communication', a firm Gilles Peterson favourite. 'A walk in the grounds' is pure mellow heat - fuel for the MPC 2000, with its crisp Fender Rhodes chords and 'Dusty Fingers' vibe, and 'Unused Cue' which is an additional recording we discovered on the reels is a fiery free-Jazz odyssey for explorers of the fifth dimension!

The complete 'Satan's Slave' soundtrack, which is being presented here for the first time on any format, has been lovingly remastered from the original half-inch master tapes courtesy of Sean P(Z Records), and sounds as edgy, fresh and relevant as it did back in the swinging seventies.
Pour the Absinth, switch off the lights and say a little depraved prayer!

Extraordinary production talent returns with a deeply textured second outing via Blu Mar Ten Music.Having made serious waves with the release of his debut album 'Coeur Calme' in 2014, 21 year-old Congolese exile Kimyan Law sets the bar even higher this time around, returning to forward-thinking label Blu Mar Ten Music with the release of 'Zawadi', eleven tracks of emotive electronic music that push the drum and bass template into previously unexplored areas.Swahili for 'gift', 'Zawadi' is a fitting title for an album that comes across as a deeply personal exploration of both melancholic and quietly energising emotions, gifted to the listener via Kimyan Law's deadly precise sense of rhythmic technicality and human feeling. Tracks like opener 'Sakania' toy with orchestral atmospherics and warm soulful brass, while tripping junglistic snares collide beneath the surface of slowly rumbling bass pads throughout.

An accomplished drummer in his own right, Kimyan Law's intricate rhythmic sensibility is the lifeblood that runs throughout the album, gentle and restrained on the subtle ballad 'Magic' (featuring the unique voice of Clara Luzia), experimental and composed on 'Luba', complex yet driving on the modern jungle flex of 'Yore Dub'. A balanced and intricate producer, Kimyan Law's use of African percussion, finely honed polyrhythmic patterns and celestial sprinklings of keys melded with slabs of sub-bass power and sheer energy makes for an intoxicating listen.

Exploring themes of melancholy, loss and hope, 'Zawadi' is a truly cinematic experience that sits amongst the finest drum and bass long players from the likes of Photek, Source Direct or even 4Hero. A constant mix of light and dark, futuristic yet primitive atmosphere hangs over the album, with waves of luscious synths and deeply musical string arrangements abounding. Tracks like 'Komorebi' are up there with some of the finest recent developments in drum and bass, whilst the pitched-down vocals and dub-wise echo chamber effects of 'September' featuring May and Berlin's own Robot Koch display a strong evolution in song writing skill.

An exile from his homeland due to the Congolese Civil War, Kimyan Law sits as a lone figure in the current electronic music scene. A victim of racism as a child and frequently the only black youth in his social circle when growing up, music was a soothing release from the displacement of home and the harsh social realities of his adopted Vienna. If 'Zawadi' is a gift from Kimyan Law, then we as listeners are grateful receivers.

We're particularly proud to bring you this 2xLP based on unreleased tapes recorded in 1975, way before Marianni's first LP back in 1980! After 2 years remodeling the archives at Jeangérard's studio, they now deliver a brand new 75 minute album. Not only does the music remind such bands like Popol Vuh or any GRM act (where Marianni taught himself), but also modern artists like Massive Attack or Boards of Canada!

The duo of Nate Young (Wolf Eyes, Regression) and David Shettler (Viands, SSM) return with their highly-anticipated full-length follow-up to MEQ 2LP remixes, released by Midwich in 2015 (MW-001). Humanizer is sonically diverse featuring varied modes of production throughout. Humanizer jettisons with their live staple 'New British Blues', the 10-minute track recalling Shettler's long-form work in Viands (MW-003), putting synthesizers in space, as live drums invigorate the track with an earthbound brashness. 'Cycloid' is the album's most concise, bracing and dare-we-say catchy number--a real ear-worm. 'Sea Dust' is a blasting electronic collage also featuring live drums (we think). The title track 'Humanizer' is classic Moon Pool, creepy and menacing with an off-kilter bass thump. 'A Gray Glow' continues in classic mode with thumping bass and queasy synths. 'Hospital Quiet' features pleasing, sunward-facing ambience to reassure listeners that all is good. Moon Pool and Dead Band have been a Detroit cult techno favorite since Shettler and Young joined forces in 2011. Uninitiated listeners are caught off-guard by the funkiness of the group, shaking assumptions about the group's perceived roots. We've all heard bad noise-techno records--this isn't one of them. The danceable style is one that grows organically from the duo's life experience. Moon Pool and Dead Band approach the music with respect, knowledge and humor. Humanizer is a party-starter that could have only come from Detroit.

Bardo Camp with a one-two punch + uppercut combo! The undisputable Flying Dutchman NYMFO offers up the next 12" slated on the PMG catalog with a few bangers for your ear hole. The Nederland favorite enters the arena with a 3-Track release for vinyl dropping in the Fall of 2016. 'Glass Eyes' delivers a warm, key-driven cut standing alone on the A side. Not without his pinpoint accuracy, the tune may be considered off the ropes for our man Bardo. Featherweight on this one, but no less Worldclass! The B/C cuts combine vastly different productions on the flip. 'Modern World' steps up a notch of intensity, while still staying cool and collect. Knocks, but not lacking that signature poise we've come to expect. As the first outing for Prestige, we are proud of what Nymfo has brought to the table for this record. Off top, the C gets the title. Done! The half-step banger that is 'Dividing', closes things out with complete Bassbin shutdown. The sounds twist, morph, and escalate to an undeniable jolt to your noggin. Proper for the varied selection we have grown to represent in the catalog for Prestige Music Group. Forthcoming in the Fall of 2016 as a 3-Track 12" release, and available with all fine retailers worldwide by October at the latest. As exact release dates are not yet determined, expect a digital release shortly thereafter. Your support is greatly appreciated! Prestige Worldwide wide wide!

New Horizons is a 4 tracker debut vinyl EP of Radicall, but the initial issue of Procedure Recordings as well. Hark! He knocks with a first song with such a title and that's a beginning of journey to new worlds, an undiscovered and exotic travel. Very positive vibrations and subtle voices will give us a lot of energy here. There might be storms, but the depth of the ocean is still there, unchanged. It sounds like we're very well prepared for that trip, so we switch to the Crystal song on B side. Classical roller accompanied by very appealing hint of uncharted unknowns, deeper drum and bass. This track is like a tip pointing the way, a pyramid which is presented on a disc label artwork. We continue followed by Get Ready on second disc. Liquid funky up-tempo number is tackled both lush bass and politically charged drums with equal flair. We're on our way, so fiddly-dee, fiddly-dum. On the back side another rush coming on. Melodic, trancestep inspired sound slowly replaced with deeper and atmospheric landscape - the New Horizons.

Radical is having produced quality Drum & Bass music since 2008 for labels such as Absys Records, Offworld Recordings, Soul Deep Recordings, Addiction Records and his own Nightworks Music. Here with this EP we also featured him on Procedure Recordings, a Warsaw based label established in 2016 as a project that comes from a passion to drum and bass music and vinyl records. This is the simplest procedure, an absolute exception, the least bureaucratic and the most related to underground culture. Name is derived as opposition to the rules defined by corporations and governments for the purpose of blocking any kind of initiatives through which they could lose part of their income, regardless of the good of society.

22 tracks mixed by Score 5. This mix is completely exclusive to the third CD.

During their European tour earlier this year, Canadian duo Jokers Of The Scene stopped over for a couple of days at Club Bizarre studio in Northern France. The two pair of producers locked up and came up with Betaville and Breakwater, two killer lo-fi and spaced out tracks. Betaville is a fuzzy dream that will make you dance in slow motion with your head in the clouds. Boasting a strong melodic and nostalgic feel, it unfolds its warm analog synth pads, old school sequences and drum machine to psychedelic effect. Imagine Boards Of Canada wanting to make you dance.. Even slower is Breakwater, a dirtier, chunkier track that ditches the softness of Betaville in favour of a more 'in your face' bass line and all together rougher attitude. It chugs along to old fashioned beat box claps and percussion and quirky synth melodies. Lastly Betaville gets the Timothy J Fairplay treatment of being violently pulled apart and chucked in all corners. Reminiscent of early Chemical Brothers music, a heavy beat slaps over agressive drugged up analog sound effects while a repetitive, haunting melody screams on top and reverberated vocals whisper in your ears. Scary.

It is very early that DJ Clif falls under the spell of hip hop culture . Indeed, it is in discovering the issuance of Sidney, 'HIPHOP'
on TF1 in 1984, he began to hang with this movement, which led him to make those first steps breakeur . Then inspired by
friends taggers, it also tries to this discipline and this is the name that choisison Clif reference Cliff Barnes in Dallas, but
listening to the first pieces of American rap, and trying to reproduce the scratches with the platinum lounge of his parents,
that he just wanted to be the dj, so he bought his first turntable and his first vinyl (LL CoolJ , Run Dmc , Eric B & Rakim ... ) .
Confirmation of belonging to this culture will free radios and more particularly via Nova radio emissions Lionel D and Dee
Nasty in 1987 or values convey "peace, unity, love and having fun," he speaks and inspires . His passion for music and vinyl
scratch instead take a more and more important in his life, so he decides to put whether, and bought a second plate and a mixer,
which marks the beginning of workouts. Later, through hard work
and perseverance, Clif become active in this movement by
participating in its first projects in the early 90s. It will decide later to structure and this will be achieved through creation of these
labels: 93 All Stars in1995 and Spies From His Production en 1997. Dj Clif has participated in many projects, mixtapes , parties,
cd, video, during deejaying and collaborated with various artists including Dirt Platoon, dj maze, dj dee nasty, dj doze, scalp, dj
momo, idsa the integrated dj shone, Pheel dj 's, bastos, bazane, hitch dj, dj wicked profayt, kefran dj, dj fab to name a few .
Another activity that is close to his heart , radio, or he could illustrate his expertise through sets of hip hop / soul on Generation 88.2 ( Underground Explorer ) Aligre FM, So Music Station, Music 4 Live Vallée FM , etc. . During these emissions has been alongside
artists such as : Royal S, Boramy , H magnum, Kery James, March dj, Keny Arkana, Guizmo, Hitachi Kyo , dj brans , Olivier Cachin ...Last album " Influences " , just released and contains 15 tracks, this is the first album of DJ CLIF as dj / beatmaker .
For the development of the album, it is indented for 5 years to learn the basics of music production. This album allows us to
discover a rich palette of his music production , combining hip hop, soul and funk. Inspiration is very 90's , it plunges into the
golden age of hip hop . An album musically available all ears as well both old school as the new school , but also to those who do
not operate in the world of hip hop. DJ CLIF music is a passion and this is why it is important to convey the sounds Soul , Funk, oldies,Jazz -Funk .

AKO Beatz is about to go deep into the dark pits of the jungle with a new 3 track series called AKOism.
AKOism takes no prisoners with these very respected producers in the scene on Vol 1.

Ryan Hunn, auch bekannt als DJ und Produzent Illum Sphere, kehrt mit seinem zweiten Album "Glass" zu Ninja Tune zurück. Es ist passenderweise sein klarstes Statement bisher: Neun sowohl dynamische, als auch fokussierte Tracks, die Raum lassen, um sich in ein lebendiges, großes Ganzes zu verwandeln. Beim Hören fällt vor allem die klare Abgrenzung von Illum Spheres bisher gewohnten Sound auf. "I wanted to make an album very different to the first", sagt der Produzent, "one with a different palette, pace and energy." Eine Veränderung in "situation and style", wie Ryan das beschreibt, ersetzt die scharfen Wechsel und drastischen Übergänge seiner bisherigen Veröffentlichungen und erinnert mehr an seine "Spectre Vex" und "Second Sight" 12"es oder seine Mixe für fabriclive und Dekmantel. "Glass" ist versunken in mechanischer Tiefe und pulsierender Festigkeit, erinnert an die ZeitgenossInnen Helena Hauff und Kassem Mosse und wird Illum Sphere, dem bisher wohl bestgehütetsten Geheimnis der Szene, sehr wahrscheinlich zum Durchbruch verhelfen.
- CD im Softpack
- LP: auf 1.000 Einheiten limitiertes durchsichtiges 140g Vinyl in bedruckter Innenhülle inkl. Downloadcode