Beats Новости

The First track is from the much In demand producer and DJ Tim Reaper, he works his magic on the classic Dem 2 Ruff jungle anthem Nice Tune, a new take on the original jungle sound of the Golden Era .The Second track is a VIP of nice tune by Dem 2 ruff themselves , new school vibes with enough of the classic vocal to keep the Dance floor jumping.
The third track is also from Dem 2 ruff an unreleased gem from the vaults. A must for every jungle fan new and old.
Vinyl Only Release

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

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

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

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

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

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

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

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

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

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

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

With news of his second album soon to be announced, DLR makes a welcome return to Dispatch, with a solo track and a fresh collab with veterans Total Science.

* Revered for his attention to detail, DLR has a tactful awareness of space, eliminating any superfluous elements detracting from the soul and groove of the music.

* 'Thinking About Tomorrow' sets things off, as glitchy mids swarm throughout, progressing aptly, yet with restraint, aided by subtle low end pressures.

* Total Science rejoin forces with DLR next, for 'On The Edge'. An infectious hook is crafted, with an immense amount of swing, buoyed by playful bass chugs.

Bokeh Versions presents more outernational transmissions from the fringes of dub music.

Moving from light to dark across 45 minutes of dub electronics, New Teeth for an Old Country references Jay's native Greece - steeped in glacial classicism it's refined and dark as hell. This is dub strictly in the abstract - snatches of horns, a distant scream of organ - Jay Glass Dubs comes across like some bedroom-producer Bauhaus sacrificed to the On U Sound mixing desk.

BKV 007 follows an under-the-radar run of 'Compound Dub' dubplates and the hottest dancehall mixtape of the year (Glacial Dancehall) on Bokeh. Jay recently completed a trilogy of tapes on Hyle Tapes, THRHNDRDSVNTNN and Seagrave. Forthcoming releases on The Tapeworm and anòmia foreshadow his debut 12" on Bokeh Versions next year (featuring a very special guest on vocal duties).

Jay Glass Dubs is an exercise of style by artist Dimitris Papadatos focusing on a counter-factual historical approach of dub music, stripped down to its basic drum/bass/vox/effects form.

"Jay Glass Dubs dives into the methodology of dub more deeply than anything since Creation Rebel's epochal Starship Africa"

Tristan Bath, the Quietus

100 copies, strictly limited c45 and digital.

* Just over year since Lenzman's debut album dropped we have the remix project overseen by the dutch producer.

* Paper Faces (feat. Martyna Baker) (Ivy Lab Remix)
Everyone's favourite drum n bass super group kick off with the Paper Faces remix, the original was a regular feature in their sets and they've added just the right amount of muscle to proceedings whilst keeping the signature off kilter funk they've become known for.

* Starz (feat. Kevin King) (LSB Remix)
LSB rolls out the Starz remix, taking his version in a totally different direction to the original, turning it into a soulful roller in a way only LSB can

* My Tearz (feat. Steo) (Ulterior Motive Remix)
Bournemouth duo take My Tearz even further into screw face territory. Rugged bass and confident drums in the pairs usual style make this a certain favourite for dancefloors.

* Just Can't Take (feat. DRS) (dBridge Remix)
Exit boss dBridge takes Just Can't Take into a stepping arena with his trademark drums. His remix puts a more urgent slant on DRS lyrics and finishes off the EP very nicely

* Over the past six years, Joe Moses has done it all. Under his Need For Mirrors name, his efforts have resulted in a series of releases which have rightly been labelled as classics. From Metalheadz and Playaz to Dispatch and Spearhead, NFM has been everywhere.

* Also one of the names behind the legendary London d&b night Soul In Motion, Need For Mirrors' quantity is easily matched by his quality. His excellent music continues on HZN093, the Lvrs EP for Horizons Music, which contains three tracks on the physical release.

* 'Wow' is the a-side, bringing elements of the old skool to a decidedly modern pallette. A slow burner, this one sets its stall out over a delayed intro. Dropping down into some classic late night vibes, the tune picks up to display its full beauty. NFM create the atmosphere, with some live sounding effects and rolling beats. Feel the pulse and feel the flow, this one is simply Wow.

* On the flip, 'Down Time' again runs with a retro inflection, this time upping the pace and letting the sounds envelop your very soul. Playing around with melody and tempo, Moses creates a new world at every turn. One minute there's a liquid vibe, before adding in more bass, this is truly a tune for everyone. 'Lvrs' meanwhile, brings things down a little, with removed synths marking the backdrop for funky, jazzy chords and some frankly brilliant drums. There's different sounds creeping in all the time, so look forward to this one surprising and delighting you.

" ..., to consider the Song Books as a work of art is nearly impossible. Who would dare It resembles a brothel, doesn't it" John Cage.

Volume 3 in the PERIHEL series on KARLRECORDS is dedicated to one of the most iconic composers of 20th century: JOHN CAGE. All 92 pieces of the "Song Books" in stunning interpretations by REINHOLD FRIEDL, recorded at RASHAD BECKER's Clunk Studio who also contributed live electronics.

JOHN CAGE (1912-1992) is one of the most important composers in modern music: with more than 250 compositions, many of which are considered key works of New Music, and theoretical essays on composition he significantly changed the way we think about and perceive music today. But CAGE not only left a major impact in the academic world, he is also cited as an important inspiration by a wide range of diverse musicians from a younger generation, be it electronic producers, experimentalists or noise artists. His "Song Books", published 1970 in threevolumes, is a collection of open works that contains not only songs but a strange hybrid collection of compositions, graphic scores, meditation rules, experimental settings, absurd musical instructions, performance settings, musical references, and Fluxus-inspired actions such as eating fruits or drinking cognac (CAGE loved whiskey and cognac) ...,

When REINHOLD FRIEDL (director of the ensemble ZEITKRATZER) entered the CLUNK Studio to record the whole cycle with RASHAD BECKER (who handled the feedback cabinet and live electronics), the idea was quite simple: to approach each single piece in an informal way but to do all 92 pieces in the right order. What came out in the end is a kaleidoscopic lecture and interpretation of the compositions with the help of a strange mixture of ancient and modern tools: new electronics, old and special microphones, self-built instruments, arbitrary garbage sounds, sophisticated live-electronics devices, quotes ..., "Complete Song Books" turns out to be an early hymn for sonic freedom, a sonic promenade full of beautiful references.

All music composed by John Cage

Constructed by Reinhold Friedl

Performed by

Reinhold Friedl: voice, toys, wooden games, metal objects, complex objects, microphones, garbage, ...,

Rashad Becker: feedback cabinet, live electronics

Mastered & cut at D&M, Berlin

Artwork by Lillevan





















































[ZZA] 53. Solo for Voice #53
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Steffen Laschinski`s project Rising Sun, which consists only of himself, was very productive since the release of the last album "
"The Lamentations Of Rising Sun". In the past two years the musician and dj was a real demon of work and he loves to work in different Genres and is he very diligent. His next EP series "TRILOGY" will be released in early October, comprising three vinyl's. Graphic designer and art director Andreas Haase from Hamburg took care of the design. Vinyl tastes better....

Nach dem überwältigenden Erfolg der beiden Solo Alben "Fatty Folders" (2011) und "Happiness is Happening" (2014), kehrt Roman Flügel zurück mit seiner dritten full-length CD/LP auf Dial Records. "All The Right Noises" vereint House/Techno adventures, feinste Ambient Works, und einzigartiges Material rythmischer und auraler Verspieltheit. Was für eine Intensität, ein Meisterwerk der einlullenden Wärme, des provokanten Exzess, umarmend und uplifting zugleich. Roman Flügel überrascht immer wieder mit seiner ganz eigenen musikalischen Vision!
Gleich die ersten Akkorde von "Fantasy" entführen uns in eine Traumwelt, in der das Unmögliche zu Klang wird. gefolgt von dem verführerischen"The Mighty Suns". Die Reise nimmt ihren lauf über die fantastisch schrägen Tech-Tunes "Dead Idols", "Warm And Dewy", "Dust" und "All The Right Noises" und zwei perfekt exzessive Festival Opener: "Namless Lake" und "Planet Zorg". Mit dem closing tune "Live Tends To Come And Go" lockt uns Roman Flügel zurück in eine Fantasiewelt, die kein zweiter so beherrscht wie er.

Danish label Music For Dreams releases another winner with the debut album from Danish artist Emil Breum aka The Swan And The Lake. "Moments" showcases Breum's talent for creating exquisite and sensitive soundscapes whose timeless atmosphere echoes contemporary classical composers as well as some of the more New Age-minded artists of the Berlin School. Although mostly known as a spiritual movement, New Age also spawned a musical ideology that lives on past the clutches of cults and communes: a purity in sound, and a longing for music to reflect the sounds of nature. "Moments" captures this essence perfectly, its compositions seeming to suspend time and prolong a sense of clarity, like staring out over a beautiful landscape at sunset - both a sobering and healing experience.
Opening both sides of the album are collaborations with guitarist Anders Brandt who provides a beautiful groove alongside Breum's motionless ambient states and "Dive" has become an established favorite in many DJs' sunset playlists in Ibiza this summer. Also included is Moonboots' (of Manchester's Aficionado) pick "Moments of Lost Swans", a gorgeous modern Balearic track full of melodic marimbas. Another highlight is the string-based "Bright Lights" which plays out in in three parts - an electronic intro glides into Breum's moody piano chords and finally drops into an emotional string ending that feels like a cross between Michael Nyman and Nils Frahm. The New Age upbeat feel of "Waiting For Spring" gives it the air of a forgotten Cafe Del Mar classic - emotive keys, reverbs, marimbas, pianos make a memorable and unique track.
Breum also supplies the photo for the front cover of the album, an image borne of his desire to capture special moments of day and night, just as he has done with the mesmerising musical landscapes on this stunning debut. Limited vinyl edition.

Blueprint heads across the Atlantic for the next release as Kero (who made his first appearance on the label with a remix of James Ruskin's 'Transfer' in 2006) joins forces with Gotshell for the 'Perindsor EP'.

With over 30 releases on some of electronic music's most celebrated and innovative labels such as Bpitch, Warp, Ghostly, Shitkatapult and Touchin' Bass as well as his own critically acclaimed Detroit Underground Records and Kerohand (with Kelli Hand), Kero has established a reputation for unrepentantly brash, yet cultivated compositions.

Gotshell meanwhile, is a mysterious deep sound producer, formed in the dark and cold nights of Colombia's Pereira. Delivering simple, straightforward, stripped down, cavernous techno without hype or fanfare, Gotshell has appeared on labels including Planet Rhythm, Nachtstrom Schallplatten and Kero's Detroit Underground.

Combining their talents for Blueprint 20th anniversary year, we're given four tracks of dark, thoughtful electronics from the sweeping soundscapes and deep beats of 'Samaria District I' to the looping sonics of 'Operation'; and from the hushed experimental tones of 'Ex Adenoma Pleomorfico' to the EP's dense and dubby closer, 'Perindsor'.

A promo video with visuals by the denial.of.service captures the tone of this artistic and articulate release.

Anna Rose Carter und Ed Hamilton aka Dead Light präsentieren auf ihrem selbstbetitelten Debütalbum auf Village Green vollkommen entschleunigte Klanglandschaften aus Klassik, Ambient, Pop und Electro-Acoustic, aufgenommen mit zum Teil Vintage-Instrumenten wie alten russischen Mikrofonen, selbstgebastelten Synthesizern oder das präparierte Klavier des Großvaters. Ihr Album ist musikalischer Ausdruck ihres Umzuges aus der Londoner Metropole aufs Land samt Konsequenzen wie Veränderung, Verlust und neuen Anfängen.

Delroy Edwards has come a long way. 2012 marked his Introduction into the world of Dance Music via Ron Morelli's Imprint LIES. After offering up essential dance floor singles like '4 Club Use Only' and 'Heart and Soul' Edwards' established himself as a producer with a unique touch and style. With a growing desire to control his own output and make a more significant statement, Delroy set off to start his own imprint, L.A. CLUB RESOURCE.
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Creatively directing his own imprint became a platform for him and over the course of two years L.A.C.R. created one of the most palpable musical experiences in the field. The label released music in a range of styles from a span of generations, the only constant was the high output and stellar art direction. Many releases produced by the label head himself, Delroy's production were lauded for their piercing simplicity, grace and attitude.

In his first LP for the label, Edwards' has arranged a sincerely personal moment. The 30-track effort marks a special moment in his growth blending current interests in punk and electronics into an outsider narrative like no other. From Devo to J Dilla the influences across the record are subtle but respectful. Regardless of influence, Hanging at the Beach feels unequivocally new. Experiencing the LP for the first time speaks to the Californian
experience in its full range. Certain moments call to the beaches of Monterey while others speak to the sleeze that lines Hollywood Blvd. Edwards doesn't distance himself from the production style that has defined him and the label, but this effort is a long
playing collection, a directed, new moment for the
prolific producer.

The second LP from Grup has finally arrived, five years after his first release, which is today is totally sold out and very hard to find. 19 tracks in the pure Grup Ses style, a perfect blend of instrumental hip-hop and bass music, spiced by turkish-psych samples. The album's conception took three years in Beyoglu, Istanbul, where Grup Ses invited the best of the turkish beat-making scene, but also called for his european connections : Gantz, Fulgeance, Coco Bryce, Nodul, Biblo, Elektro Hafiz and many more contributed to make this release unique.

Driveclub has sold over 2million copies on the PS4 and for the first time the critically acclaimed soundtrack (inc Driveclub Bikes OST) is available on limited edition vinyl. It features an original score by Hybrid who fuse their trademark bass & electronics with epic cinematic orchestral stylings. Remixes come from luminaries across the electronica, techno and drum n' bass worlds including DJ Shadow, Clark, Noisia, Photek & Machinedrum.

Professional Sunflow is the first-time collaboration between Laraaji & Sun Araw, two colossal forces in contemporary electronic music. Laraaji's musical radiance has continued to shine brightly over four decades since being discovered by Brian Eno in New York's Washington Square Park in 1979. Sun Araw emerged out of Los Angeles' experimental scene in 2008 with transformative releases on a variety of trend-setting labels (Not Not Fun, Drag City and more).

The live performances on this double LP - recorded in Germany and Switzerland - combine prewritten elements and improvisation. Laraaji's soulful vocals and signature instrument, zither, blend beautifully with the free-floating rhythms of Sun Araw's Cameron Stallones (guitar / keyboards) and Alex Gray (computer synthesis) to shape Professional Sunflow's unique sound: dreamy layers of percussion, ambient textures and vibrant melodies.

W.25TH is proud to present Professional Sunflow as our inaugural release. As a sub-label of Superior Viaduct, W.25TH will focus on inventive sounds from current artists. Forthcoming releases include Nazoranai (Keiji Haino, Stephen O'Malley and Oren Ambarchi) and the (as yet unnamed) collaboration between Richard Pinhas, William Winant, and Comets On Fire's Noel Von Harmonson and Utrillo Kushner.

Torchlight is a series of releases from Om Unit dedicated to exploring ideas that are truly perpendicular to the standard templates of dubstep, jungle, and drum & bass.The sold-out series began in July 2015 and ends a year later with Volume 3, offering listeners a trilogy of sonic meditations on form over function. Torchlight was started as a reaction to the stylistic boxes artists find themselves forced into, in this case the perception of Om Unit as the footwork jungle, half time guy.' Written over the course of a year during a time of personal upheaval, the series explores the recesses of tempo limitation while also allowing Om Unit to question possible future directions for his artistry. Often I would play the songs to friends who wouldn't quite get it, which to me is a sign of things moving on.The A side is given over to the 8-minute-long, sprawling 'Underground Cinema' collaboration with Bristol legend DJ Krust. Best known for his work with the Full Cycle label and Reprazent project, Krust's own explorations of the limits of drum & bass in the late 90s have been a foundational inspiration for Om Unit ever since. As the title implies, the song is intended as an imaginary soundtrack with Krust supplying the bulk of the synth work and FX, and Om Unit handling the arrangement and rhythm. The result is a composition that brings to mind great moments in drum & bass history but yearning for something grander as it unfurls in delicate movements, each element finding its own rightful place, and with a calculated pace that engulfs the listener in a cinematic ride both physically and cerebrally.On the B side, 'Fuzzd An Soup' laces a rolling break over a steady rhythmic pulse alongside delicate melodies for another take on eyes-down at a faster tempo. Things then slow back down to an imperfect quarter-time on 'Lightbody Transfer' as energies are reset for the next step of the journey. With Volume 3, Torchlight rounds off a collection of songs charting the less frequented waters of uptempo dance music, a hand drawn map to other possibilities for fellow sonic adventurers and explorers.

Der irische Produzent und DJ Space Dimension Controller - bekannt von Veröffentlichungen auf R&S, Clone oder Royal Oak - veröffentlicht Ende Juli sein Albumprojekt "Orange Melamine" auf Ninja Tune. Darauf enthalten sind Produktionen, die er 2008 im Alter von gerade 18 Jahren in seinem Schlafzimmer in Belfast bastelte. Knackig, zerstreut und angenehm merkwürdig - "Orange Melamine" ist ein mit viel Liebe produziertes und sehr persönliches Album, das übernatürliche Sounds und durchscheinende Synthies mit einem Gefühl von überquellender Harmonie verwebt. Das Album bezieht seine Inspiration aus alten VHS-Tapes, die er von seinen Brüdern und Cousins bekam, sowie von Künstlern wie Boards Of Canada, Brian Eno oder William Basinski. Das Album ist außerdem reich an Audio- und Filmreferenzen aus Sci-Fi Filmen und Animationen aus den 80er und 90er Jahren. Die Palette reicht von Streifen wie The Guyver, Short Circuit, The Gobots und Ghostbusters bis hin zu The Fifth Element, Escape From New York oder den Power Rangers.

Kreidler's Detlef Weinrich digs back into his solo archives and furnishes the excellent Antinote Records with a series worth of unreleased jams. BIG TIP! You can trail away with it. It is easy to enter, but hard to drop out. Tolouse Low Trax just needs an MPC, a small Synthesizer set up and some effects to create subliminal hypnotic music trips, driven by dark synthlines and drunken shuffled patterns. The primitiveness in my music is linked to something simple, and that don't have to be obligatory minimal. For me it is enough to dance rough around the core. Music you don't shape till the end contains of a moment of beauty. A veil of secrecy. I work very simply. I rather reduce my possibilities in ompass. Limitations offer lots of liberties.' He reveals about his work ethic. Even if his music sounds darker then any ever experienced night, he mostly produces it in the morning in his highly inspirational studio home. During the dark times of the day Tolouse Low Trax mostly performs live around the globe. Or hangs out in his second home: the Salon Des Amateurs club bar in Dusseldorf, which he once founded and where he held until today two weekly DJ residencies. The moments and atmospheres he inhales during these lightless moments are mirrored in his shadowy music, about which he also confesses: My art is more a cinematic, literally idea of a large to explore Megacity. This is one of the pictures I would link to my music.' On ' part one he now offers five sounding visions about that Megacity'. They listen to mysterious names like Hidden Flat' or Studies in Drama'. They are nervous. They have ephemeral pieces of dub, Industrial, wave or Italian library music. And at times strangealienated voice samples dance within his highly addictive arrangements. Words can't express their magic. But one thing is fore sure: his hypnotic dance-not-dance tracks do not only illuminate so-called freaks!

The second Wanda Group LP on Opal Tapes sees camouflage alter from the greyscale negative sludge of the earlier Piss Fell Out... LP into a dramatic and more dynamic sound-world. Field recording, stochastic process and tape drag combine with Wanda Groups wit and reflectivity on the banal and the life changing aspects of the everyday and the process of the body ...moments recurring multiple times or bookending others to form oblique poetic sentences. The results function like a particularly cryptic, labyrinthine mini-mixtape... Johnstone's relationship to the current crop of noise-techno fusionists is only passing, mostly this is an album of weightless moments: delicate washes of electrical hum, amplified grit in the wires, burbling synth clusters and stringently buried melodics. What's remarkable is the pathos that Johnstone wrings from these most microscopic of sonic phenomena.â - Angus Finlayson / Resident Advisor

After years admiring the work of 36 here on ASIP, we are pleased to announce his new concept album, titled 'The Infinity Room'.
Inspired by his home and studio, Dennis Huddleston aka 36 set out to create an album born from endless possibility. Restricting himself to a limited sound palette, he focused on exploring his own private infinity, allowing even the smallest tangents to develop in a musical multi-verse of limitless potential.
"What is just one room (my studio) becomes many rooms when working on music," Dennis explains. "From this single point, countless possibilities exist and this is where the concept for 'The Infinity Room' takes root. It's the thrill of taking a small idea from an ocean of possibilities, and watching it grow into something far grander.""From the very first track, I made a conscious decision to restrict myself to a limited sound palette," he adds. "Each track used the same core sounds, but evolves and mutates them in subtle ways, as well as being the direct inspiration for the track that came after."That intent is clear, with each track a different shade of what came before. Thoughtful tones with a warm, vintage brightness, develop into extended love stories and romantic journeys, speaking to the cinematic influence of pioneers like Tangerine Dream, Vangelis, Brad Fiedel, Charles Bernstein and John Carpenter.
"They were masters of creating vivid dream worlds, all of whom created the soundtracks to many of my favourite films," he admits. "In more recent times, I've grown to deeply admire producers like OPN, Disasterpeace, Boards of Canada and Sinoia Caves, and they've reinvigorated my love for 70's and 80's era electronic film music."It all gives 'The Infinity Room' the subtle, shifting repetition that has long been a 36 hallmark; each track an ever-evolving reflection, a catalyst, another step into the inestimable.
"I just love those driving melodies that dig deep into your head and let the repetition take control, mutating and shifting on a macro level, so you only discover how much it's changed by the very end," Huddleston smiles. "I think that's what the core of my sound was always about really and it's why each track on this album uses melody as the primary focus, with the keys taking control, and the track evolving with them. Repetition... The sound of infinity."36 has been a prolific figure in the modern ambient scene for close to a decade. Beginning with his debut and highly praised album 'Hypersona', Dennis Huddleston has been sharing his own emotive blend of electronic music through his own platforms, as well as labels such as Ultimae Records, Mystic & Quantum, and ICASEA. He also runs his own label 3six Recordings, which he describes as a love affair with the vinyl format.

Cute Heels is the solo project of Bogota´ born, experimental producer Victor Lenis. Since the early 2000's Lenis has been working on a myriad of electronic projects, including the management of the labels Black Leather Records and Romance Moderne, in his current home of Brussels. Drawing on the influences of the radical punk scene that surrounded him growing up in Columbia while nurturing his passion for synthesizers and drum machines, Lenis developed the broody, gloomy brand of electro-techno that is Cute Heels. Deemed by Juan Atkins as ''the new blood and spirit for the next step in techno music'' Cute Heels has released various digital only releases over the years, as well as his first vinyl release, an EP on Gooiland Elektro. His debut album Spiritual, rides the line between cold electro-techno and left field electronic body music. Inspired by equal parts Liaisons Dangereuses and Drexciya, Spiritual takes the listener on a journey over 8 tracks and 40 minutes of music. Listening to "Spiritual" you can see why. The songs on this full length reveal a sublime influence from Detroit techno, early Chicago house and new wave; advanced electronics for the dance floor, pumping and sophisticated. The album was recorded and mixed by Victor at Sensorium Studio in Zagreb, Croatia in November 2013. Each song has been mastered for vinyl at Fantasy Studios in Berkeley by George Horn. Each LP is packaged in a custom-made jacket by our in-house designer Eloise Leigh and incorporates the geometry of analog synthesizers and celestial rose patterns. 

Osiris Music UK presents a new imprint: Ruff Cut. It
has been created as an outlet for records of all
genres from the Osiris roster that are without a
home, but very much deserve one.
Each record will be a 10" cut, hand stamped white
label in a paper bag.
The first release is delivered by an Osiris Music UK
stalwart, Killawatt. He comes correct with two heavy
dubwise cuts that will be bring serious energy,
weight and feel good vibes to any dance....

The 27-minute piece 'Needle Six' is a BBC recording of an
improvised session between Masayoshi Fujita and Guy
Andrews that took place at the prestigious Maida Vale
Studios on October 26, 2015. Recorded as part of BBC Radio
3's Late Junction the performance continues the show's tradition
of introducing two musicians on stage for the first time and
documenting the unpredictable and compelling sounds, which
unfold. Following on from Masa's label colleague Nils Frahm,
who also improvised with Ghostpoet on a previous session,
both Masayoshi and Guy were encouraged to abandon their
usual respective preparations and adopt a totally new approach.
On the subject of expectations and preparations Guy explains:
"I was pretty excited, but equally had feelings of being out of
my depth. Despite it being amazing, I actually tried to not listen
to Masa's music too much until a day before, as I knew I'd
potentially end up over-analysing it and not putting my own
style on the session. Having very little music theory knowledge
under my belt, and being known for doing things by ear, meant
being matched with a classically trained musician was
reasonably daunting. I decided to only prepare by making some
field recordings in the week before, and trying not to think about
it too much."
Masayoshi expands, saying: "basically I am not an improv guy.
I do improvise with certain other musicians but we usually have
some rough plan. This time was different, so I just tried not to
think too much and see how it goes. I think it made sense that
I only played acoustic and Guy played electronic stuff. It made
our approach more simple and clear. I think both sounds
complimented each other very well."
Masayoshi Fujita, the Berlin-based Japanese vibraphone
player, came to the attention of Erased Tapes founder Robert
Raths a few years ago. Not only because the vibraphone is an
intriguing instrument, but also the way Masayoshi treats his
instrument and draws ethereal and layered sounds, is what truly
attracted him to Masayoshi's work.
His new LP 'Apologues' saw Masayoshi for the first time use an
array of instruments besides his lead instrument - such as the
violin, cello, flute, clarinet, French horn, accordion, piano and
snare drum played by friends, but arranged by Masayoshi
himself. Guy andrews is a London based producer who is best known for creating textural electronic music which combines an array of influences from post rock, techno and ambient to afro to afro-beat inspired genres. Guy has since released on a number of acclaimed labels such as Hot Flush and Pennyroyal, scored for the acclaimed photographer Nadav Kander, as well as collaborated with
Massive Attack's Robert Del Naja for a remix of his well
respected 'Battle Box' series. On March 4th 2016 Guy released
his debut album 'Our Spaces' on Houndstooth.
'Needle Six' will be released by Erased Tapes in collaboration
with Houndstooth on April 16 - exclusively for Record Store
Day 2016.

Producing and playing under Chymera for more than 15 years, Brendan Gregoriy's distinctive take on house and techno has seen him play at iconic venues like Panorama Bar, Womb, Output, and Rex Club, and release music on respected labels including Ovum, NRK, Delsin and Cocoon.

2016 sees Brendan take on a new alias...

"I'd just finished a particularly grueling album and I just didn't enjoy the process.," Gregoriy describes. "Around that time, I started listening to people like Steve Moore & Oneohtrix Point Never and it blew my mind. I tried making a few sketches and realised that I enjoyed it a lot more and this became a gateway into discovering ambient properly."
Inspired by the sounds of artists like Klaus Schulze, Biosphere and Abul Mogard, and finding renewed focus in creating without external pressures or deadlines, Gregoriy's ambient experimentation emerged, fully-formed, as Merrin Karras. His debut album under this moniker, Apex, has been announced for a June 10th release on A Strangely Isolated Place.

Written and recorded in two Berlin winters, it's a record driven by a widescreen contrast between celestial beauty and engulfing black hole intent. Flawlessly produced, Vangelis panorama and vintage sci-fi exist in a space where drums and rhythmic elements have been willfully stripped out - and where the synths can truly breathe.

The process of album creation benefited from new freedoms that Gregoriy bestowed upon himself. "I decided to set myself a few ground rules for the music: no drums or percussive elements and no samples. They helped me to focus but, in a sense, it's not such a drastic shift. I've always made melodies the focus point of all my tracks and it was quite liberating to make music where I didn't have to worry about the best way to arrange it for the dancefloor."

The results are remarkable. Combining his gilded production with an armory of hardware (including the Moog Minitaur, Vermona Mono Lancet, Juno 106, Nord Rack 2, and the Korg Monotron) Apex serves as both a modern ode to the synthesizer and a reverential nod to the early pioneers. Freed from the focus of the club, it allowed Gregoriy to craft a narrative; each track following a similar arc as the tension builds before dissolving. From the spectral ebb and flow of title track to the Blade-running intent of "Elevate"; the unsettling darkness of "Severance" to the star-lit swirl of "Liberant", these beat-less constructs bloom and exhale with an uninhibited cinematic purpose.
"I wanted to make something that I could listen to when I travel, something I could enjoy just for what it was," he concludes. "I only realized when I was about 80% done that I had the makings of an album, and one I actually liked through and through. I didn't want to take any tracks out, or make other ones to add to it. I'm really proud of the album because it's something that I still listen to and enjoy. Hopefully other people will feel the same."

Apex will be available on limited edition double vinyl + digital download through A Strangely Isolated Place who in addition to being a record label, is a highly respected music community dedicated to bringing focus to inspirational electronic and ambient music. Apex is the label's third artist specific release, following Arovane & Hior Chronik's In-between and Markus Guentner's Theia in 2015.

Legowelt, as Nacho Patrol, is back on MinimalRome with the single Panter 777, already included in the limited edition tape of his LP The Maze of Violence, produced in 2008. The track is an explosion of wahwah funk riffs and juicy analog synthesizers and it comes on the B side with a powerful acid remix by Jared Wilson from Motor City. Don't miss it, it's on MRX - Patiendum Est limited series.

REPRESSED !!

Om Unit says of this release 'For me it's another milestone as a DNB fan.. Being allowed to come back to 31 again with another shadow boxing version, being one of only a tiny handful of people being allowed to remix this classic truly is an honour, let alone twice! Also working with Thing on "something ancient" was a real blessing not only because he's original and convincing with his own work but also I think he's like me, he does his own thing without adhering to too many of the insular rules that have made dnb such a closed room over the years, and so creating this cinematic piece just happened naturally and I really love the results.

Mitte November 2016 wird bei Ninja Tune Romares langerwartetes zweites Album "Love Songs: Part Two" erscheinen. "Love Songs: Part Two" entwickelt und erweitert die lässige Brillanz seines Debütalbums "Projections". Es war die Art von gefeiertem Album, die einen weniger talentierten Künstlers ins Straucheln gebracht hätte. Vom DJ Mag zum "Album des Jahres" gewählt, erhielt es begeisterte Kritiken auf der ganzen Linie. Es wurde von Größen wie Bonobo, Four Tet und Annie Mac unterstützt und etablierte Fairhurst als Produzenten, den man gesehen haben muss. Es scheint, als nehme er diesen Druck recht gelassen hin. "Love Songs: Part Two" zeigt eine Erweiterung, Entwicklung und Vertiefung seiner Techniken. Obwohl Sampling von Vinyl noch immer eine wichtige Rolle für ihn spielt, hat Fairhurst weitaus mehr Musik auf dieser Platte selbst eingespielt: von monophonen Synthesizern über den Rekorder seiner Großmutter und die Mandoline seines Vaters, bis zum E-Bass sowie einer Vielzahl von Gitarren und Keyboards, die ebenfalls zentrale Rollen einnehmen.

A 30 minute performance by Aleks Jurczyk called 'Footfalls'. Footfalls was inspired by work of Samuel Beckett, specifically his play of the same name and his themes of repetition, call/response and decay. A footfall was synthesised and broadcast on FM with the received broadcast then routed back through a modular synthesiser, processed and the resultant controlled feedback recorded live while being broadcast as part of the Radiophrenia festival 2015.Collected here on C30 tape, individually hand wrapped in risograph printed bible paper and sealed with a Hells Teeth sticker.

Super Ltd (be quick)

Famed for his appearance on legendary Bristol label Livity Sound (https://soundcloud.com/livity-sound/sets/forest-drive-west-system-show-them), newcomer Forest Drive West is a mysterious and as yet 'unknown' artist who has yet to reveal his/her identity. Switching from Skull Disco-esque tribal techno to now appear on London's No. 1 Jungle label Rupture LDN is a nice switch-up proving this producer's versatility. The music does not disappoint. Pure jungle music. Just how it should sound. A spectacular release that further cements the return of the sound.

group A started in Japan in 2012 by Tommi Tokyo (synthesizers, electronic rhythms, vocals) and Sayaka Botanic (violin, tapes, voice). Since the beginning this project has been developing a very unique sound and image blending performance art and DIY post-punk. Their music could be described as a clash between UK industrial and Japanese underground from early 80s. Their shows are very conceptual and stagey with the use of looped projections and original outfits. Group A have been playing their mix of spiky noise, no wave minimalism and sinister cabaret on the road for the last four years. It's taken them from Tokyo to London and their present home in Berlin.'Wire Magazine, July 2016. After some releases on digital format, cassettes and self produced CDs, including a 2-track collaboration with Tom Furse (The Horrors), their last album '70 + a =' is finally pressed on vinyl with a brand new extra track ('Deadly 16'). Deluxe edition with fine black paper silk-screened jacket and an exclusive insert with some graphics and notes.

Following hot on the heels of Tadd Mullinix's 'Skein' - Bopside's second album release for 2016 comes from label owner Tadd Mullinix's dancefloor destroying nom de plume who needs little introduction: JTC An 8 track concise body of work perfectly calibrated for DJ use and home listening alike, where the beats hit hard and the melodies linger in your brain. The self-titled LP starts with 'Caskadia' - a call to arms for dancers with call and response synth lines and broken beats. 'Atmospheres Pt.2' takes things out into deep space, and 'Nexus Ship Core' is an acid drenched burner with glacial synths. 'Infoline' then makes it's first appearance in a remixed guise by Rephlex alumni Ed DMX, then closing out the album with its recognisable lead line in its original form. Things take a deeper turn with 'Dusselmorph' before the full on breakbeat assault of 'Blitz Puff (High Position Mix) takes things up a gear, then dropping you off safe and sound, though a little shaken with 'Atmospheres pt.5 (Hemi Mix).

Gianluigi 'Gigi' Farina and Francesco Rago are to be counted among Italo disco's true originators. Operating as a duo under many monikers, they brought us masterpieces such as Wanexa's 'The Man From Colours', 'Lectric Workers' 'Robot Is Systematic', and Decadance's 'On And On'. Their sound is propulsive and ethereal in equal measure - dense, psychedelic, and tinged with melancholy.

'The Man From Colours' was recorded in Milan in 1982 and released on Discomagic Records the same year. The song's music was composed by Rago and Farina, with lyrics written by Xenia Monneret, who was only 16 at the time. Mournful synth pads are buoyed by an 808 groove, while Lyana Galis provides haunting vocals, singing of a man who will bring color to this grey world. 'The Man From Colours' was influential on early House and Techno music thanks to support from WBMX in Chicago and and WJLB in Detroit. It was later a cornerstone in the 90's Hague electro scene, frequently appearing in DJ sets by I-F and Intergalactic Gary. On the B-side is the instrumental version with extended breaks, drum claps and additional vocoder verses. There is a slight warble in the beginning of each version that was due to the band re-recording multiple takes on the same reel of tape.

Both songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed die-cut jacket by Eloise Leigh, updating the pink and green color scheme of the original Discomagic Records label. Each copy includes a double-sided postcard insert with lyrics, notes, and a never seen before photo from a fashion show.





Anthony Child AKA Surgeon presents the second volume of recordings of Buchla Music Easel recorded in the jungle of Maui. Again we find Child's in a more ambient guise and setting as the calm breath of the jungle sets a real time back-drop for his electronic explorations. There is no additional layering and all environmental sounds simply 'occurred' throughout the improvisations. The range on display veers from melodic drones to sparkling arpeggios all revolving around a thick bed of (Buchla) electronic and (environmental) acoustic interplay. Nine Personality Type Map hovers on a bed of syncopated rhythms whilst the nearby sonic mist of the forest seeths in and out of the frame whilst Nightfall Of Diamonds provides a sonic analogy for the darkness and light contradiction that occurs only in such rich natural environments. The simultaneous acts of improvising, listening and creating provide a rich setting for the curious listener. Another gem in a catalogue filled with gold.

Technically innovative and hauntingly emotional debut EP from fresh-faced, Pittsburgh-based, producer Davis Galvin. Appeals both on and off the dance floor. Original hand screen-printed jacket artwork from Brooklyn label.

The word innovative and groundbreaking is dished out a lot these days but in this project the facts speak for themselves. Mn'JAM experiment have turntables doing it all from atonal sounds to melodies, rhythms or even harmonies, visuals synchronized in real time with the music, electronics in conjunction with electric and acoustic instruments, live looping and even quirkiness, just to name a few. It's like being immersed in a live art experiment where conceptual laws give way to superb executions.

If you zoom in on the music, the multi-medium integration also occurs. You'll find a mix between empirical and rationally constructed elements, between acoustic, electric and electronic instruments, urban rhythms and traditional melodies, vocal loops and guitar solos, turntables and acoustic drums.

This experiment breaks away from just being another project that uses poetic and metaphorical delights to describe what they do and is literally a new platform in jazz.

Melissa Oliveira - voice JAM - visuals/turntables Virxilio da Silva - el. guitar Matt Adomeit - Bass Tuur Moens - Drums

On his project HUE, British multi-instrumentalist Simon Goff explores the musical space between minimal music and drones, music performance and installation.

After being a member of Leeds (UK) based cult-pop band Hope and Social for 6 years, known for their inclusive brand of music making, Goff is now further exploring how to involve spectators and other performers in his creative process. Relocating to Berlin in 2015, the home of experimental electronic music, Goff is a regular collaborator with the likes of Andrea Belfi (Constellation, Miasmah), Aidan Baker (Alien8, Brokenspine) and Pete Simonelli (Enablers). His interest lies in challenging his up-bringing as a classical violinist and deepening his understanding of the sounds that have surrounded him for over 20 years, engaging with electronics to enhance his ability to include other people in the music creation process, for him the most important and enjoyable part of being a musician.

Created with visual artist Sebastian Kite (Royal British Society of Sculptors) and choreographer Lisanne Goodhue (Sebastian Matthias, Tanz platform 2012, 2014), HUE is a work that challenges the traditional notions of dance performance, concert music and visual art exhibition. Using colour as a bridge between their practices, the artists designed an experience that allows people to choose their own method, pace and duration of reception. HUE focuses on the spaces between mediums, encouraging sensitive observation through repetition and change. The sound is created through a series of motion sensors positioned throughout the space that trigger samples and musical devices engaging participants in the sonic creation. Taking inspiration from Terry Riley and his contemporaries, the musical performance follows a modular score allowing an improvisatory approach to interacting with the musical proposition created by participants movement. The result is a soundscape, shifting through ambiences that engulf the listener, propelling them on a journey through colour.

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Simon Goff is a British multi-instrumentalist, improvisor, producer and composer currently based between Berlin, DE and Yorkshire, UK. He is a classically trained violinist who also spent his formative years studying bass guitar with Herbie Flowers (David Bowie, Lou Reed). A regular touring musician he has collaborated and performed with the likes of Aidan Baker (Alien8, Brokenspine), Bee and Flower (Neurot), Andrea Belfi (Constellation, Miasmah, Nils Frahm) and more. His own music focused mainly on string instruments and electronic processing and in recent years he has written music for dance, film and sound installation. He has performed and shown work in Europe, America and the Middle East and since mid 2016 he has been part of the team at Vox-Ton studios in Berlin working on records for the labels such as Erased Tapes and Naxos as well as film soundtracks with composers Hauschka and Dustin O'Halloran.

Recorded in Istanbul in July 2015 with a number of local visionary musicians, Debruit presents a synthetic and rhythmic journey inside the city's history and future. 'Debruit & Istanbul', his fourth album, is released through his own multidisciplinary label ICI.

During his 15 days in Istanbul, Debruit worked on an imaginative interpretation of the city carried by the megalopolis through its meanders. He collaborated with established artists, including leading fusion-jazz percussionist Okay Temiz, 70s Turkish-funk star Mustapha Özkent, gypsy master clarinettist Cüneyt Sepetçi, and rising and grass roots local musicians such as art-rock singer Gaye Su Akyol, Melike Sahin and Murat Ertel of BaBa ZuLa. The inspiration of sounds, rhythms, lights and tempo of the city at different moments in time have resulted in a melting pot of traditional, visionary, electric, psychedelic, futuristic, melodic and experimental music. Now set for release to the public, 'Debruit & Istanbul' is a new vision of the exciting and captivating city.

Having repeatedly proven himself to be one of the UK's most innovative rising producers, Impey returns with his debut EP, 'Midnight In Little Havana', on the critically acclaimed Astral Black imprint. The release follows his 'BangClap' single which comes off the back of two prolific years that have seen the 20 year old producer crafting soundscapes for viral campaigns for Converse, securing a residency on NTS, tearing up radio sets alongside the likes of Faze Miyake, and having the likes of Skepta, Trim, Capo Lee and Rocks FOE bless his instrumentals on sets from Slimzee, DJ Maximum, Kahn & Neek, Murlo and Plastician. 'Midnight In Little Havana' sees Impey serving up a diverse five track collection that showcase his versatile production skills drawing influence from Grime, Jersey club and Vangelis-esque synthscapes. The EP is as much for the dance floor as it is the after hours bus home. At its centre is long time crowd favourite 'Bleepz' which finally sees its official release, having been a go-to track exclusively for DJs such as Boofy & Hi5Ghost and Kromestar. The track is framed by 130bpm dance floor melters 'Pep Talk' and 'Pong Song' as well as showing Impey's more intricate side through its title track and 'Inner', both of which resemble Astral Black releases by the likes of Drae Da Skimask and Jaisu moreso than its club-focussed vinyl releases. 'Midnight In Little Havana' is presented visually with another stellar effort from Astral Black in-house designer Oscar Whale, the 12" being housed in a full colour sleeve depicting an illustration of Miami's Little Havana strip, as detailed & nuanced as Impey's productions. 'Midnight In Little Havana' is set for release on October 14th on 12" vinyl & digital via Astral Black.

The recording debut of a collaboration between Jordan 'Jordache' Czamanski and Ilya Ziblat Shay. Three freestyling chunks of hallucinatory electronica and freaking jazz, plus a sublime remix by Parisian maestro I:Cube, with MT's wild keyboard lines, distant bells and general insobriety threading a tactile, sunrise-friendly house groove. Tropical jazz-funk for the synthesizer generation. Call it Balearic and die.

Hessle Audio's 18th release sees Bristol based Peverelist make his debut on the label!

In a short time, North Londoner Randomer has built up a small but heavy hitting catalogue of work - releasing 'Brunk' (on Hessle Audio's 116 & Rising compilation), the acid tinged 'Obtuse' and most recently his dance mania-on-steroids EP for Numbers, 'Real Talk'.' His debut for Hemlock Recordings see's him taking things even further back to basics, dropping two heavyweight trax of pure beats and bassline indulgence. a. Scruff Box's beats roll heavy but with a crafty, garage skip in their step, giving no clues to the obese bass riff that soon rudely exposes itself, tearing through the track roll by roll. aa. Get Yourself Together More of those trademark, overweight beats with one giant, elasticated bassline. For those who like them large and lovely.

Following their sold-out debut ffrom Sully and Sam Binga, Irish label Rua Sounds returns with TMSV delivering on his hotly-tipped rep with a double-A on Rua Sound, cut loud for the dance. This double-A oozes with references from hip-hop, jungle, dubstep, grime and dub. Fission Chips shimmers and grooves with half-time swagger on one side, Sound System on the flip goes deep and dubbed out, with off kilter drum programming and monstrous sub weight to test foundations.
Strong support from Sam Binga, Sully, Jaydrop, Law, Cryptikz, Ilk, Jonezy

After Foamplate's recent successes in the foggy basements of the UK, as a dubstep DJ / producer, and having received the opportunity to release dubs on accredited record labels such as V.I.V.E.K's System Music, Sleeper's Crucial Recordings & Donga's Well Rounded Records, the London based musician believes it's time for a new course of action inside his music career. The producer, known for his dark, dubby dubstep, is ready to take on the challenge of operating his self-established wax & digital outline entitled Plantpower Records. It will turn his music and that of like-minded musicians into physical records: music that should be played on a real sound system. 'PLANTPOWER001' echoes a selection of two militant cuts that holds the fundamental frequencies of Foamplate's interpretation of sound system music. His first 12-inch record on the label resembles his notorious, loosened take on the system sound, which exhales hypnotic FX treatment and the lowest pitched bass notes.

The danish label Echocord Records was formed 15 years ago this year by Kenneth Christiansen. It will now be celebrated with a compilation plus a big tour around it. We are super happy and proud that we can still continue releasing quality electronic music.
The compilation contains 10 tracks from 10 artists that all have been releasing on Echocord and Echocord Colour before from veterans Mikkel Metal, Deadbeat, Fluxion to newer signed artist Arovane.
All tracks are new and unreleased.
"15 Years With Echocord" covers the typical Echocord sound. From ambinet/chillout by STL, stoned dub by Beat Pharmacy, to typical Dub-Techno and House from Fluxion, Resoe and XDB, to the more dancefloor peak tracks by Mike Dehnert and Deadbeat.
Lets do another 15 years .

New 12 by highly regarded DJ Nervoso. From Principe -

"We can't stress enough the importance of finally releasing an EP by scene originator DJ Nervoso. This release features newer tracks alongside unreleased older (we should really say Classic) ones, demonstrating the level of perfection he attained early on. Nervoso is the main reason why DJ Marfox, DJ Firmeza and many others started deejaying and producing, hooked on his fiery DJ sets since they were barely in their teens, around 2001-2002.

He is well known for a bare bones approach to rhythm, working the basic hypnotic feel of pounding drums to mesmerizing effect, in his permanent quest to make people move. His sound is meant to unite, not divide, the dance floor. Even before he started producing, Nervoso was quick to perceive that some people were alienated in parties where Angolan kuduro got played, for the simple reason they didn't command the specific moves associated with the style or its variations. So his production focused on adapting the beats of this much-loved dance music, changing the codes for a more inclusive experience. Some call it techno"

12 with download codes A1. Sleepless (Original Mix) A2. Sleepless (Shlohmo Remix) B1. Sleepless (Midland Dub) Flume is a 20 year old beatmaker from Sydney. He got his first taste for producing at age 13 from the most unlikely of places - a music production program he found in a cereal box. Sleepless is Flume's debut single and has enough lush pads, chopped and chipmunked vocals, saw synths and awesome percussion to impress any fan of Hudson Mohawke, Flying Lotus, Seekae or Space Dimension Controller.

Gentlemen, this is a leap year, therefore it is a year and a day since our last annual meeting.' - The Hell Club, Glasgow.

Helena Hauff - Lovely stuff! Really like the first song, beautiful!

On his riveting debut for Rabit's Halcyon Veil, Jesse Osborne-Lanthier hacks club, classical and
avant-garde music in a visceral, time-warping car crash of styles perceived from a multitude of
angles with unflinchingly candid, cinematic sound design under the urgency of accelerationist
tendencies.
Wrenched into being just ahead of his rumoured Raster-Noton release and some months after
the obsolete technology salvage of C L S M with Grischa Lichtenberger, Osborne-Lanthier's latest
work is p'raps best described as a sui-generis, intemporal laceration of contemporary electronic
music, consolidating the memes of noise, grime, avant-classical, computer music in a scrolling,
vertiginous simulation of video game sound design violence, racial and cultural tensions, political instability, and the virality of social networks.
It's sensational stuff in the most bruising, breathlessly beat-em-up 1st player style, but executed with a clinical approach that practically sutures as quick as it cuts, as though operated by a
squadron of invasive nanobot drones programmed by Burroughs and Shane Carruth to decimate the present and let encrypted future codes bleed thru in the milliseconds of strobing space
between.
Unfortunately we're not up to AI speed yet, but, like Autechre, Osborne-Lanthier appears to be attuned to their level of cybernetic computation and emotion, conducting a symphony of pure physics encrypted in cultural and esoteric references between the mechanized slaughter of North Face Killah and the TCF-alike proprioceptive headf**k of Velocity, Bilocation, Pyrokinesis feat. Bataille Solaire, taking in the fragmented data bursts of Mi©rochipped and the strangely ancient-futurism of Weed Kit's hydraulic chronics, which feels to theoretically emulate the effect of THC on a cybernetic mind.
Seriously, if Elon Musk needs an artist in residence for his mission to Mars, send for Osborne-Lanthier.

We're extremely pleased here at Invisble Inc HQ to be releasing this amazing new album by veteran multi-instrumentalist and ethno-musicologist Jon Keliehor.
Originally from Seattle and musically active since the 1960s Jon started out playing drums and percussion in bands like The Daily Flash and Bodine all the while becoming known as a venerable session and touring musician in his own right. Not many people can claim to have played alongside Jim Morrison AND James Brown....but Jon certainly has.
Moving to London in the '70s where he lived until the mid '80s, Jon started composing music for theatre, drama and dance. During this time his own work veered toward the more experimental and it was during this period that two of his 'cult' library music albums saw the light of day (East Meets West on Bruton and Avantgarde on Studio G).
Returning to Seattle in the early '90s Jon joined Gamelan Pacifica where he developed his knowledge of Javanese and Balinese gamelan and for whom he became a primary composer of non-traditional pieces. In the late '90s Jon moved to Glasgow with world renowned percussionist (and his then partner) Signy Jacobsdottir and they both became staple members of Gamelan Naga Mas with whom they are still active today.

Given the underground acclaim heaped on Marie Davidson's previous albums - ultra-stylish affairs that blend elements of minimal wave, dark Italo-disco, off-kilter electro and moody ambient - it's little surprise to see her popping up on Minimal Wave offshoot Cititrax. The album's nine tracks are largely sharp, rough and fuzzy, with sparse-but-dense drum machines rhythms underpinning bouncy, delay-laden synth lines, thrusting electronics and Davidson's sleazy, spoken word vocals. It's an attractive combination that guarantees thrills throughout, from the almost claustrophobic throb of "Denial", to the mutant electrofunk bounce of "Good Vibes".

Opener "Asa" is strong on keys, suggests a cool jazz walkabout where the machines and other instruments seem to be jamming together without interference. This broadens the horizon of whoever thought they are a House band. As countless other dance tracks, "IV" is built around a steady kick-drum, supporting a succession of vibes hitting left and right, obeying only the illogical architecture of Niagara's sonic world, "Amarelo" is the longest track in the set. Very physical and expansive beats, a funky guitar groove, deep bass tones and it ends just like that!


A cascading drum machine holds its own, then comes a wandering flute and passing waves as jets in the sky. Trippy and brilliant, "Laranja" changes coordinates and points to a fresh destination.

Wiederveröffentlichung des Albums des Wiener Trios von 2009 auf Vinyl. Elektronisierter Rock mit Dubelementen. Laut und Leise, Post-Rock, Industrial, Dub, Noise und Electronic, Score und Experiment, entstanden durch komplizierte Prozesse im Studio und trotzdem klingend wie live eingespielt. Verwand mit Tortoise, Amon Tobin, Neubauten, Shellac oder Tim Hecker, aber trotzdem eigen.

Verträumte Soundlandschaften, atmosphärische Beats, aber auch direkte, cluborientierte Sounds für den Moment, wo die Euphorie einer Party alle trägt: Der 23jährige dänische Produzent Sekuoia kreiiert hypnotisierende elektronische Musik, die stets warm und organisch ist und veröffentlicht im Herbst diesen Jahres endlich seinen ersten Lanspieler "flac". Seine Heimatstadt Kopenhagen spielt für Sekuoia alias Patrick Bech-Madsen dabei eine durchaus wichtige Rolle: vor allem die starke House- und Technoszene inspiriert ihn immer wieder. Aber nicht nur diese. Für Kollaborationen hat sich Sekuoia mit der experimentellen Sängerin Kill J und Marc Roland des Poporchesters Kentaur vor allem um dänische Acts bemüht, die den Pop in seiner Musik hervorkitzeln. So wird aus "Lamp In The Dark" ein sinnlicher, vom R&B inspirierter Song, während "Brace" sich mit Roland am Gesang zum richtigen Ohrwurm entwickelt. Und wenn man von Patrick hört, dass zu den musikalischen Vorbildern Four Tet und Caribou zählen, kann man bei diesem Song durchaus auch noch Bonobo ergänzen. Aber auch die andere Seite des Spektrums wird von Sekuoia noch weiter erforscht - die cluborientiertere.

'Flames & Figures' is the second full-length album from The Seshen, whose forward-thinking sound combines synthesizers, drum machines, live percussion and entrancing harmonies for an unmistakable fusion of R&B, synth-pop and electronic music. The long player sees the band on the cusp of a new era, two years in the making, the album marks an evolution in The Seshen's unique sound.

Full of bright synth swells, infectious bass lines and thumping 808 beats, their music is a counterpoint to lead singer Lalin St. Juste's lyrical stream of consciousness, 'Flames & Figures' explores themes of femininity, power, illusion and loss as she draws on both her personal experiences and the world of her imagination.

The San Francisco Bay Area-based seven-piece are led by Lalin St. Juste and bassist/producer Akiyoshi Ehara. The duo is joined by five remarkable bandmates to create their multidimensional music: vocalist Kasha Rockland, drummer Chris Thalmann, keyboard/synth player Mahesh Rao, percussionist Mirza Kopelman, and sampler Kumar Butler. Through their much-talked-about live shows, and three releases to date (2012's self-released, eponymous debut LP, and the 'Unravel' and 'Unravel Remixes' EPs on Tru Thoughts), their distinctive music has gained support from the likes of Lauren Laverne, Steve Lamacq, Don Letts and Tom Ravenscroft (BBC 6Music), Jason Bentley (KCRW/NPR), OkayPlayer, Earmilk, The Line of Best Fit

In hot pursuit of Skepta's symbolic Mercury prize victory, it seems like an entire generation has fallen at grime's feet and 2016 saw the genre continue its meteoric rise to the mainstream. From its early origins in East London council estates in the early noughties until today's global recognition, grime's distinct characteristic lays in its ability to stay loyal to its roots and give back to the community.

Since their beginning at pirate radio station Rinse FM, where they offered a platform to burgeoning grime artists, Elijah & Skilliam have showed their dedication to the scene and built one of the genre's most respected collective around their label Butterz. Dedicated curators, they have compiled a new volume of their essential annual compilation, Grime 2016, their 4th album to date.

From Kano's 3 Wheel Ups feat. Wiley & Giggs, taken from his critically acclaimed Made In The Manor album, singles from mainstays like Wiley, P Money, Dizzee Rascal to a variety of takes from the likes of Swindle, Last Japan, Nottingham's own Mez, Dread D and Ninja Tune-signed The Bug, the album showcases grime's broad diversity and the spectrum of influences coming into play in today's outstanding productions.

Since the release of their Rinse:17 mix in 2011, their FabricLive CD in 2014 and the founding of their Butterz label in 2010, Elijah & Skilliam's names and their brand have become intrinsically linked with the cutting edge of grime music. This year they powered releases from UK garage supergroup TQD and Swindle, who collaborated with grime legends Ghetts and D Double E. Elijah & Skilliam will back Grime 2016 with an extensive tour across the UK and spend the whole of November in Asia, reinforcing the worldwide music connections that enabled the creation of their Japanese outpost and Swindle's collaborations with international artists - a global perspective that helped the scene and its diversity expand.

It's been great to see the growth in the scene since we did the compilation last year. There is a regular presence of the music at events up and down the country, and a presence growing worldwide with quality music being released widely regularly and MCs and producers to listen out for coming up the ranks." - Elijah & Skilliam

Here's a new remix record from Aaron Spectre, an American producer known for building bridges. Nearly a decade after his first "Amen, Punk" vinyl was released in Japan and became a worldwide underground staple, he's back refining the energetic hybrid sound further. Jungle Boots is four tracks of genre-unifying white label goodness, flawlessly cut to vinyl and ready to rock.

Ahead of the release of forthcoming debut artist album 'My Heroes', Brazilian drum & bass pioneer DJ Marky has announced he is to first release vinyl-only double aside single 'Silly' / 'Its A Long...' ft. Makoto.

* Lead track 'Silly' sees a hazy, whimsical vocal layered over Marky's signature acoustics and relaxed Brazilian groove - a playful introduction that nods his jungle roots. B-side 'It's a Long...' - ft. Japanese drum & bass DJ Makoto - ups the tempo with stirring, echoed piano chords and frenzied percussion - an ode to the sound that's made him one of the world's most respected DJ/producers.

Neon Finger rises. The new Go! Finger vinyl imprint, focused on synth-funk, boogie, hip hop, electro-funk and other freaky rythms, debuts with the new album by Dj Overdose "Techno Hop". Where the prolific artist from The Haghe exhibits eight new outstanding tracks filled with classy electro-funk and the freshest hip hop manners. A sublime, intense and astonising piece of music, remarkable as an example of the finest electronic nowadays. Rad!

* Drum and Bass is more than a movement, this is our world. It`s more than words, rhythm, professionalism, style of performance - it`s become all in one and transforming into a music, because it can`t exist separately.

* Drum and Bass can inspire you and give you a flow, when you don`t expect it or even don`t want it. It will give you an opportunity to believe in what you thought is impossible. It gives you a chance, hope and motivation.

* JOY is more than a word, more than a pleasure for your ears... Musically JOY is the World that flew away from street routine, simple human problems and everything that we don`t want to see - you can found yourself in a different role, on a different planet, in a different world.

* When you listen the JOY, world starts to be more colorful, it`s not grey anymore, it`s like a palette filled with whole spectrum.

* JOY Vinyl includes 6 tracks. Working on this album, we tried to create special mood with flirty liquid tunes such as "Magic Moment", "Mastermind", as well as booming dancefloor rollers such as "Ghetto Drama", "Frontline". You can feel influences of musical genres such as hip-hop, funk, soul and modern british scene.

* We hope that everyone will found special inspiring mood in this LP.

Since his work on Tempa J:Kenzo has been quietly building up a large quantity of quality dubplates that have been circulating on the underground. There are no bigger dubplates on the scene than the two presented here on ARTKL025. Proper Dubstep on offer here from the Artikal label boss. Wide ranging support from the likes of N-Type, VIVEK, Compa, Youngsta and many more. A producer at the top of his game right now.

The new 12'' release from Nyami Nyami records teams up mbira maestro Jacob Mafuleni from Zimbabwe and electro-funk producer Gary Gritness from France, who released a series of 12'' on Clone records in 2015 and collaborated with Orlando Voorn, Dam-Funk or Los Hemanos. Tip!!
Jacob Mafuleni was Chiwoniso's sideman on vocals and mbira on the label's acclaimed first release 'Zvichapera'. He recorded two new tracks in Harare with his wife Martha Thom on vocals and the traditional percussion ocho. Gary Gritness added 808 rhythms and sounds keeping the natural flow of the songs without cutting or sampling the original music. He intuitively produced the talent of Jacob's mbira ceremonies rhythmic patterns on his TR 808 drum machine.
This natural and respectful collaboration resulted in two already classic 'afro techno' tracks Atuka Mondhoro 808 and Chiconi 808.

BAKK kicks off a new series of records with Plafond 1 made for drowning in the deep end of the pool. Legowelt, SFV Acid and Haron provide you with an eery collection of ambient harmonies and melodic rhythms best served when lying on the floor, gazing in to the abyss. Comes in special screen printed outer sleeve and wicked obi strip made by the BAKK Centre for Mindfulness.

* Lenzman is back on Metalheadz with his first original work since his debut album Looking At The Stars. The EP is everything you would expect from Lenzman; soulful and well produced.

* Got My Mind Made Up
Got My Mind Made Up kicks off the EP in typical style, it's introspective and haunting. The piano and vocal and refrain adds massive character to the drums and bass and makes for the perfect mid set track when you need to take the vibe deeper.

* Golden Age (Feat Steo)
Lenzman and Steo have become quite the sparring partners of late and the combination always delivers results and this track is no different. Lenzman takes care of the shuffling drums and gliding bass whilst Steo laces the track with his unmistakeable vocals- the track is already a favourite across the clubs.

* Never Enough feat Forren
Never Enough is reminiscent of the classic liquid era in dnb, forlorn vocals and hints of guitar funk come in and out of the mix whilst the bass line pins down the drums and makes for a beautiful marriage.

* Homie Don't Play That
The last track on the EP comes equipped with rugged drums and mid-range bass accents that makes it stand out from the pack, it makes for a peak time track all in all and wraps up the EP in a huge way

180 gr, rmxs by CFCF, Nu Guinea, Luis Delgado, Domenique Dumont) Earlier this summer Mark Barrott released his second album on his infamous label International Feel. Here are the remixes.

Earlier this summer Mark Barrott released his second album on his infamous label International Feel. 'Sketches From An Island 2' continued in its quest to sketch a fresh and modern foundation for Balearic music and now is followed by interpretations from artists who are equally as bold. Barrott's music once again spoke to a diverse set of aficionados such as Pitchfork who stressed it was "an example of a sequel surpassing the original" and was even supported by the prestigious Financial Times.

The challenge of reworking the material firstly falls to CFCF, who released an acclaimed album on International Feel this year whilst also receiving a Grammy nomination for his remix work. Luis Delgado, member of highly influential spanish avant garde band Finis Africae takes a sublime shot at 'Over At Dieter's Place' and Domenique Dumont's stunning remix of 'Der Stern, Der Nie Vergeht' is nostalgic for an early Padilla record and his first 'new' material since being named one of Resident Advisor's best albums of last year. Finally Nu Guinea, a favourite of Gilles Peterson impress with their 70's Library music funk take on 'The Mysterious Island of Dr Nimm'.

Barrott is also reissuing the Gatefold Vinyl edition of the first Sketches from an Island album to mark the occasion and due to continued demand. He plays every Thursday at Hostel La Torre soundtracking the sunset until the end of September and also at the launch of the venue's first compilation album (compiled by Mark and Pete Gooding) on Wednesday 7th Sept alongside DJ Harvey.

* Limited edition Red vinyl.

* In December 2013 Addictive Behaviour launched themselves into the vast expanse of the underground D&B scene with a various artist album consisting of some formidable talent. Minor Rain was one of those artists, and now more than 2 years on from that pivotal moment in the AB Calendar, Minor Rain fires up the Addictive engines once more for his third outing on the fast growing label.

* 'Resistance'
Opening this release, a glassy, plucky and precarious intro with airy and angelic vocal pads battling a rising structure of edgy drums for space. Suddenly we're thrown in the deep end as a seriously sinister bass cuts in, expertly chopped and filtered in the lead up to a drop that will leave you utterly poleaxed. Chucked around like a skinny kid in a mosh pit by some ferocious, gnarly stabs accompanied by a vicious snare this one twists and turns like an out-of-control roller coaster. Signature Minor Rain production throughout this track make for a fantastic display of well thought out engineering. Constantly moving and changing and captivating to the end.

* 'Going Crazy'
This little number is an entirely different affair. The intro opens with an electronic groove and funkiness to it before introducing us to a reverberating, some might say 'Crazy' vocal. This rises and gathers pace alongside some carefully placed kicks and snares, before throwing you with inertia to the back of your seat as the fast paced rolling bassline and more shaky synths drop in just to mess with your head some more. The insanity continues in typical Minor Rain fashion with sweeping synths, choppy subs and that crazy vocal creeping in again, amalgamating for a stunning composition that is difficult to define within a genre.

* 'Hydra'
To top off the bill for this three-headed monster, another solo effort from the Slovakian producer. Hydra opens with a sharp snare and stirring build up . . . Then out of the depths looms a thick and thudding kick drum announcing a rise to a drop that you will feel the g-force of instantly. A heavily processed and filtered pumping bass rises up and down continually through this tune like the crest of a wave before crashing into an absurd break of fragmented drums. This one is not for the faint-hearted and once again showcases a colossal amount of creativity and dedication in Minor Rain, who is truly pushing the boundaries of modern music.

* Supported by a full press and radio campaign. Updates in PR sheet.

MV & EE take their homespun hypnotics and cosmic country sounds to new levels on Root / Void. I love this album - it trips hard and hauntingly - a gift for languid golden afternoons or late night moonlight powwows. Anthem-worthy tape edits on some cuts crack open surreal and cinematic vistas. While joined by fellow travelers here and there, this album remains in essence a fecund duet from two entwined souls, updating and re-defining their unique pool of sound. Intrepid audio bathers: get thee immersed! - Lee Renaldo, Italy, July 2016

Hot on the heels of his debut EP as Solune, on Bass Cadet Records, Etienne from Arcarsenal delivers a full length essay on cassette. This ensemble of 16 tracks dwells into deeper territories, ranging from ambient to electronica and spiritual electronics via field recordings. The album has been recorded in two sessions, blending home work and material recorded over a road trip in Mexico. Alteration-Cycles' stands for a concept of life as an act of learning when in contact with alterity. Music being one of the paths that's been chosen by Dauta to experiment and learn, this album is a very personal effort, bridging ideas and feelings into a seemingly chaotic ensemble, which falls into place over the course of a 1h20 extended listening. This work also a nice occasion to launch the label series on this much beloved format, allowing more freedom and quality.

Spooky-J spearheads Blip Discs darkest, most outlandish and hands-on dispatch to date. The A side is most definitely a heads down floor mover with meditative sounds akin to early dubstep, whilst the flip finishes in complete style with 808 infused DnB - two genres rarely seen together on a record, but held together superbly by Spooky-J's unbelievable live percussion work. Nerds and geeks rejoice!

* De Maya: In this collaboration on the verge of insanity, Taiko teams up with the talented dutchie le Lion, to deliver a two-faced fusion of their distinct styles: a fierce display of percussion and heavy subs which evolves into a hypnotic drum circle chant.

* Flummox: Right out of another dimension comes the unique 'Flummox'. Building up incredible tension through driving melodies and synths, this anthem has yet to find its match. A post-apocalyptic 8-bit atmosphere perfectly fused with tasteful Grime elements.
* Stick Fight: With a merciless cascade of percussion and pure weight, this forward thinking 130 cut is known to knock people out clean. Handle with care.

This avant-chamber ensemble was formed by its namesake, polymath percussionist Thor Harris (Swans). The album was recorded in Albuquerque, New Mexico, and produced by Jeremy Barnes and Heather Trost from A Hawk & A Hacksaw and Deerhoof's John Dieterich. The three core members of the band are Peggy Ghorbani on marimba, Sarah "Goat" Gautier on marimba, vibraphone, xylophone, organ, voice, mellotron and piano and Harris on sundry percussion and wind instruments including some of his own devising

* Limited to only 250 copies on 180g black vinyl

* Ingredients reaches it's 50th vinyl release with a debut for the label boss himself. Spirit's 'Interstate' is for the techno heads, a powerful stepper & a firm favourite of the labels. Response returns alongside his brother Pliskin for their 'Code 98' which is a throwback to late 90's MIST. Finally 'Parasite' by Response & Clive Ingredients has had support from Goldie, Fabio, Doc Scott, Klute & Marcus Intalex & completes the 50th release for the label in the style that influenced it's birth.

Dj Support from Goldie, Klute, Skeptical, Jubei, Halogenix, Storm, Doc Scott, Randall, Marcus Intalex, Fabio

"Following on from the burgeoning experimentalism of last year's criminally underrated Castle Life LP, Von D returns to his roots with IFS004. Standing out against a sea of tired, static bassweight the duo of heavyweight, atmospheric bangers - centered around old school, analog sound design- bring a curious fusion of old and new to the table.

Opener 'Cross of Hendaye' is a crystalline piece of tear up madness, incorporating a hyperactive storm of energetic bass against the backdrop of a deeply buried wall of ambience. Second track 'Finis Gloriae Mundae' is very much in the same vein as the first track, taking a more laidback approach, with a skankin' rhythm providing the backbone to a snarling stomper of a tune."

Mysterious, super-advanced, future classic white label that has been causing a bit of stir amongst the heads.... very limited, get it while you can !

* Dispatch Dubplate returns in October, with two of the most infamous unreleased dubs of the past decade; the Alix Perez & Zero T collaborations 'The Ladders' & 'Enemy of Reason' will finally be made available digitally and on a limited vinyl press.

* A 'dubplate' in its purest form, becoming something of an urban legend in DnB, the tracks were kept ultra-exclusive for years; sent only to a select few DJs, only accessible to those attending the clubs, fueling the excitement that made up the dubplate culture we celebrate within this series.

* Truly defying the test of time, we present two tracks that still provoke just as strong a reaction on the dancefloor a decade on, and for some, spurs nostalgic memories of 'The End' in London.

* With 400 hand stamped, signed and numbered heavyweight vinyl copies available, there is a very limited press and much like previous Dispatch Dubplates, this will never be re-pressed.

Now for some Japanese psyche and experimental music of the mid 1970s. Do not expect any lush pop harmonies from this music collective formed in 1974 which was at least active up to the early 90s. GEINOH YAMASHIROGUMI approach psychedelic music with from a rather krautish point of view and their first album from 1976 about which I write this review is rather a collage of strange noises, screams, a few rhythms patterns and wide open structures that seem to be borrowed from late 1960s psyched out free jazz. And you can bet, this is an ever flowing freak out but definitely an intense and mind bending experience. I recall German oddities like ORGANISATION (pre KRAFTWERK), FAUST and others but there is another aspect in the music that is more difficult to trace down. Funk and jazz rock with a breathtakingly smouldering atmosphere you would rather expect from English groups emerging from the Canterbury scene like SOFT MACHINE or some of the rather jazz oriented Italian progressive acts. But all in all GEINOH YAMASHIROGUMI find an even more radical way to express their feelings and make their inner visions manifest in sound despite a sweet smoothness coming with these rocking jazz elements. Oh dear, this is definitely far from being ordinary. Choirs with typical Japanese chants add some wicked exotic tinges to the whole musical picture. If you dig progressive, krautish psychedelic jazz rock, this is exactly what you are looking for. The whole album is divided into two parts of which - Osorazan' comes closest to rock music while - Doh no kembai' seems to be a live performance of a stage play by this music and theatre collective based nearly entirely on vocals. Open minded lovers of truly progressive music from the 1970s will go nuts.

as a central point of reference of grischa lichtenberger's »la demeure/il y a pe´ril en la demeure« complex, raster-noton releases a limited edition of three 12' vinyl EPs that are accompanied by a handmade, signed and individualized screen print.
the three EPs were set up as an experiment. each of the records is guided by a word that could be described as a phantasmagoria, a delusion of the 20th century - like a metaphor that is concerned not only with its immediate meaning, but with an implication more emotional, more irrational, telling something about the mindset of the not so distant past.
these keywords already existed before the production on the tracks began and thus played the role of an indirect orientation or playground for association. nevertheless, the EPs are not conceptualized, but rather a collection of habits and strategies in relation to the titles.
common to all EPs of the triptych is the question of a connection between intimacy and the public sphere. aesthetically, the music presented on the EPs ranges from distressing and unaligned dancefloor-oriented tracks to tribal and politically charged drones to unsettling noise ballads. on »spielraum«, for example, hypnotizing music box melodies are combined with claustrophobic breakbeats. »allgegenwart«, on the other hand, presents mechanical rhythms and sawing pads, topped with high-pitched warning sounds. last but not least, the final EP »strahlung« features self-forgetful, gloomy and melancholy tracks backed by melodies that remind of a barrel organ turned upside down.

2016 will probably go down as the most prolific year in history for Junior Boys, the Canadian electronic duo. "Big Black Coat , their first record in 5 years and first for label City Slang (Caribou, Gold Panda, Tindersticks, The Notwist) released in February 2016, was universally heralded as one of the best records of their career and of the of the best electronic releases of the year. In May Jessy Lanza's Album "Oh No", co-produced by Junior Boys Jeremy Greenspan, hit the shelves and earnered further praise.

Now, just in time for an extended US tour in September and October as well as additional European dates, Junior Boys return with an brand new EP titled 'Kiss Me All Night". It starts with two extraordinary retro-futuristic club bangers "Yes and "Babyfat only to be outmaneuvered by the John Martyn Cover "Some People Are Crazy and rounded up by the Paisley Park infused title track "Kiss Me All Night'.

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.

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.

Auf Ulrich Schnauss 5tem Studio-Album "No Further Ahead Than Today" regieren einmal mehr die elektronisch eingespielten Ambient-Pop-Hymnen, die längst zu seinem Markenzeichen geworden sind. Diese sollten Fans von Künstlern wie Jon Hopkins und Brian Eno interessieren. Schnauss selbst ist umtriebig - seit 2014 ist er Keyboarder bei Tangerine Dream, produziert unter eigenem Namen Remixes für Pop-Künstler wie Depeche Mode, Pet Shop Boys, Todd Terje und Bryan Ferry und hat gerade für die Decca-Compilation 'Re:Works' Bachs "Prelude in C" neu in Szene gesetzt.

"No Further Ahead Than Today" ist klar mehr Pop als Ambient. Starke Melodien stehen im Vordergrund, die Stücke sind mit Rhythmen unterlegt, zuweilen gar mit Gesang begleitet, eine hymnische Note ist immer präsent. Spätestens seit seinen beiden Solo-Alben, die bei dem deutschen Label City Center Offices erschienen, gilt Schnauss als ein Elektroniker, der manche Tugenden des britischen Indie-Shoegaze-Sounds auf seine Klangvorstellungen überträgt.

Auf Ulrich Schnauss 5tem Studio-Album "No Further Ahead Than Today" regieren einmal mehr die elektronisch eingespielten Ambient-Pop-Hymnen, die längst zu seinem Markenzeichen geworden sind. Diese sollten Fans von Künstlern wie Jon Hopkins und Brian Eno interessieren. Schnauss selbst ist umtriebig - seit 2014 ist er Keyboarder bei Tangerine Dream, produziert unter eigenem Namen Remixes für Pop-Künstler wie Depeche Mode, Pet Shop Boys, Todd Terje und Bryan Ferry und hat gerade für die Decca-Compilation 'Re:Works' Bachs "Prelude in C" neu in Szene gesetzt. "No Further Ahead Than Today" ist klar mehr Pop als Ambient. Starke Melodien stehen im Vordergrund, die Stücke sind mit Rhythmen unterlegt, zuweilen gar mit Gesang begleitet, eine hymnische Note ist immer präsent. Spätestens seit seinen beiden Solo-Alben, die bei dem deutschen Label City Center Offices erschienen, gilt Schnauss als ein Elektroniker, der manche Tugenden des britischen Indie-Shoegaze-Sounds auf seine Klangvorstellungen überträgt.

In 1979 the Fairlight CMI (Computer Musical Instrument) was launched, the year that the BBC Radiophonic Workshop celebrated its 21st birthday. At the price of a house (approx. £30,000) this state of the art piece of equipment was embedded with an 8 bit digital sampling synthesizer capable of emulating acoustic instruments and orchestras alongside the manipulation of sound effects.

For the BRW this was a major game changer, where previously, composers would spend weeks editing small pieces of tape together to create sounds. Ingenuity and creativity in music and sound was still at the forefront for Workshop members but suddenly made a whole lot easier. This 1983 collection (a first time re-release here of the complete album) celebrated these new found freedoms most notably on the opening track where five Radiophonic composers combined to add their own musical identity to a rhythmic percussive sequence from the Fairlight.

Highlights include music from the radio production of The Hitchhiker's Guide To The Galaxy and Fancy Fish based on Saint-Saen's Carnival Of The Animals which was the first BRW project to utilise the Fairlight.

Bristol-based illustrator and musician Adam Higton welcomes you back into the mossy realm of the Cosmic Neighbourhood. With each song acting as a response to a series of paper-and-scissors compositions, 'Collages II' documents the daily goings-on of an imagined world.

Sonically, this record straddles new and old, taking modular electronics, flutes, bells and softly pattering drum machines, before colouring them all with the amber glow of some forgotten, psychedelic kids' TV programme. Higton's benign toots and echoing jingles bring to mind Daphne Oram's early delay experiments or the meandering playfulness of Tom Cameron. Radiophonic and time-worn, it still somehow sounds like the future.

Melbourne born Dub FX lived in a van for 6 years performing on street corners worldwide to build an underground fan base that rivals some of the most successful artists today.
A pioneer of live looping, Dub FX builds each track in the moment by beat boxing a heavy groove, layering soulful vocals and warm melodic bass lines.
This 2xLP format of 'Thinking Clear' is pressed on 180g vinyl.
In 2009 Dub FX's social media skyrocketed when Bristol filmmaker Ben Dowden captured live street performances and uploaded them to YouTube. With over 600k Facebook fans & 100+ million YouTube views Dub FX promotes self-empowerment and inspiration to independent artists all over the world. Over the last decade Dub FX has played almost every major festival worldwide including Glastonbury, Coachella, Sziget, Boomtown, Shambala and Exit. 'Thinking Clear' is the 3rd album by this independent, forward thinking free spirit and is released through his own label Convoy Unlimited in partnership with Membran. I'm always evolving artistically. By working with Evan Tweedie (bass) & Andy V (keyboards) I have been able to explore new territory in the songwriting process'
Recorded in his own Treetop Studios just outside Melbourne, 'Thinking Clear' is a blend of urban genres sown together with soulful conscious lyrics. Dub FX has a way of exploring social, political and spiritual subjects that leave the listener positive and inspired. The blend of live instrumentation over his signature beat boxing gives an edge to his unique sound.

Way ahead of their time, Gruppo di Improvvisazione Nuova Consonanza were an experimental collective fully based on improvised music. It was the only European group exclusively made of composers, instead of simple performers. The Group tried to break the schemes by making use of new instruments and electronic effects, reinventing new timbres, using the voice in an unconventional way. They were also known for the presence of Ennio Morricone on trumpet who, at the same time (1966), was also working as a soundtrack composer for Sergio Leone's western movies!

Craters are created in many ways. For example: When two celestial bodies impacting each other, such as a meteorite hitting a planet, by volcanic activity or underground explosions. Anyway. Friction, tension and direct physical confrontation are common denominators behind those, often stunningly beautiful, circular depressions on the surface of a planet or moon. Krater from Gothenburg consists of three dope musicians with their roots in bands like legendary Uran and Neneh Cherry & The Thing. Their fluffy psych-pop sounds like a bastard child that was made during a warmhearted orgy with Jacques Dutronc, Air and The Byrds minutes before a meteorite hits the earth. In a very good and mellow way. To put it simple - babymakingpsychmusic for all the motherlovers out there diggin' in the crates!

Metrik's highly anticipated second album 'LIFE/THRILLS' released on Hospital Records is an exhilarating and flawlessly executed evolution of his signature sound.

Under the banner of drum & bass it draws on his love for film soundtracks, synthwave, neo-soul and the Japanese pop sub-genre, Shibuya-kei and includes collaborations with Elisabeth Troy, NAMGAWD, Roméo Testa, Ragga Twins, Rothwell and Reija Lee.

'Electric Echo', a collaboration with Fightstar's Dan Haigh and Alex Westaway's synthwave side project Gunship, encapsulates the ethos of the album merging the unfamiliar with D&B sensibilities to create a fresh and exciting new sound. For those of a purist nature, fear not, Metrik's second album is one hundred percent drum & bass and he hasn't forgotten about the dancefloor. Bangers like 'Western Jam', 'Fatso' and 'Destination Earth' make up a serious proportion of the album's generous fifteen tracks and reinforce his status as one of the heaviest producers on the block.

Over the past year Metrik has travelled the world representing drum & bass at major festivals of all denominations, from Glastonbury and Global Gathering to Outlook and EDC Las Vegas.
All the while crafting remixes for the likes of DJ Fresh, Ellie Goulding, Gorgon City and Martin Garrix, and collaborating with fellow D&B superstars TC and Netsky.
Fans of his UK Dance Chart Top 20 debut 'Universal Language' will find plenty to love here however its Metrik's devotion to creating a fresh and thrilling strain of drum & bass that stands to bring in a new audience and earmark 'Life/Thrills' for instant classic status.

One of Prurient's most captivating raids on the borderlands of power noise and symphonic doom rears its furious head once again for this epic gatefold reissue on Hospital Productions, 10 years on from its original release on double tape and then as a single vinyl pressing for the legendary Load Records in 2007.
Pleasure Ground stands as a key part of Prurient's golden quadrant alongside The History Of Aids (2002), Black Vase (2005) and Cocaine Death (2008), its immolating rage renders Fernow at an early crest of his energies, consolidating the hi-pitch intensity and bile of his idols, Whitehouse,
with the majestic, meditative inspirations of Black Metal and a more personalised bloodlust for unheimlich synth tones and pulsating electronic undercurrents.
Its four long tracks are riven with the paradoxes that make Prurient's music so compelling and practically a genre unto itself, meting out a sound in Earthworks / Buried in Secret that's
simultaneously nerve-gnawing yet bleakly tender, or weighing up caustic harshness with a melodic vulnerability in Apple Tree Victim that appeals far beyond the bombed-out no mans land of pure noise to intersect with the entrails of EBM in the raging but poised thunder of Military Road - one of his finest moments, bar none - and coldwave pop and fetishistic synth themes in Outdoorsman/Indestructible.
If you're willing to bite down you will find a depth of bittersweet flavour submerged beneath the tidal waves of white noise filled with nuance and vulnerability, slowly dragging you into the abyss.
Ultimately though, there's no mistaking that in the end this album is just unflinchingly fucking heavy...

Exploration Music presents an 8 track and 33 minutes journey entitled 'Coral & Paper Planes' written & produced by French artist
Sicaa. The project spans across different genres mixing modern bass music with abstract hip hop influences. A very emotional EP
from start to finish. 'Like the envelope of rust appearing on metal, like life shaping the soul, coral witnesses the time passing by.
Youth and Innocence, crafted into a plane made of paper, glide over a coral field'.