Beats Новости

NC-17 is a Drum & Bass duo of talented producers based in Toronto, Canada. Their namesake refers to the MPAA (Motion Picture Association of America) rating system which undertakes that a film rated NC-17 would be one based around violence, sex, aberrational behaviour, drug abuse or any other element that
most parents would consider too intense for viewing by their children. The groups love of film reflects not only in their name, but equally in their music, combining both deep and techy vibes with a cinematic edge that has resulted in releases on an eclectic set of labels such as
Charge Recordings, Viper, Renegade Hardware, All Sorts, Proximity, DSCI4, MAC II, SOM Music, Vampire, Big Riddim, and more.
NC-17 have now formed their own label, Grindhou5e Audio, which is set to feature tracks from artists such as The Upbeats, Smooth, State Of Mind, Mr. Explicit, Treo, Grimm and more. Set up as outlet for music with attitude, Grindhou5e represents one of the only Canadian drum & bass labels representing international artists around the globe. Featuring two remixes from DnB scene veterans, The Upbeats and shining star Smooth, the first release from Grindhou5e puts a new spin on NC-17's 2006 hit, 'Slug Path' - a tune that quickly squirmed its way into the sets of DJ's such as Andy C, Noisia, Ed Rush & Optical and DJ Hype upon its initial release.

NC-17 - 'Slug Path (The Upbeats Remix)'
A reworking from the legendary Upbeats, the first remix kicks things off with a bang. Featuring all the hallmarks of The Upbeats production, this track shows why the Kiwi duo are set to release a full-length album on Noisia's Vision record label later in the year. Combining all the atmosphere of the original with a relentless bassline, forceful drums and eerie synths, this gritty remix will be found in only the darkest raves.

NC-17 - 'Slug Path (Smooth Remix)'
The second reworking comes from Smooth, one of Viper Recordings brightest talents. Coming off his debut EP on Viper, the young Slovenian shows his prowess once again after recent remixes of Camo & Krooked and dubstep sensation Seven Lions. Full of adrenaline from the very beginning, Smooth transforms the morbid tones of the original into a dancefloor weapon, with soaring metallic synths clashing over an infectious drumstep beat. Definite rewind material here.
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Peter Aldanmaz, aka NC-17 is a Drum & Bass producers based in Toronto, Canada. His namesake refers to the MPAA (Motion Picture Association of America).

NC-17's love of film reflects not only in the name, but equally in the music, combining both deep and techy vibes with a cinematic edge that has resulted in releases on an eclectic set of labels such as Renegade Hardware, Viper, All Sorts, Proximity, DSCI4, MAC II, SOM Music, Vampire, Big Riddim, and more.

Having now formed his own label, Grindhou5e Audio, NC-17 brings two rising producers to the forefront for the labels sophmore release following up from The Upbeats and Smooth remix package from the labels debut release. Grindhou5e 002 features Dread Recordings artist Mr. Explicit with the dark techy vibes of 'Fear No Distance'. On the flip, Ukraine's Fade brings the dark old skool vibes with 'Guerrilla Radio'.

With early DJ support from Andy C, Ed Rush & Optical, Friction, Bailey, Crissy Criss, Matrix, Trace, Fierce, and Break, Grindhou5e is a label quickly making a name for itself.
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Grindhouse Audio returns for their 3rd installment in their hard hitting string of releases. This time around they have the label's head honcho NC-17 and Mr Explicit on duties. Sublime Dnb grooves with soaring basses for the appreciators of the harder dnb sounds.

Minneapolis mentalist Paul Birken debuts on UK's premium wonk label, Don't Recordings. Four brand new tracks from the man who has been 'making mishaps & mistakes' for 25 years

Zwischen Noise, Ambient und Minimal: Elektronische Musik, die in keine Schublade passt. Für die Werke des Kanadiers Tim Hecker, der als einer der wichtigsten Musiker in der E-Musik-Szene gilt, eine Schublade zu finden, gleicht einer Herausforderung. Er selbst nennt seine Ergebnisse "fake church music" oder "neo metal drone". Tatsächlich verbinden seine Sounds an der Schnittstelle von Melodie, Dissonanz und Lärm so ziemlich alles, was - vielleicht - nicht zusammengehört, aber dennoch gut klingt. Mal sind das Kirchenorgeln, mal Samples von Streichern, Pianos oder elektroakustischen Komponenten, die in eine rauschend-ozeanische Klangwelt ausufern: tiefgründig, majestätisch und eine Brücke zwischen Noise, Ambient und Minimal schlagend. "Love Streams" entstand Ende 2015, nachdem sich Hecker für längere Zeit nach Los Angeles bzw. zusammen mit Johan Johanssen und Ben Frost ins isländische Greenhouse Studio zurückgezogen hatte. Das Album ist das vielleicht ambitionierteste Werk in der mittlerweile fünfzehnjährigen Schaffenszeit Heckers sowie ein konsequente Weiterentwicklung seiner Schlüsselwerke "Radio Amor", "Harmony In Ultraviolet" und "Virgins", die in den Jahren ihrer Veröffentlichung sowohl von Kritikern wie auch Fans jeweils in allerlei Bestenlisten gewählt wurden.

Z Records continues its commitment to unearthing the obscure and long forgotten tracks from the last 40 years
through the ever-popular Under The Influence series. Following on from Red Greg, Paul Phillips, James Glass
and Nick The Record it's now the turn of another of the worlds most respected record collectors to put
together their selection. This time it's long time Z Records album co-compiler Sean P.
Alongside Joey Negro, Sean P has been responsible for some killer selections for their Soul of Disco and
Supafunkanova series, all of which feature tracks from Sean's vast record collection. He has been collecting
records since his early years, producing and releasing his own edits way before they became the norm and is
widely recognized as one of the foremost fountains of musical knowledge so to say he is a stalwart of the
underground music scene is well deserved.
For his UTI album he goes even deeper and much more across the board with tracks taking in afro, soul, funk,
disco, Brit Funk, dub and jazz with many of the tracks costing hundreds if you were able to find the originals.

Ever evolving Dutchman A Made Up Sound is back with a new EP on Delsin a whole six years after his last. Here he proves once more why he is so vital across four cuts of heavyweight technosoul. Thin Air pairs fast-paced 4/4 beats with stormy layered pads, all coalescing into affectional yet powerful techno grooves. In typical AMUS fashion, with its swung drums, sampled chordlines and flanged percussion it's simply hard to categorize but easy to love.

'Number One Station' features the smooth vocals of Bobby Blue on this jungle anthem which brings phat bass and pure soulful vibes, one of the most sought after titles on the Knowledge & Wisdom catalogue. 'No Escape' features funky horn licks and the infamous vocals of the mighty Sizzla.

Denovali present the QUINTESENCE soundtrack composed & produced by Ricardo Donoso in May 2015. QUINTESENCE was created by installation artist Florence To (uk) and composer Ricardo Donoso (bra) after a series of conversations and collaborations in 2014. They shared a mutual interest in the psychological research in their work and wanted to further develop this as a thematic process in a live audio visual performance. QUINTESENCE was commissioned & premiered at the Satosphere dome, Society for Arts and Technology in Montreal in May 2015. The dome, 18 meters in diameter and 11.5 to 13m high, forms a 360-degree spherical projection and is made up of 157 speakers in clusters of four around the perimeter of the dome, giving a surround sound of 39.4 channels. QUINTESENCE examines a system of elements that represent the development of the psychic process; symbols represent parts of the subconscious, telling a story of how memory may be disorientated, distorted, and dysfunctional yet acting as a linear process to individuation.

Through Ricardo Donoso's score we see trace elements of these processes and symbols within the sounds themselves - within each musical decision. Donoso's score continues to advance his foray into electro-acoustic hybrids, explicitly here with the use of Spectralism. Washes of lush string trio including contrabass, cello and viola are dismembered and placed through the wringer of Donoso's custom signal processing chains. QUINTESENCE also emphasizes Donoso's skills as a sound designer, where alien textures, Xenakian computer music and massive tone clusters collide and shatter against each other for moments of either breathtaking beauty or stretches of repulsiveness. Serene piano and vocal elements are pinned against oppressive drones and digital clatter, each voice fighting for its space in the vacuum of the dome.

Although an entirely high level digital production, the duality of QUINTESENCE that is played out is that the subject matter is really about the natural world and our relationship to it. It is about existing on a plane void of technology while discovering your identity within the context of a purely natural world, uninterrupted by contemporary hurdles.

"Sintetizzatrice" is the first recorded document of the newly founded collaboration between Spectrum Spools veteran Donato Dozzy and female vocalist Anna Caragnano.

Though his solo work, and in his collaboration with Giuseppe Tilleci as Voices from the Lake, Dozzy has achieved some of the most remarkable vistas contemporary electronic music has seen in the last decade. By removing himself from his areas of mastery to shift his focus on the voice, he has achieved a new peak. "Sintetizzatrice" is the first work on Spectrum Spools featuring Anna Caragnano, a vocalist based in Rome.

Over two stunning sides of vinyl, Dozzy works exclusively with the voice of Caragnano, with no other instruments. Heavy layering and effects processes are used to display an astoundingly versatile voice-centric vocabulary. Rarely can a record morph through different styles from R&B to Kosmische, through traditional Italian folk music to Fluxus styles and traditional Chamber Choir with no additional instrumentation. Just a singular, beautiful, voice. The results are simply phenomenal.

With the opening, "Introduzione", an immeasurable cosmic weight arrives and remains through the duration of the album. "Star Cloud" ascends the album with melancholy extended drones that evaporate concepts like "time" and "being", rendering basic human perceptions void all the way through the sides closing "Parallelo". The flipside opener "Parola", dances around the stereo field with dazing rhythms and melodies, while "Festa (A Mottola) is an homage to the traditional music found in the rural region where concidentally, both Dozzy's mother and Caragnano were born and raised. The albums closing pieces "Love Without Sound" and "Conclusione" hit hard in a way where words do no justice. By fearlessly entering uncharted territories, both Dozzy and Caragnano have respectively made a collaboration which is truly experimental.

"Sintetizzatrice" is a grand debut for Anna Caragnano, and a fantastic twist for those following the work of Donato Dozzy.

If previous releases for Nihilist, Arbor and his own Catholic Tapes established Chicago's Brett Naucke as one of the more accomplished practitioners in the American synth underground, "Seed", his debut LP for Spectrum Spools, is a veritable career apex, brimming with sonic ingenuity, detail, and mastery over both instrument and musical form. It is hard to fathom due to the sheer diversity of sound and affectations of the eight individual pieces on the album, but "Seed" was recorded - almost impossibly - with the same synth patch, slightly modified for the unveiling of each track

Based on the original score for the film "I Am Here" (2014), written and directed by Anders Morgenthaler, starring Kim Basinger, Jordan Prentice and Sebastian Schipper Written and Produced by Jóhann Jóhannsson and BJ Nilsen This is the first collaboration between Jóhann Jóhannsson and BJ Nilsen...; very much a mix between their two worlds, you can hear both their signatures, and with the help of additional musicians, including Hildur Guðnadóttir on cello and the remarkable voices of Elfa Margret Ingvadóttir and Guðmundur Vignir Karlsson, they together create a world of great beauty and mystery. Recording information: Cello: Hildur Guðnadóttir Violin and viola: Daniella Strasfogel Vocals: Elfa Margret Ingvadóttir and Guðmundur Vignir Karlsson Piano, guitar and electronics: Jóhann Jóhannsson Electronics: BJNilsen Recorded and mixed by Jóhann Jóhannsson and BJNilsen in Berlin, December 2013 - January 2014 Mastered and cut by Jason at Transition 20th August 2014

Michele Mininni's Hyper Martino EP is a strange adventure in sound, the finest example of music noir and engaging story of audio science fiction. Michele hails from South Italy and counts everything from post-punk, krautrock to new wave, house and disco amongst his influences. He's been a DJ for years but only in 2014 has released his debut Tupolev Love EP on Glasgow's Optimo Trax. He immediately found himself in the spotlight of discerning DJs and music collectors alike. After a few months he released another highly acclaimed EP entitled Endless Ceremony on Belgian label Curle. And now, after a short hiatus he returns with his latest Hyper Martino EP radiating oblique and unpredictable sounds. Remixes come courtesy of Tel Aviv's hit-assembly-line Red Axes who yet again deliver a bloody good remix, and of a reckless New Age traveller, industrial-yoga-trance guru and Australian multi culturist Dreems.Le Temps Perdu is a new label founded by Lemmy Caution, a man of mistery, a fan of steal mustangs, robot poetry and otherworldly sounds, well know across The Outlands and operating from Alphaville.

**Killer vinyl edition from Ideal. White wax. Edition of 300. Features Peder Mannerfelt and Puce Mary, among others** iDEAL boss, Joachim Nordwall presents the superb 1st edition in a new series of label compilations "showcasing artists with a clear and strong vision." Volume 1 is a closely-themed collection of creaky concrète drone, techno primitivism and modular extraction from the fringes of European experimental music. The Swedish king of filthy tape music, Altar Of Flies, opens the account with an abyss of aleatoric creaks, scrapes and bestial drones beside the cranky synth roil and techno undertow of 'Regret of Grey Politics' by Ricardo Mazza a.k.a. RM (Lettera 22). B-side follows thru with the browned modular extractions of studio boffin Peder Mannerfelt (Roll The Dice), extruding two tracts of laquer-bubbling electronics and boiling drones, leaving Posh Isolation associate Frederikke Hoffmeier (a.k.a. Puce Mary) to slowly detach from reality with the mottled voices and noxious industrial ambience of '3rd Monologue' coming off like an Else Marie Pade piece for an unmade Italian video nasty. Great, great stuff from this brilliant label.

Full press & radio campaign in key territories with
coverage assured in key magazines & websites
- Gino Grasso has been supplying the Kings of Disco
with their dance-floor bullets since the 90's
- Limited vinyl for new & old turntablists alike

Compa is back on MEDi with what's shaping up to be his best work yet

Composed and performed by top pop duo Dale Cornish and Phil Julian. Dale Cornish: vocals, words, electronics (B1 and B2). Phil Julian: electronics. Mastered by that Phil Julian. Cut by Jason Goz, London, February 2016. Screenprint of a legendary double-act by Lukas Julius Keijser.

Three tracks which emerged from a rehearsal session in an oddly decorated room in South Croydon.

"Laughing Out" is the duo's sing-along summer anthem and shares some DNA with "Love Can't Turn Around" as re-imagined/destroyed by a middle-aged balding chap with a deep distrust of the dancefloor.

"For Vocal" appears to be a recording of people moving pallets of ride cymbals wrapped in tin-foil around a warehouse but it's hard to say, really. Almost certainly important.

"Palazzo" = a computer minding its own academic business + some curmudgeonly American test equipment + some honeypot crooning = not a dry seat in the house.

THE SOUND OF YOUNG CROYDON

Dale Cornish: born, raised and current of London (south). Previously in No Bra (2004-6): co-wrote unexpected hit "Munchausen". Terse humour and observations/worldly interests further evident with work of ecstatic noise trio Baraclough (2006-2012). Current focus is on solo recordings for labels including Entr'acte, The Tapeworm and Beartown Records, and collaborations with artists including Adam Asnan, Andie Brown, Powell and Phil Julian.

Phil Julian is a UK based composer and improviser active since the late 90s principally working with modular electronic devices and computers. Releases have appeared on labels including Entr'acte, Harbinger Sound, The Tapeworm and Beartown Records. Recent collaborations on recordings and performances with Dale Cornish, John Macedo, Kostis Kilymis, Jason Kahn and Angharad Davies. Regular live performances since 2004 in the UK, Europe and North America.

"Don't you worry about your hearing" - Bergen, 2005 "Was great, like being eaten by a tiny insect...;" - Berlin, 2008 "We need you to play some music...;" - London, 2010

Every once in a while a record comes along that defies any sort of conventional explanation and transcends today's numbed-out consensus beats - Tropique', the latest offering on Copenhagen's Music For Dreams is one of them. Cosmic disco, neo-Balearic, retro-Italo-futurism - get as creative as you like trying to peg it but one thing is for sure, Doctr's Tropique' is undoubtedly an excellently crafted tune, an irresistible crowd-pleaser.
As if magically appearing from the untouched realms of electronic music, the soundtrack to some quirky, exotic floating party at the centre of the Bermuda Triangle, Tropique' is a simple concept, a seemingly innocent loop which rolls along and sneakily picks up more effects with each rotation. The production is near faultless, perfectly structured and fine-tuned to draw the maximum drama out of its infectious bass and tasty keyboard hook.
Its creator Well, little is documented about the producer who simply goes by the name of Doctr, but it's clear that he operates to the beat of his own drum and knows how to rock a party with rollicking flair judging by the dubby yet joyous vibes he brings to this eclectic and high-sprited offering. Tropique' sounds like its gestation was characterised by years of crate-digging and wild, balmy nights. Having played only a handful of acclaimed shows so far, it appears Doctr is that rare find, a crowd-pleasing DJ whose musical skills trump his proven ability to move butts.
'Tropique' is the tune this summer's been craving and will no doubt become virtually inescapable throughout 2016 and for years to come - a future classic for sure. Limited vinyl release.

REPRESSED !!

The Contort Yourself tradition of electronics pioneers, modern masters and new names continues into CY003. Enrique comes under that latter banner. The Hot Releases alumnus introduces the EP with the piston pounded belligerence of Dissociate. L.I.E.S. and Nation veteran Beau Wanzer continues this stroll into aggression. Weasels is an upturned work of techno. Nuts, bolts and the grisly inner workings are on show for this fast paced floor mangler. Spain's industrial stalwarts Esplendor Geometrico open the flip. From 1988 the grit of the factory floor is carried into Rotor. A touch of the mystical is injected, chants looped through the hypnotic rhythms in this simmering classic. Broken English Club is on hand to rework Rotor into a guttering piece of Electro tainted machine music. If you're hoping for some respite, think again. Prostitutes (Diagonal) closes with the cruel pummelling percussion of Cuyahoga Frankenstein. A brutal, beefy and brilliant 12.

Based On A True Story is the biggest selling New Zealand artist album of all time. The debut studio album from Fat Freddy's Drop, has sold 8-times platinum in New Zealand alone, after debuting at #1 on the NZ Album Charts & holding that position for 11 weeks, and that as an independent release with virtually no promotion. Based On A True Story won a raft of awards, including Best Album at the NZ music award and Album of the Year from Gilles Peterson Worldwide at BBC.

All tracks composed, recorded and mixed in the VIV

"Lässt Los, Jeder Immer" is the remix of the Jung An Tagen soundtrack for "Embargo" a video by Johann Lurf

Artwork & layout by Milica Balubdzic & J. Fröhnel Mastering by Brian Pyle Bust by Hanno Schnegg

Please direct all inquiries to S. Juster, Sekretariat Berggasse, Virtual Institute Vienna

Jung An Tagen is the primary music act operating inside the Virtual Institute Vienna. 'By using substractive synthesis and sampling techniques Jung An Tagen builds aleatoric arrays, repetitive figures & polyrhythmic moires circulating around distinctive timbres and haptic fragments, resulting in a vision of morphing movements between high energy and zero gravity states. 'Due to the synaesthesian nature of the VIV, Jung An Tagen is bound very closely to a specific visual grammar and is intertwined with video art, even though the performative settings are usually reduced to music only. Previously, Stefan Juster was mainly present with different bands & monikers on labels like NotNotFun, Blackest Rainbow, 100% Silk or his own imprint SF Broadcasts.

"All I need is a million monikers to cover myself from the world. ...glad he's back to flush out my woes, making music as Jung An Tagen ...ready to become one with your psyche." TinyMixTapes

"Jung An Tagen sees energetic looped illusions play with an overwhelming array of fantastical beats and manic patterns. It all cultivates into an extraordinary color wheel of acid drenched avan­kraut­pop brilliance. A minimal electronic rabbit hole that dabbles in clap­track danceable workouts. This is something to get excited about"' AdHoc

A slightly fresher direction with this EP - No, We're Not A Couple is a funked up rolling thing with jungle subs, dubby hats and percussion, shifting textures and film score strings.
Cortisol is a stressful warehouse jam in 7/8, filtered every which way then taken to church. Pacy but doesn't really sound it.
White Mice is an afterhours, dubbed-out, drum machine samba workout for smoky basements. Slow but doesn't really sound it. Hope you enjoy em! Respect, Mosca
Early support from Ben UFO, Kowton, Pearson Sound

Exklusiver Track aus den gemeinsamen Sessions des japanischen Kult-Trios Nisennenmondai mit Dub-Legende Adrian Sherwood, aus denen das hochgelobte Album "#N/A" entstand, das Anfang des Jahres erschien. Subtiler Dub-Techno im Post-Punk-Style. Mit einem zusätzlichen Remix von Chris Carter (Throbbing Gristle), der eine gehörige Portion Machine-Funk beisteuert.
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Industrial space rock recorded in a bedroom in Beckenham one weekend in the winter of 1981 on a hired Tascam Portastudio and Korg synth with borrowed guitar, bass and FX pedals. Cut by Jason Goz, London, February 2016. Cover image and text by Paul H Williams.

Paul H Williams writes: "A December weekend in 1981 was approaching; the first time that a mate and I would make our own recordings on cheap hired equipment in his bedroom...;

I'd been talking to Damon Edge of the San Francisco-based acid punk band Chrome over the phone, late at night from the kitchen in my parents' flat, since the release of "Alien Soundtracks" in the late 70s. He was a glimpse of another magnificent alien world.

I was bathed in the Industrial culture of the time: Throbbing Gristle, SPK, William S Burroughs and JG Ballard. Making my own cut-ups and finding meaning in the collision of medical and science texts with newspapers and magazines; photographing Thamesmead, Heathrow Airport and Dungeness Power Station on Saturday afternoon explorations.

The weekend was a thrill. We each took turns to create our own music. There were four tracks on the Tascam Portastudio to play with and - after tweaking a Korg synth I had no idea how to use, re-wiring my mate's electric guitar with multiple versions of the same string because I'd read somewhere that Glenn Branca had done it and discovering the joy of turning the cassette over so you could record in reverse - I'd produced four chunks of sound. It felt like a glorious creative haemorrhage of emotion and noise.

Clutching a cassette master of the weekend's work I went home to my bedroom to listen to what I'd done wondering where it had all come from. And then at 10.15pm on BBC2 that Sunday evening I watched Nic Roeg's "The Man Who Fell To Earth" for the very first time. I was transfixed by David Bowie's performance and completely identified with the alien Thomas Jerome Newton trying to navigate his way on planet Earth. Right then I knew that I had to call the music on that cassette "Fallen To Earth".

ILL_K is no stranger to the underground bass music scene with releases on top labels such as Paradise Lost, Alphacut and NORD label showcasing a wide range of styles from downtempo to jungle with his signature precision sound. Here he makes a welcome return to Foundation Audio with 2 tracks that showcase ILL_Ks skill and versatility as a producer.

'Distortion Dub' is a 140bpm monster with layers of distortion oozing over the heaviest of subs - hard as nails and guaranteed to shake the system!

Flip side 'Draht' is a 170bpm half time dubwise steppa that will appeal to anyone into the dubbier side of the music spectrum. Essential listening.

Lossless Music's rave and jungle mad little brother 'Dope Plates' returns after the hugely popular "Love Me" release.

For DOPE002 Soul Intent enlists the help of two massively talented underground producers. German breakbeat scientist Acid Lab brings some classic 90s headz fire with his track "Ancestors" while ex Out Da Ville hip hop vocalist Ms Tempz (formally known as Tempa) brings some absolute lyrical dynamite on half time jungle bomb "2 Bad". Not forgetting "Bad Boy" hot of the computer of label boss Soul Intent.

Black Truffle is pleased to present Speak To Me, the sixth full-length release from 3/4HadBeenEliminated, the Italian trio of Stefano Pilia, Claudio Rocchetti and Valerio Tricoli. Based on source material recorded in Bologna and Berlin over the course of several years, the album is made up of two side-long pieces meticulously constructed in post-production by Tricoli in his singularly dense and unpredictable style. Although their live performances have always been entirely improvised, in their recorded work the group focuses on using improvised recordings as source material for compositions built up through layering, editing and analogue manipulation, extending the practices of Teo Macero, Faust and This Heat. Melancholic instrumental ruminations sit alongside cracked electronics, concrete sounds and Tricoli's whispered vocals, drawn together into dense assemblages animated by gradual transformations and sudden jump cuts.
Beginning from the abstractions of their self-titled debut release in 2004, the group embarked on a trajectory that saw them move toward near-song structures, Tricoli's voice becoming a dominant element amid an increasingly dense and layered production style. On Speak To Me, however, the listener feels confronted by the ghost of music, sonic memories echoing across a psychedelic expanse. Evacuated of any clear structure, the music becomes a reverb-saturated morass, from which crystalline details momentarily emerge: shimmering echoed guitar, bowed double bass, tactile hand percussion, skittering electronics. Suffused with a darkly pensive atmosphere, Speak To Me is an elegant summation of the distinctive blend of electroacoustic techniques, instrumental improvisation and contemporary psychedelia pioneered by 3/4HadBeenEliminated over the last decade.

With his debut 12" release on DEEP MEDi & his 'Decade of Weight' album, 2016 has been a strong year for Bukez Finezt so far. In his own words: "Holy Moly - life goal right there"

Mark Nieto has tangled with the Los Angeles underground for the better part of the last decade, appearing regularly on local radio, playing parties and fine-tuning an aesthetic that fits comfortable at the intersection of instrumental guitar music and experimental electronic structures. It's as COMBAT! that Nieto's various projects and influences meet though and this Fall the native Angeleno will release his debut self-titled album on Friends of Friends. 'COMBAT!' is comprised of 13 songs that fall at various points along the intersection of experimental guitar music and an array of electronic sounds, ranging from house on one end of the spectrum and ambient on the other. With the thought of crafting optimal music for emotional drives around Los Angeles, COMBAT! recorded the 'COMBAT!' LP while traveling around the globe, garnering wisdom from an array of locales while always keeping his indomitable Southern California heritage in peripheral focus.

With past relationships, growing pains and an unavoidable sense of place (and displacement) forming the emotional crux of the album, tracks like Days of Dust' and Heavy Accent' are deeply evocative efforts, full of harmonically complex guitar bits, organic rhythms and a deeply understood sense of atmosphere. The album is entirely instrumental, but with energetic highs like Jacaranda' and Open And Close The Globe', you'd be hard-pressed to not be completely enveloped in COMBAT!'s world as his self-titled debut hits peaks and valleys rarely found on a debut release. And while this is COMBAT!'s official debut, real Los Angeles heads will know him from past projects and a long-running KXLU show, all components of his greater musical history.

- Heavy Accent' premiered via Noisey, Jacaranda' premiered via Self-Titled
- Limited vinyl run of 250.
- Instrumentation on album performed by members of The Pains Of Being Pure At Heart.
- Long time DJ at KXLU.
- For fans of: Battles, Dawn of Midi, and Tycho.
- From the label that brought Daedalus, Shlohmo, Jerome LOL, and Anenon.

This tune has been on dubplate for quite some time. Something of a UK Garage anthem on the underground, Jodo Kast is an alter-ego of J:Kenzo the prominent Dubstep producer/DJ and to celebrate the launch of this release he has also relaunched his ShadowTrak label in order to reboot that imprint to cater for his garage productions.

FEEL INTERNATIONAL = INTERNATIONAL FEEL.

IT'S BRAND NEW GOOD FOR YOU.

JUAN MARCO MAKE MUSIC FOR DAYDREAMERS.

THEY ARE NEW TOO.

LOVE LOVE
X.

New Yorker Produzent Motion Graphics legt ein Debüt vor, das Yellow Magic Orchestra und Kraftwerk reflektiert!

Motion Graphics ist das selbstbetitelte Debutalbum von Joe Williams, einem in New York lebenden Musiker, der bereits seit vielen Jahren unter verschiedenen Pseudonymen und in wechselnden Kollaborationen aktiv produziert, mit Motion Graphics jetzt aber ganz sicher den bestmöglichen Weg eingeschlagen hat.

Motion Graphics ist ein Techno-Pop Album in der Art, wie es Künstler wie Ryuichi Sakamoto's Yellow Magic Orchestra oder Kraftwerk in ihrer Zeit produziert haben. Genau wie diese Bands reflektiert Williams dabei aber die technologischen Möglichkeiten seiner Zeit. Wo für YMO das Aufkommen von Nintendo und Sony Walkman wichtig waren, wo Kraftwerk die Geburt des Computers reflektiert, sind für Williams Twitter, Smartphones und die immer öfter eingesetzen Dronen relevant.

2 fresh remixes of S.C.A.M. "Put Up Your Hands" have just hit Jungle Cakes, ready to excite you ears and provide aural pleasure! The
first comes courtesy of The Freestylers and Unknown. That unmistakable Jungle Cakes sound you know and love is all over this one.
Classic vocals, pulsing basslines with huge beats and amen breaks set the groove throughout and gel together into a cohesive roller
that's sure to cause damage on the dancefloor.
Run Tingz Crew are next up on the remix and deliver a syncopated beat and break, crafty use of the ragga vocal and stabs, add some
finely tuned vocal delay and reverb and some seriously whompy bass blended to perfection. Unstoppable energy floods through the
speakers making it impossible not to rinse out, hard! Let me hear ya say Whoaooohhh, Yeahhhh!

All My Circles Run is the third full-length release by Montreal-based electro-acoustic composer Sarah Davachi and her second outing for Students of Decay. In a move which may surprise followers of her previous output, the five compositions on this record eschew synthesizer entirely, each focusing on a different instrument, including strings, voice, organ and piano. What remains consistent, however, is her striking attention to detail and a commitment to tonal possibilities that characterize all of her work.

The sinewy For Strings' opens the album, with keening overtones stretching out in all directions to form a massive, slow-moving, radiant sound. For Voice' charts an even more celestial course, as wordless vocals ebb and flow to awe-inspiring effect. The stunning, melancholic For Piano' closes the record and is a high watermark in Davachi's oeuvre, with plaintive piano figures nestled atop a shimmering string drone to create a rich, reverent atmosphere. All My Circles Run is a step forward from an exciting artist whose compositional and aesthetic tendencies steer her steadfastly toward both the subjunctive and the sublime.

2016 Reissue of "Mutations" - the second work of The Kilimanjaro Darkjazz Ensemble from 2009. Not existing anymore since 2012 The Kilimanjaro Darkjazz Ensemble now finally makes all long-time sold out releases available again on all formats (cd | vinyl | digital). The series of reissues starts with their genre-determining second output "Mutations". An act combining profound musical sensibilities, deeply emotional harmonies and an acute ear for genre inter-breeding, The Kilimanjaro Darkjazz Ensemble placed itself and the confluent of dusty, gritty jazz and low-end doom-laden drones, and came up with a sound which is at the same time warm and dark, brooding and misty, cinematic and dynamic.

"The ensemble's music - mournful, mercurial and thoroughly spooked - has the lingering impact of the silent movies (Metropolis, Nosferatu) that served as their initial inspiration." (The Wire)

"The production is that much more spooky, rich, and atmospheric, and the song structure that much more purposeful and realized. It seems they have struck a perfect symmetry in the studio as a group, feeding off one another and performing cohesively. There is not a wasted moment to be heard. Mutations will slide its greasy fingers up your spine and linger there until you like it." (Pop Matters)

Currently founding member Jason Kohnen is paving the way with his new dark jazz project "The Thing With Five Eyes", continuing the mystical and occult universes people got to love from the "Here Be Dragons" period. His debut album is set to appear in 2017. In a parallel corner - founding member Gideon Kiers and trombonist Hilary Jeffery are conjuring up a twenty first vision of spiritism with Inconsolable Ghost, working together with artists such as the cellist Anthea Caddy, the viola player Zsolt Sorés Ahad and the filmmaker Makino Takashi. Vocalist Charlotte Cegarra recently started the Psychedelic-Pop duo Charlotte&Magon.

Together with "Bohren und der Club of Gore" and "The Dale Cooper Quartet", The Kilimanjaro Darkjazz Ensemble through the years have succeeded in creating a brand new genre of music. The 8 pieces (40 minutes) of "Mutations" are the perfect connecting link between the ensemble's s/t debut album from 2006 and their second full length "Here Be Dragons" (2009). Time to get absorbed again by this unique and fresh sound.

Hazel is the 5th record from this group of eclectic travelers, who bring their considerable pedigrees together in unexpected and original ways. Looking at the people involved, it would be reasonable to expect a massive blowout of sound, but everyone plays with remarkable and effective restraint. The music is atmospheric and layered, with bits and pieces of identifiable rock moves peeking out from under a thick blanket of hard-to-identify drift.

Based on live recordings made on a lengthy tour of Italy in 2010, the recordings have been extensively edited and supplemented, but without losing the elemental sound of a group playing live together. While there's plenty of weird ambient sound to be heard, this isn't a sound-effects/'pedalboard' record. Like the preceding 'En Form for Bla' album, Noble's drums anchor the music. The drumming is spare and considered, sometimes lashing out with abstract punctuation, and other times laying out a Can-like groove. O'Malley's guitar is also restrained, providing a bed for O'Sullivan's constantly morphing Rhodes, synths and electronic effects. Kristoffer Rygg contributes a rousing vocal incantation to 'Ermanna' and peppers the mix with ghostly modular details. Like their other records, this is not really like anything else out there right now. Sleeve designed by Stephen O'Malley.

CD is in card folio printed by Stumptown Printers. LP is in Stoughton Tip-On Jacket, pressed at RTI, and includes download card.

Current UK steppers production; in beuatiful silk-screened Zam Zam sleeve

South African born, New York living Brendon Moeller, man of a thousand guises - including Beat Pharmacy, Echologist and Mono Blanco - is a prolific producer known especially for his hard yet dubwise brand of techno. Founder of the prolific Steadfast label, Moeller has releases on a number of excellent imprints including Echocord andSoul People. For ZamZam, Beat Pharmacy indulged his deep love of heady dubwise, crafting two totally unique and uncompromisingly experimental tracks that provide a window into a singular creative soul.
Moeller says, 'Beach Dub and Bowling Dub were both recorded in early 2014 in my own studio... At the time I was coming down from 5 years of nonstop techno production and touring, and was feeling a huge urge to record some spaced out dub - so I did. Both tracks were recorded using hardware and software combined.'Beach Dub is firmly rooted in the history of dub techno in which Moeller has been such a key figure for many years. Unlike most dub techno, however, it leads with the bass and atmosphere, lush texture and melody washing in at steady intervals, waves and tides that carry the riddim rather than the other way around. Bowling Dub creates a cavernous sound world rich in reverb and sparkling detail that reaches into hip hop/electro-dub territory with huge bass, skittering drums and pinballing percussion pointing the way to an as-yet-unnamed genre of dubwise whose time is ripe.

There's a particular twinkle in the great expanse of American songwriting. This has seen countless nostalgic exploitations over the years - collections of popular songs strung together under the banner of the so-called Great American Songbook that have reiterated the form of many of these songs without contemplating their depths.

In terms of thoughtful, emotive synthesis, few have understood it in the way that Cara and Mike Gangloff understand it on this new album. They take have taken older American songs, popular songs that we've come to understand as standards, and stretched them out into the rolling hills and vast expanses that gave birth to the nation's earliest music.

American history is a history of tension. A group of aristocrats saw fit to bestow a limited degree of freedom upon the underclasses. They called this democracy, coopting a concept that terrified them in the hopes that the implications of its meaning might placate the unwashed masses. Within that sliver of freedom, incredible heights were reached. Blues. Jazz. Mountain music. And on and on.

The songs on this record are recognizable. They're classics. And yet here they play out in ways the songwriters could never have predicted. Cara and Mike Gangloff have married the colloquial with the eternal.

With certain songs, like Sentimental Journey,' they lift the material out of its saccharine setting and into the troubling and sublime nation from which it springs. All of Me' is rendered utterly psychotic, teasing apart the song's desperate, masochistic, violent implications. The songs become essays about themselves, investigations into their own histories of terror and escape. Mood Indigo' becomes a haunting dirge. Cry Me a River' is a rhythmically jarring lightning rod of unease. The inventiveness of interpretation is spirit-raising.

The cultural history of the country is one of cosmic entertainment in the face of excruciating injustice. Transcendence has always been necessary. For better or worse, the United States of America is a nation defined by expanse. The negative aspects hardly need be mentioned, but there's a flipside, a cosmic expanse worth not only celebrating, but exploring further. An expanse that brings honor to the term.

The drone exists in music as an attempt for humanity to somehow meld with the temporal. It reduces music to its most basic elements while lifting it out of itself. An area for contemplation, reflection. An opportunity to exist in space. A friendly reminder that life might possess something resembling a core.

Cara and Mike Gangloff don't so much reimagine old American music as infuse it with the life it's always had. A life always just below the surface and a life far beyond the stars.

"Hopefully they do not fit into too many sub-genre categories," says Canadian producer and DJ Edward Currelly, aka Eddie C about On The Shore. On The Shore is a compelling musical trip of drifting repetition in rhythm and melody. Recorded entirely in his studio on the shore of the Panke River, Eddie confesses: "Berlin has been so crazy... I have mixed feelings sometimes. The emotions I've had here are like none I've ever had to deal with before. I've had many sleepless nights. I suppose the music is a mix of feelings and inspiration from life here." The story arc of his sample-laden album oscillates between sweet sadness and warming blissfulness. There are strings that can evoke tears, synth lines that may generate dreams and guitars that are able to introduce levitation. But C's life as a traveling DJ has also had a great effect on his art. "I've always written music and always been DJ'ing. They both came around the same time when I was very young. But I've never quite connected the two. I've always thought that they were very different avenues of expression. All the travelling in the last while has been a beautiful experience and so very inspiring and exhausting. One thing I really wish I had more of is routine. Something that many people wish to escape." For a listener it makes no difference where the emotional subtext is originated. Eddie did not dismiss what he has always enjoyed: arranging a mix of instruments, synths, samples and drum machines, that cuts deep into your soul. Each track is an intimate meditation. Sometimes it grooves in the down-tempo fields, sometimes cosmic disco calls the tune and house is around too, but all is propelled by pulsing keys, pitch bends and crashing drum loops. The routine Eddie talks about must be somewhat a part of his life as his usage of samples, his rhythmical accuracy and his sense for small but extra touching melody particles are not just coming from one spontaneous surge of emotion. He also enjoyed the company of his Norwegian buddy Rune Lindbaek on "Auf Der Ufer" - a sublime synth-laden spacey tune. On The Shore is a playful album full of contrasting, deeply atmospheric stages, that range from swinging and propulsive to blissed-out and bittersweet sensibilities.

The 10th Anniversary edition of this classic album from the master of drone and Kosmiche Musik was originally released on CDr by Kill Shaman in 2006. Sonic Meditations presents a first time vinyl and cassette edition, newly mastered after being out of print since 2009.

"Gorgeous drifting ethereal krautrocky ambience is what Expo '70 is all about, and eyes closed, you'd be hard pressed to not think this was some Ash Ra Tempel disc or some long lost A.R. and The Machines lp. Crafted entirely from guitars, sitar and Moog, each track here is some sort of lengthy, mesmerizingingly blissed out minimal drone jam. Guitar figures are looped into hypnotic cycles, over shimmery whirls of fuzzy sound and distant drones, the looped riffs slowly shifting and gently changing shape. It's almost like some sort of new age space rock Steve Reich." - Aquarius Records couldn't have summed up the etherial mystique around Wright's developing project better.

The 10th Anniversary edition of this classic album from the master of drone and Kosmiche Musik was originally released on CDr by Kill Shaman in 2006. Sonic Meditations presents a first time vinyl and cassette edition, newly mastered after being out of print since 2009.

"Gorgeous drifting ethereal krautrocky ambience is what Expo '70 is all about, and eyes closed, you'd be hard pressed to not think this was some Ash Ra Tempel disc or some long lost A.R. and The Machines lp. Crafted entirely from guitars, sitar and Moog, each track here is some sort of lengthy, mesmerizingingly blissed out minimal drone jam. Guitar figures are looped into hypnotic cycles, over shimmery whirls of fuzzy sound and distant drones, the looped riffs slowly shifting and gently changing shape. It's almost like some sort of new age space rock Steve Reich." - Aquarius Records couldn't have summed up the etherial mystique around Wright's developing project better.

REPRESSED !!

After a strong first release Contort Yourself returns with "Events at the Fatal Party" which comes over more as a description than a title, brimming with a bubbling sense of tension and fear. Hamburg duo Fallbeil kick things off in impressive style with a crunchy acid monster which twists and turns followed by two killer proto-techno cuts from legendary French industrial band Die Form from their 1985 tape Hurt. Here we find ourselves in a unsettling scenario with metallic voices scowling over clanging machines and guitar feedback in an unhinged way. The mysterious Slugbug (L.I.E.S./Russian Torrent Versions) starts the flip with "GOBACK", a creeping acidic beast moving unstoppably forward as a reverberating voice ripples throughout. Any calm is then shattered by IBM a.k.a. Jamal Moss whose remix of Die Form hammers home a tough seven minutes of mangled synths, bubbling acid and thundering drums. A highly recommended, intense journey.

FF003 follows the path of previous releases, delivering raw techno inspired by the cold and dark surroundings of Copenhagen.

Following a few years of back-catalog recovery, K. Leimer has completed work on his first new solo album since The Grey Catalog. These ten new tracks follow an emergent arc, a refinement of the techniques he has used since Permissions. Highly tactile, with an emphasis on subharmonics, Re-enact sketches an antediluvian soundstage of deteriorating fragments scattered among still-recognizeable artifacts.

This multitude of points-of-collapse in textural, timbral, harmonic and rhythmic relationships, continually folds in on itself to reveal moments of inner coherence and cognition. Embedded throughout with a wealth of digital and analog detail, Re-enact sets a new post-ambient direction for Leimer's work.

K. Leimer founded Palace of Lights in 1979. Leimer's early work has recently been reissued by Autumn and RVNG, and his early cassette work is in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s - his current catalog includes 17 albums plus two collaborative albums with Marc Barreca. Leimer's work is included in the collection of The British Library.

ZamZam is proud to present a massive and mighty steppers tune from Ariel Tagar, better known to the worlds of reggae and electronic music as Kalbata.

Instantly addictive, "Brimstone & Lightning" is a collaboration between Kalbata and a veteran yet little-known Jamaican producer called Leon Electronics. Kalbata'slegendary reggae obsession led him to seek Leon out with the intention of rereleasing an obscure tune of his from the 80's. After months of searching, Kalbata managed to track Leon down in Kingston Jamaica and met with him while recording his celebrated 'Congo Beat The Drum' LP. Going through the tapes at Boris Gardiner's studio, the pair stumbled on this unfinished tune. Leon dismissed it, but Kalbata became obsessed with the rough gem, so Leon gave him his blessings to finish, cut and release it. Started in Jamaica in 1990 and finished in Tel Aviv last year, the 100% analog mix is like a message from the future to the past brought forth in the miracle of the present - a pounding steppers whose kick, bass & space dynamics have to be heard to be believed.
Voiced on the original tape from 1990, the identity of the vocalist remains a mystery, forgotten even by Leon Electronics. But he lives again in this scorcher of a tune, at 160 bpm one of the most relentless yet buoyant steppers you will ever hear.

Kid Millions (aka John Colpitts) is the man behind the kit in Oneida, Man Forever and People Of The North and is one of New York's most versatile and critically lauded collaborators. 100 Disciplines originally premiered at the Brooklyn Museum of Art as part of a concept Colpitts formulated in partnership with Red Bull Music Academy. The piece features an incredible variety of percussion instrumentation including five different sized timpani, an assortment of Thai nipple gongs, amglocken, crotales, vibraphone and more, as well as four singers. Joining Kid on the piece are Brian Chase (Yeah Yeah Yeahs), Georgia Hubley (Yo La Tengo), and Amy Garapic (Tigue). The title of 100 Disciplines is a reference to Sun Ra's Disciplines - pieces Ra wrote for his Arkestra members to run through in order to hone their true nature through their instruments.

Boka Records is proud to launch the BOKA ARTILLERY series which is firmly focused on pushing the deep, heavier side of Dubstep and introducing exciting new UK producers. All finished copy 12's will be limited to 300 copies and are hand-stamped by the label.Vol.3 [BOKA038PT3] features the double team of Killa & Instinct with their tracks 'Elude' and 'Elements' who successfully take the deep sound to new dimensions with their tribal, hypnotic production style reminding us of early DMZ beats, an outfit who are set to ramp up in 2012 and build on their support from the likes of Tunnidge, J:Kenzo, Distance & Cyrus.
Vol.1 [Killawatt & Ipman] is OUT NOW / Vol.2 [Compa] is OUT NOW.

Kuba Kapsa is a Polish pianist and composer being the leader of the avant-jazz combo Contemporary Noise Sextet (2006-2014). Beyond that he is a renowned composer for film and theater plays. His latest venture is the first of a sophisticated series of projects of modern classical music bearing the common title "Vantdraught".

The first part of the "Vantdraught" series was called "Vantdraught 10 · Vol. 1" and featured ten classical instruments - 4 violins, 2 violas, cello, vibraphone, marimba and piano. The now appearing second part is "Vantdraught 4", a quartet album written for violin, clarinet/bass clarinet, trombone and piano. The minimalistic style of Vantdraught 10 is preserved although the music is less repetitive and much more intimate. Instinct and intuition is the main force behind the writing process, usually avoiding typical chord progressions and the classical cadential technique. In contrast to "Vantdraught 10 · Vol. 1", the rhythm domain is also less important, thus allowing the melody and harmony to come to the fore. The pieces of "Vantdraught 4" are mainly tonal music but Kapsa also makes use of atonal and polytonal harmonies which requires the listener to put more effort into listening to these parts. The unusual set of instruments is what makes this quartet album unique and fresh sounding. "Vantdraught 4" is certainly linked to classical and minimal music in general but one can find other influences such as jazz and "new music".

Much like its predecessor, "Vantdraught 4" features an astonishing artwork based on "The Reluctant Conscript" by the seminal artist duo Kahn & Selesnick.

Having never met before entering the studio together, harpist MARY LATTIMORE (who has collaborated with Thurston Moore, Kurt Vile, Jarvis Cocker and Meg Baird to name a few) and koto player MAXWELL AUGUST CROY made an album in less than 48 hours, all live with no overdubs. Lattimore experiments with effects through her Lyon & Healy Concert Grand harp. Croy is a multi-instrumentalist whose work fluctuates liberally between melody, classicism and experimentation.

Terelan Canyon is a new' sound built on interplay and improvisation that explores space and form, with virtually no ego, filled with sonic imagery and a tapestry of emotions. Epic and beautiful, this recording is a special moment captured in time.

REPRESSED !!

After the success of Miranda Lee Richard's latest album Echoes Of The Dreamtime, Invisible Hands Music are proud to release a limited 7' single which brings together a new electric version of Colours So Fine, a favourite off the album, and a completely new song, Lucid I Would Dream. This is to coincide with her forthcoming UK tour, which includes dates opening for Ren and Romeo of the Magic Numbers.

Conceived as a kind of sequel to 2012's Sleep Games, there's an epic sensibility to Stasis. The haunted concrete caverns of the earlier album give way here, to vast, awe inspiring spaces. The album has a strong narrative flow that can be read either as the soundtrack for an interplanetary voyage under suspended animation, or the exploration of vast inner realms under some other form of technologically enhanced sleep.

Martin Jenkins' unique production sound is unmistakable: Carpenter-esque slow kosmiche disco and ambience, woozy synth melodies and somnambulistic grooves with soft, rich textures.

With Far Islands And Near Places Parisian pianist, composer and multi-instrumentist Quentin Sirjacq releases his solo debut on Karoake Kalk. While he has collaborated with Dakota Suite on the 2014 release There Is A Calm To Be Done for instance, this is the first release under his own name for the Berlin label.

Denovali present the QUINTESENCE soundtrack composed & produced by Ricardo Donoso in May 2015. QUINTESENCE was created by installation artist Florence To (uk) and composer Ricardo Donoso (bra) after a series of conversations and collaborations in 2014. They shared a mutual interest in the psychological research in their work and wanted to further develop this as a thematic process in a live audio visual performance. QUINTESENCE was commissioned & premiered at the Satosphere dome, Society for Arts and Technology in Montreal in May 2015. The dome, 18 meters in diameter and 11.5 to 13m high, forms a 360-degree spherical projection and is made up of 157 speakers in clusters of four around the perimeter of the dome, giving a surround sound of 39.4 channels. QUINTESENCE examines a system of elements that represent the development of the psychic process; symbols represent parts of the subconscious, telling a story of how memory may be disorientated, distorted, and dysfunctional yet acting as a linear process to individuation.

Through Ricardo Donoso's score we see trace elements of these processes and symbols within the sounds themselves - within each musical decision. Donoso's score continues to advance his foray into electro-acoustic hybrids, explicitly here with the use of Spectralism. Washes of lush string trio including contrabass, cello and viola are dismembered and placed through the wringer of Donoso's custom signal processing chains. QUINTESENCE also emphasizes Donoso's skills as a sound designer, where alien textures, Xenakian computer music and massive tone clusters collide and shatter against each other for moments of either breathtaking beauty or stretches of repulsiveness. Serene piano and vocal elements are pinned against oppressive drones and digital clatter, each voice fighting for its space in the vacuum of the dome.

Although an entirely high level digital production, the duality of QUINTESENCE that is played out is that the subject matter is really about the natural world and our relationship to it. It is about existing on a plane void of technology while discovering your identity within the context of a purely natural world, uninterrupted by contemporary hurdles.

REPRESSED !!
Never afraid to write music from the heart rather than trying to fit a mould Synkro & Indigo bring a refreshing and inspirational sound to the table and Exit Records are proud to provide an outlet for their work. Their dedicated followers have eagerly awaited guidance, and there's good reason. Awash with lush atmospheres and vocals it's a track that manages to touch the listener's soul and becomes more addictive the more it's listened to. Delayed snare rolls and fills create an ocean of space for the ambience to develop into a warm and cosey blanket of pure bliss. Reflection contains the same emotion triggering qualities as the A side and is the perfect partner. A little more drum based than its accomplice but just as soothing, it takes you through a workout of intricate beat edits and mixes distant classical vocals with subtle chord progressions.

Limited to 300 copies worldwide

ONLY 1 COPY PER CUSTOMER !


Full artwork sleeve
Mastered by Macc @ Subvert Central
Lacquer cut by Beau @ Ten Eight Seven
Pressed @ MPO

REPRESSED !! Ltd. to 1000 copies
In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

Hey, do you remember how much dance music owes to experiment and coincidence Quirky 7'' release from Lutto Lento is kind of danceable but also raw and harsh, maybe hypnotic First track sounds like a dark twisted fantasy about carnival in some cheap tropical spa. The other one will reach your guts and throw them upside down. Hell yeah.

Berlin Atonal Recordings is happy to announce two forthcoming releases, both featuring live cuts from two of the most talked about performances at the 2015 edition of the festival.

Synthesiser genius Max Loderbauer (NSI, Sun Electric, Vilod, Moritz von Oswald Trio) and techno experimentalist Jacek Sienkiewicz (Recognition) combined for a stunning live show on the opening night of festival 2015.

Blending harmonic drones and almost unrecognizably distended vocal samples with adroitly weighted melodic passages, this collaboration was a masterclass in expertly crafted ambient music from two of the genres' leading exponents.

Two passages from this set have been mastered and cut to vinyl in a special 12" with artwork by Pedro Maia based on his visuals for the show.

GourmetBeats 002 features three selections from Sepia: Music Box, Harp Song, and Glisten VIP. The 12' vinyl release features Music Box and Harp Song. The digital release features Music Box, Harp Song, and includes Glisten VIP as an exclusive digital bonus track.

Theo Bennett, whose production name is Sepia, is a 25 year-old self-taught producer and DJ from London, United Kingdom. Sepia grew up from the free party and rave scene on the Isle of Wight. At 17 years old, he moved to Brighton for university, where he found his sound — creating a discography ranging from grime, dub, reggae, hip hop, r&b, drum & bass, and footwork. Additionally, Sepia maintained DJ residencies at several well-respected nights, such as: Subsplash, Supercharged, and Vagabondz. The inspiration behind Sepia's music is his late mother, Julie Bennett, who passed away in 2006 when Sepia forged his musical journey. Currently, Sepia lives in Bristol, United Kingdom — a musical hotbed of varied tempos, textures, and talent. Fusing deep sub-bass frequencies with polyrhythmic percussion, Sepia champions his exclusive brand of sound system music with a focus on melancholy melodies, harmonies, and instrumentation. Theo is an established artist on line-ups across the United Kingdom and continues to build his musical legacy in the months and years to come.

With each release, GourmetBeats gives money to a charity or organization of the artist's choice. Theo's chosen charity is The Earl Mountbatten Hospice, on the Isle of Wight. This facility cared for Theo's mother until her passing in 2006. Learn more about the Earl Mountbatten Hospice

A few years ago I saw a documentary about the audio trickery employed in WW2. I was totally flabbergasted and soon absorbed anything I could find on the subject. Artists and scientists alike cooked up incredible situations to fool the German army. Inflatable tanks and trucks stacked with speakers projecting recordings of an imaginary reality were used to deceive and deviate the opponent. This odd scenario influenced me profoundly and drove me towards composing music that related these feelings. The project only collected dust inside my head until Radio Bongo heard of it and encouraged me to finish.
Sveinbjörn Bjarki Jónsson aka Sonic Deception

Step into Arabxo Ishara: Abu Ama's dubwise tales of Turkish traditional song, sufi ghosts, Syrian locked grooves and Indonesian field recordings. Snatches of UK pub talk strung together with rumbles of sub add to the disorientating lack of place - wherever you are, you're arriving here for the first time.

Abu Ama lives in West-Germany, talks of his gypsy roots and vague links to Spiral Tribe. He can often be found teaching local refugees English at the weekends. Arabxo Ishara follows releases on NY based darkwave collective Hexx 9. After some discussion he sent Bokeh Edwards almost 500 demos: 'pick some' he said.

The sixth release for Bokeh Versions follows 4 sold out tapes, Album of the Week on Bleep for the Seekersinternational LP, and a mix for the esteemed Blowing Up the Workshop series. With the help of their monthly NTS slot, Bokeh Versions is exploring new directions in dub and beyond.

Early support coming from Inverted Audio and Bandcamp Weekly

Airhead first appeared on R&S with the wonderful 'Lightmeters' track on the IOTDXI compilation, and now steps up with this stunning debut single for the label.
For a producer with only two singles to his name, he is already a master of building breathtaking music, full of tension, space and originality.
The two tracks on this single utilise his skills as both an instrumentalist and producer and don't conform to sit comfortably in just one genre, but mix his love of atmospheric guitar and classic electronica.
This is just the beginning for the relationship with Airhead and R&S, as he prepares his debut album for the label.

Robot Elephant Records are proud to present 'work it, no', a new EP by Berlin-based synthesizer extremist Dead
Fader. The release represents another milestone in Robot Elephant's mission to nurture innovative and
sometimes challenging electronic music talent.

'The best DJ in the World... effortless creativity!' says Hudson Mohawke, 'Genius' says DJ Qbert, one of Mixmaster Mike's
(Beastie Boys) favourite DJs. DJ Woody aka Lee Woodvine fits the criteria for that clichéd term 'Your favourite DJ's favourite DJ'.
Following his collaborative 'BocaWoody' EP with Bristol's Boca 45 earlier this year, October sees the release of the debut solo
album from the Lancashire (UK) born World Champion turntablist.
'The Point Of Contact' is hand crafted electronic music born from a collection of disparate dusty vinyl samples, reinterpreted
by a cast of Manchester's finest musicians (including Christian Madden (The Earlies), Carl Sharrocks (808 State), Nick Blacka
(GoGo Penguin) and Matthew Halsall) and returned to vinyl to be re-imagined by the hands of one of the Worlds most accom-
plished scratch DJs.
The process alone makes the music irrefutably routed in hip hop, however the album takes in influences ranging from jazz-rock,
britcore rap, psychedelia and electronica with Woody jokingly referring to it as 'Prog-Hop'. In contrast to many DJ records
centred around abstract, comedy or battle cut-ups, this record draws on real life experience and introspection to inject an
honesty and soul to the work.
"It's about our shifting perspectives over time and how often life's toughest challenges provide it's most valuable
lessons' - Woody
Whilst the textured instrumentation sets the tone throughout the album, select spoken word samples serve as a narration of the
internal monologue that guides our outlook and shapes our reality, taking the listener on a voyage through inner-space.
Released on double vinyl and illustrated by Woody himself, the package includes download card and a special bonus 12'
scratch record made entirely from samples and stems from the album.
The live set includes key players in the recording, Christian Madden (keyboards) and Carl Sharrocks (drums) and premiers at the
2016 DMC World Championships at the 02 Forum in London on 24th September. This is followed by a series of performances in
LA for DJCIty, Serato and BPM Supreme.

* Closing out this superb trilogy of releases, we find Djrum exploring the upper reaches of the BPM register. If you've even witnessed a Djrum DJ set or listened to his mixes or indeed his releases on the brilliant Samurai Music label, you'll know he frequently journey's into drum and bass territory, and here over two epic tracks, he offers two supreme cuts of exhilarating music..

* Much like the classic track 'Dam' on his debut album, Seven Lies, 'Space Race Pts 1&2', switches things up nicely, kicking things off at house tempo, before picking up the pace to unfold into a celestial DnB roller. But, as with all Djrum productions, nothing is quite that straight-forward; he constantly weaves percussion, space, bass and melody together to create something other-worldly..

* 'Pt 3 Sometimes I Share' closes out the EP in awesome fashion, the track is dominated by a honeyed vocal sample, which is defly danced around by cleverly deployed hand claps amidst the tight, rifling percussion and on/ off bass line. A fitting end to an epic trilogy.

* On artwork duties is a unique and compelling artist from Tel Aviv. We stumbled across the bold and challenging abstractions of Klone Yourself on Instagram, immediately connectiong with this visionary and confornatational artist who's surreal tone is often offset pefectly by his simple yet striking imagery.

#3 Live Act of 2013 at Resident Advisor, one of the most in demand remixers around, a total of 156 gigs in 2013, releases for Rush Hour, Ovum, Macro; booked out months in advance from Berghain to Ibiza to the main electronic festivals ... KiNK: Arguably the world of dance music has not witnessed anyone else rising so clearly from bottom to top just by the centrifugal force of sheer talent. Being based in Sofia, Bulgaria, without a support network, a campaign or any media hype, his music alone - live and in the studio - created a momentum whose end we have yet to see. Lenin said: 'Communism is Soviet power + electrification of the whole country.' Hardly did Lenin suspect what an inspired take on these words could do: post-socialist techno. A child of 80's late socialism, KiNK grew up on the home computers Bulgaria's IT scientists had created by backwards-engineering Western technology. Fueled by nuclear energy on the edge of desaster, a whole generation of kids was trained to hack. Dance music gradually dripping in through early dial-up internet connections, the acoustic fingerprints of distant parties put Eastern producers from KiNK to Nina Kraviz to Vakula under a spell. Yet KiNK spent years of backwards-engineering the sounds of Detroit, Chicago and early Warp.

R&S sister label Apollo are very proud to announce a four-track EP from James Leyland Kirby. Mastermind behind arch sonic provocateurs V/Vm as well as the more contemplative The Caretaker and The Stranger, Kirby has been responsible for some of the most unique, subversive and moving electronic music of the past two decades. Following a quiet 2012 and 2013, the EP marks both his Apollo debut and his first release since 2011 under the Leyland Kirby alias - an outlet for his most personal and reflective work.

Like 2011's acclaimed Intrigue & Stuff series, its four tracks flit between moods, from gorgeous, skin-prickling surges of ambience to cryptic rhythms and intricate, jazzy techno. As with all of his Leyland Kirby music, they're played in a manner so tactile and reflexive as to seem like direct reflections of his thoughts and memories. The melancholic drift of 'Breaks My Heart Each Time' builds to an dense, harrowingly beautiful climax, while 'Last Ditch Legacy' strafes a watery beat with blast upon blast of overdriven fuzz. 'Diminishing Emotion' strips away everything save soft synthlines that trace glowing arcs through an otherwise silent world.

Last summer, four years after Loefah first floated the idea of a Mickey Pearce album, Mickey sat down to write a mixtape of loops - a sequel to 2014's 'Up West' - but found himself in new, melancholic territory.

Less than three months later 'Michael' was written.

Ahead of the radio premiere of 'August', Mickey told Mary Anne Hobbs: "The whole album was written in a short space of time last summer... (it) just sounds like me in August 2015. I haven't written anything that sounds like it before or since."

Mickey has also developed a new live show that translates the album for the club environment. The live performance follows the arc of the record, adding layers of improvisation and a solid core of drums that place it in a club context.

Road-tested at 81 sessions in Berlin, Leeds and London, Mickey debuted the full live at Peckham Rye Music Festival earlier this month.

* No stranger to Spearhead Records fans, we are pleased to present Nymfo with the incredible 'Everyday Emotions EP'.

* The Everyday Emotions EP sees Nymfo flexing his musical style while still retaining his signature dancefloor sound.

* Melting Pot sees a collaboration with one of the scene's most established vocal talents, Robert Manos, who does not disappoint.

* Switching up a gear Nymfo drafts in Ad-Apt for vocal duty on 'Cheetah' to round the EP off with a bang.

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

* Basement Records is proud to present the debut album from Shadow Cartel (Andrew MacFarquhar).

* Shadow Cartel AKA AMC has been producing since 2002 he has released on Deadly Records, Frequency, Cubik, Pandemic and Basement Records.

* He has worked with Peshay, Heist, Basement Phil and with his brother Neil Mac. The guys are also famous for running the Subfactory events in Reading which has been running for 10 years. Andy has produced a wide spectrum of Drum and Bass and influenced by Old Skool, Techstep, Jungle and Dubstep. on this debut album you can hear those influences.

Following the release of 2015 debut EP, 'Green Eyes' — a record that followed two outings on the label's 'Kings' compilation series in 2013 and 2014 and a contribution to Boxed's debut 12', 'BOXED001' — Spokes returns to Coyote Records with new EP, 'Flight'. Consisting of four tracks, 'Flight' showcases an evocative, maturing sound and Spokes' flair for original sound design — as testified by the dwindling space and eerie, pitched-up vocals of NYC singer-songwriter, Anna Folwell, utilised on opener, 'Failed State'. The grand, ceremonious intro to square-wave grime flip, 'Mercurial', is also a highlight, while title-track, 'Flight' — a dreamy, washed out, beat-tape cut — again sees Spokes explore new dynamics to his sound. Latest Coyote signee, Miami-based producer Marks, also makes his bow for the label on 'Flight', turning in a crunchy, clapped-out remix of the title-track, ahead of his full debut EP in 2017.

* Little Hill Records, based in Rome, presents his first very limited Various Artists; composed by a double LP released on 100 signed copies; a mixture of club tracks with experimental stuff: from Ambient to Dub passing through Acid, Hypnotic Techno and hard groove.
Featured: Lorentz, Vincenzo Pizzi, Luciano Lamanna, Beat Movement, Mutecell, T-Kode, Manuel Di Martino, David Meiser, Nemrac, Code 701.

* Litte Hill is a Rome-based music label with it's sound rooted in electronic music with techno and dub influences.

THE ASSISTENZ is the culmination of a four year creative hot streak as vivid as any part of CRISTAN VOGEL's long career. The trio of dance oor-oriented records formed by 2012's The Inertials, 2014's Polyphonic Beings and now THE ASSISTENZ are sensual pleasures rst and foremost: a lifetime of study of frequencies and rhythms on the frontline of the world's clubs has been put into the creation of sounds that interface with the nervous system and emotional re- sponses with extraordinary immediacy. But there's much more too: together with the more ab- stracted album Eselsbru¨cke, these form an enticing sonic narrative, encoded themes running through them, each part revealing more about the whole. THE ASSISTENZ, then, is many things: a personal document, a tribute to Copenhagen where it was recorded and after whose famous cemetery it is named - but also the nal piece in this bigger puzzle, which unlocks untold secrets from the previous three records.

There's a deeper history, of course. CRISTIAN's productions going back to the start of the 1990s have woven their way into the fabric of underground culture. His own recent remasters of his early albums, and the Sub Rosa Classics 1993-1998 collections have shown just how potent his early work remains. But his new work exists in a very different world to those past works, and is far removed from the recent electronic generations who he has in uenced too. In fact, as you listen to THE ASSISTENZ, you realise that there's no point making comparisons with other elec- tronic producers at all. While you will certainly hear some of the most fundamental and enduring vectors of underground music - dub, electro, acid, funk - owing through the tracks, even those things are rebuilt from the molecular level, created completely afresh with new, precise, but some- what skewed vision.

CRISTIAN's understanding of music now is spectral. That is to say, with every step through his exploration of sound over the years, he has made more and more detailed analyses of the specif- ic frequencies that make up speci c sounds and produce speci c effects on the human mind and body. And as a result, his own sound synthesis - increasingly done via the Kyma programming platform - is more and more able to reach beyond the 'synthetic' and impact in uncanny and wonderful ways. The most obvious sense of this is the way his sounds touch on the human voice: not just in the chattering, shimmering, singing tones of THE ASSISTENZ's ghostly centrepiece 'Barefoot Agnete', in the alien radio signals of 'The Merman's Dream' or even in the subliminal 'aaah's hiding in the background of the noisy 'Vessels', but in the way any sound, anywhere in any track can sound peculiarly vocal, heard from the right angle.

And it's not just the boundary between human and non-human, or that between acoustic and synthetic, that get blurred to the point of non-existence. CRISTAN's creative methodology now is all about leaving you so uncertain about where anything came from, or what scale the sounds are operating on, that you have no choice but to let go of preconceptions and standardised criti- cal faculties and go with it. Sometimes that can take you to places where darkness and physical- ity close in on you as on 'Vessels' or 'Telemorphosis', or into haunted spaces on the edge of the void like those of 'Snowcrunch' and 'Barefoot Agnete', but even in those, there is euphoria. And in the voluptuousness of 'Hold' or the body-rocking funk of 'Cubic Haze', all the abstraction is grounded in the sheer pleasure of your own bodily responses to the sound.

So many of the science ction dreams of the 1990s are now (virtual) reality. We live in a time when social networks consciously manipulate our emotions, where data is money, where ma- chines learn, where images can't be trusted, and where the synthetic can feel more real than real. Over some 25 years, CRISTIAN's experiments have traced much of this weirdness and evolved with it, and his understanding of synthesis and algorithmic processes to create structure makes him one of the most important composers working today. But THE ASSISTENZ doesn't just ex- periment with the interfaces between mind, body and machine: it expresses those relationships in ways that are beautiful, troubling, moving and scary, and which even make you want to dance. Together with the preceding three albums it enacts a glorious, endlessly-explorable mapping of just what electronic music can do.

Robert Witschakowski takes a break from rewiring the rules of electro with his prolific The Exaltics project to deliver the eerie soundtrack album, 'Acanthosaura'. Working with Nico Jagiella - with whom he co-runs the Solar One label - the pair have created the soundtrack for a world of flickering shadows, dark ambient textures and ominous bass tones. It's the first Crotaphytus release in six years and according to Witschakowski, a project stemming from his love of reptiles and movie soundtracks. Like previous Crotaphytus releases on Solar One, 'Acanthosaura' is a deeply atmospheric affair. With each track title a reference to different types of lizards, from the death-paced drums of Cyclura Cornuta' to the slow-motion ebm-disco groove of Xenosaurus Platyceps' and the murderous subs of Caiman Latirostris". In between, the dark ambient passages of Conolophus Subcristatus' and Amblyrhynchus Cristatus' as well as nods to The Exaltics' spaced out electro in Iguana Delicatissima". However, Robert insists that the album remains true to the project's ethos. Crotaphytus is always dark and haunting. The project has no rules and that gives us the total freedom to make everything with it. I make also different styles with The Exaltics, but I have a concrete vision every time. With Crotaphytus, we let it flow and see were we land at the end. For this album, we tried to create an atmosphere like you are in a deep jungle, chased by giant lizards. Ambient has really the power to transport feelings. I guess this is subliminal in us from watching films.





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- Second album from sisters Tanya and Nadine Byrne's Ectoplasm Girls after a 5 year wait - An incredible mesh of pulsing techno, esoteric electronics and alt-pop - Edition of 300 copies


Finally, Ectoplasm Girls' long awaited second album is here.
Five years have elapsed since their surreally compelling TxN LP for iDEAL, in which time they've not so much as refined, but followed the same, winding paths to equally murky conclusions in New Feeling Come.
The Stockholm-based duo of Tanya and Nadine Byrne, a.k.a. Ectoplasm Girls, sound like the progeny of some ancient, mythological creature as opposed to anything of this earthly realm. Their music distills traces of post-techno, doom metal and esoteric electronic pop into a skin-crawling residue that strongly resonates with their name.
As with the aforementioned TxN - a unique highlight of the 2011 schedule - their follow-up spells out a mostly wordless grimoir of slow, writhing rhythms, bittersweet tones and phosphorescent texture incomparable with almost anyone else we can recall, bar maybe Coil or the that ghost band who soundtracked your dreams last night.
Perhaps more so than on TxN, in this instance they feel more faded, detached from the listener, drifting thru 15 stages of séance-like ambience with an incorporeal presence belied only by their clammy sleight of hand and vaporous traces of breathing.
It's all dark as you like, but crucially with a sense of ambiguity that allows for interpretation depending your mood and ability to discern between poltergeist like trembles and the spirits of two possessed, possibly playful, Swedish girls. Either way it's wicked and well worth the wait.

On Monday 23rd September 1996, Fatboy Slim (Norman Cook) released his debut album 'Better Living Through Chemistry' through the renowned independent dance label Skint Records. It was the starting point of a roller-coaster journey that has gone on to include massive hit singles, multi-platinum selling albums, three Brit Awards, a Grammy, an Ivor Novello, 10 MTV Awards, the 2012 Olympic closing ceremony­ and worldwide DJ superstardom which continues to this day with a hectic schedule of DJ performances and festival headliner shows.

This album celebrates where it all began - the brilliant original album - a seminal dance music moment in history, and expands on the story with a whole disc of bonus tracks including recordings from the Fatboy vaults that have never been released before. The 2CD expanded edition includes sleevenotes from Skint label founder Damian Harris.

2016 has seen an incredibly busy schedule for Fatboy Slim, he's taken on his first Ibiza residency at Cream, Amnesia throughout the summer, he's appeared as the festival headliner for Snowbombing(Mayrhofen, Austria), Lost Village Festival (Lincolnshire), We Are FSTVL (Upminster), Riverside Festival (Glasgow), We Are Electric (Netherlands), Sónar Festival (Barcelona), Glastonbury, Bestival (Dorset), Belsonic (Belfast), and Creamfields (Liverpool).

The Night Rave Before Christmas
To see the year out with a bang, Fatboy Slim will be hosting two giant shows in spectacular arenas. On December 9th he'll take over The SSE Hydro in Glasgow, and on the 17th he'll take over The O2 in London. The shows are 'in the round' which according to Fatboy himself will mean '360 degrees of smiley sound & vision'.

Even though 'Darkness On The Edge Of Ecstasy' is the first album by Jonatan Bäckelie under his given name, the singer from Gothenburg is not a newcomer at all. Under the moniker Ernesto he already released four rather jazzy longplayers. As Pinku Vääty or Jong Tan Bäckelie takes care exclusively of his electronic
productions. And over the last few months and years he collected international acclaim as a gifted guest singer. For example on Alex Barck's debut ('Reunion') on Sonar Kollektiv. As the title might suggest, - Darkness On The Edge Of Ecstasy' is a sombre, but never pessimistic collage of modern pop music not holding back with emotions. Bäckelie produced, arranged and recorded the majority of the twelve songs all by
himself. 'Circles' is a captivating club track, and - as the opener of the album -arouses expectations massively for all the things to come. The following tune, 'It Could Go Either Way', though is something like a ballad with a menacing synth
line and a prickly bass sound expanding the listeners' horizon by another dimension. This variety continues throughout the whole album. 'Song' is a cover of a tune by blue-eyed soul legend Lewis Taylor. On 'When Your Phase Is Gone' Bäckelie collaborates with his old companion Paul Lachenardière and the guitar
player David Orrebäck as well as the string player Måns Carlsson. But we'll also get instrumentals like 'Weapon Together' with which the Swede shows off his producers skills impressively.
These skills are so well-versed that a track like 'I Don't Know' had to be split into Part I and Part II. It seems like Bäckelie masters all forms of art and with this album he points the way with a bang. - Darkness On The Edge Of Ecstasy' is music for the modern age, for people with an distinguished taste in music and maybe even for other producers and musicians who want to find out how to perfect your own sound and visions. A quintessentially well-done album!

A linchpin of Montreal's experimental community for over two decades, Jean-Sébastien Truchy has performed with Fly Pan Am, Set Fire to Flames and Avec le soleil sortant de sa bouche among countless others as well as co-running the presently defunct Los Discos Enfantasmes label. After a string of tape releases on LDE, Digitalis, Sic Sic & others, Transmission in an Expanse of Firelight, Hear Me! is Truchy's first proper full length record. Combining elements of Musique concrète, field recordings, plaintive MIDI strings and emotive vocals Transmission... unfolds like a stage production or opera in which all the characters are refracted into one. In his own words 'I try to look at sounds and structures as neutral elements that have not yet been categorized by preconceived thoughts, judgement and/or taste - to apply the idea of emptiness to sounds, structure and form.

Koen Holtkamp's music is never quite what it seems. There are distinct textures, tones, structures, relationships, and references —the things that bring us back again and again, but the undercurrent remains elusive.

For listeners unaware of Holtkamp's solo efforts, most will have encountered him as half of the Brooklyn based duo Mountains (Thrill Jockey) —a project which has pushed musical boundaries for more than a decade. Voice Model wades effortlessly into this same ambitious territory, but focuses on the breadth of possibility activated by a narrow band of sonorities. It's two interrelated works, Scene One and Scene Two, feature Holtkamp on piano, modular synth, bowls, cymbals and processing, as well as contributions by Nina Mehta on Flute and Josh Millrod on trumpet. Both sides, though in clear conversation, weave autonomous worlds - collapsing the ground between the historic efforts of Groupe de Recherche Musicales (GRM), New Age, and contemporary avant-garde practice, while sculpting their own worlds of sonic potential and understanding.

Voice Model's fascinating intricacy works gradually like the sediment of time, gathering beneath a pool of conflicting streams, and defying the normal expectation of structure and artistry. Though the album fits seamlessly into the larger body of Holtkamp's output, his hand remains elusive. Sounds appear to have sculpted themselves - to have appeared from an organic inevitability. This is an exploration of discrete encounters within an electronic ecosystem - a world of chance, where the dimensions of time unfold. As its tones ricochet off each other, they lead us not to themselves, but towards a whole. Single tones and textures expand and bleed, generations of influence raise their heads and disappear into the shadows.

Recorded in 2014 and 2015 before being allowed to percolate for the better part of a year, Voice Model finds an artist at the height of his powers —curious, and at equal ease with challenge and invitation. It's singular and mature and welcomes listeners both seasoned and new to these territories.

- Killer industrial dub reductions, noise & mutant techno recorded to tape and pressed on wax - Edition of 200 copies - Henrik Rylander and iDEAL label boss Joachim Nordwall.

Saturn And The Sun's second album Focus On The Centre Of Your Skull' is a deep thing zooming in to mess with your mind.
Heavy, psychedelic electronic music that draws fuel from 80's industrial as swell as minimal techno and probably some dub too.
Along the same trajectory as last year's Journey To The Centre of Your Mind LP and the Harsh Realities, Broken Bones and Skull Tones tape, this one is a stoically crushing demonstration of noise and techno minimalism at its purest, most affective, rudely intent on massaging or even masticating your grey matter into unstable states.
The four parts of Focus on the Centre of Your Skull draw on a strong heritage of dub, noise, techno and metal yet could never quite be accused of imitating any of them. Rather they cut thru all fields at once to irrigate their own furrow of mutant, roiling drone which exists in a strange paradox of pulsating momentum and aching stasis, eaten away by caustic FX which bluntly work their way in like parasitic organisms.
Great, visceral stuff.

Killer album of ferric, monotone, fizzing electronics, slowed down Bunker Techno and heavily atmospheric field recordings unearthed and compiled by Golden Püdel's impeccable selector Nina (veteran of mixes for the likes of Blackest Ever Black's Krokodilo Tapes and Berceuse Heroique) and Tobias Duffner's VIS label.
Scheich in China make exactly the kind of stuff you'd hope to hear during one of Nina's farreaching but focussed DJ sets and comes from another one of the club's elusive and extended possee, someone who alongside their nocturnal activities spends their time beekeeping.
Their self-titled LP bluntly stakes out malefic intent to hypnotise thru narcotic effect and textural attrition with a wickedly stubborn, unflinching style and greyscale, atonal palette that's deeply entrenched in a bunker mindset.
On the A-side they lash us into a trio of ever-decreasing drone techno circles primed for the grungiest DJs and clubs that crave a bit of murk on the 'floor, but the record's biggest attraction in undoubtedly the B-side's 18 minute tract of treated and re-wired field recordings, all processed with a cold, hollow, metallic finish that make us feel like some invisible entity haunting the Hamburg docks and Reeperbahn at 6am.
If you fell in love with Alessandro Cortini's impeccable run of releases over the last few years, this one's a must

Immersed in the early days of the 90s midwest rave scene, Bill Converse began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Twonz were key early influences. Since moving to Texas in 1998, he has experimented with analog techniques in varied studio bunkers. Early techno, noise, ambient, tape, and paranormal processing are all part of his uncanny sound palette.

'Meditations/Industry' is Converse's debut vinyl release, collecting material from a cassette release on Obsolete Future. The tracks were recorded to tape with no overdubs in 2012-2013. As the title implies, the album places meditation inside tactile sonic processes. Bill is informed by his surroundings, influenced by scenes of desolation in nature, the sea, the desert, and places of industry, like power stations, old factories, and warehouses. The songs on this full length reveal a sublime influence from Detroit techno, early Chicago house, and Acid.

The album was recorded and mixed by Bill at his home studio in Austin and mastered by Dave Alex. All songs were EQed for vinyl by George Horn at Fantasy Studios in Berkeley. A custom-made jacket designed by our in-house designer Eloise Leigh incorporates the abstract cobalt glaciers, reminiscent of blueprints, over a dark gray background. Each copy includes a postcard with notes and a photograph of a mountain range that looks like ocean waves.

One of the most popular tracks from last year's "Survival Of The Fittest" LP finally gets a single release and the remix treatment from Reggae Roast's Vibration Lab. Taking the track in a deeper, more digital direction, the veteran duo have crafted a classic slice of modern dancehall, reminiscent of the legendary sounds of Gussie Clarke and that timeless 90s vibe. Flip it over for a dubwise version for your own MC or singjay to get busy with.

Following the RVNG reissues of A Period of Review (ranked the No. 7 reissue of 2014 by WIRE) and Artificial Dance (ranked the No. 2 reissue of 2015 by WIRE) Closed System Potentials, recorded in 1979 and originally released in 1980, finds its way back to vinyl in a completely remastered + expanded edition. The LP includes two previously unreleased tracks plus the included digital version includes an additional two unreleased tracks, all taken from the original CSP sessions

Lena Platonos is a pioneer of the Greek electronic music scene of the 1980s. She produced and released her second solo album, 'Gallop', in 1985 that we reissued in 2015. The album is made exclusively using analog synthesizers and heavily features the iconic Roland TR-808 drum machine. Lena narrates each song, reciting her own surreal Greek poetry with unique skill. Lena says of 'Gallop', 'It's a study in the mythology of urban population of the contemporary metropolis and also a gaze into the future life of it.'

We've asked Red Axes to chose their four favorite songs from 'Gallop' and create remixes for each one. Red Axes is Tel-Aviv based producers and DJs Dori Sadovnik and Niv Arzi, releasing their own productions and remixes since 2009 on I'm a Cliché, Correspondant and Hivern Discs. The duo was raised on a steady diet of post-punk, new-wave and Italo-disco at fogged out warehouse and basement parties. They've transform 'Witches' and 'And We Hear 'I Love You'' into solid dancefloor tools. 'No. 9' and 'Liqueur Ruby' transport the listener to a hypnotic state tripped out in a psychedelic mist, with the latter featuring middle eastern rhythms by fellow Tel Aviv musicians The Dirty Lizards.

All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket riffs off the original 'Gallop' cover, isolating the photograph of Lena layered on a grid backdrop designed by Eloise Leigh. Each copy includes a two-sided postcard with a manipulated frame from one of Lena's music videos. 'In an era where we are obsessed with nostalgia, Red Axes achieved something against that grain while still paying homage to the underrated greats that came before them.' - Anthem Magazine

UK techno label Timedance releases its second record of the year courtesy of Lurka,fresh off the back of a collaboration record with label owner Batu last month. It is undoubtedly some of his finest and most experimental work yet.

The A-side Beater brings a meticulous blend of clever sound design and one of the most thunderous kick/snare patterns you'll hear. Seriously tough. Density introduces a sea of rippling arps, set to a back drop of deep sub bass. It is probably Lurka's most melodic and introspective track yet, whilst still keeping his trademark percussion work.

This album by Tadd Mullinix and Daniel Meteo originates from a studio session that took place in Berlin back in 2007. Mullinix presented the idea of working on a series of rhythms he made in the style of the early digital age of Jamaican producers during the mid-80's (starting with Prince Jammy's Sleng Teng). One very intense week later, Mullinix and Meteo mixed down about 15 tracks that combined original dub beats that included handmade recordings of guitars, organs, keys, off beats, and melodies with plenty of echoes, delays, drop-outs, and the vintage character of the Berlin studio.

With the exception of two tracks they contributed to compilations released by labels run by mutual friends (Monkeytown and Shitkatapult), Mullinix and Meteo never put these recordings out for others to hear. The two have maintained a strong friendship over the years and recently decided that it was the right time to release a complete album featuring 6 of the recordings plus two alternative mixes under the name MM STUDIO - GOOD STAR DUBS. Listening today, the music seems to have even more bittersweet deepness, rolling out touching basslines, deep space echoes, and a reductive, intense musical approach.

Mullinix lives in Ann Arbor, MI, and has produced countless EPs, singles, albums, and remixes under several monikers including JTC, 2AMFM, and Charles Manier to name a few. He is probably best known for his advances in hip-hop production as Dabrye (released on Ghostly International).

Meteo lives in Berlin and runs the record labels Shitkatapult and Albumlabel. He also works with Random Noize Musick where he publishes the music of artists such as Apparat, Oval, and T.Raumschmiere. Meteo has released two solo albums and several others as half of the duo Bus, a collaboration with Sun Electric's Tom Thiel.

Series-A was the duo of Sam Anderson aka DJ Maestro and Dave Webb aka Kid Fresh. Sam and Dave both grew up listening to the sounds of the Electrifying Mojo on WJLB in Detroit. They met in 1983 at a DJ gig that they were both hired to play. In 1986, they collaborated on the Nu-Sound II Crew project. After developing a friendship with Juan Atkins, they became hip to the emerging new club sounds that were to become electro and techno.Their subsequent project, Series-A, was named after different car model numbers, but also hints at the evolution of humankind into a new species.

In 1987, Series-A recorded the single Evolution 5 Technology' at Spectrum Sounds Studio in St. Clair Shores, Michigan. Their set up was a vocoder, E-mu Emulator III, Roland 909 drum machine, and an Otari 24-Track recorder. They landed a record deal with Satellite Records in Burbank, California, which had been founded by Pete Moore of The Miracles. After pressing 50 promotional copies, the label ran into financial problems, and the record never reached a full release. Taking cues Kraftwerk, Grand Master DST, Grandmaster Flash & Jam Master Jay, Series-A created dark electro beats in an era when sampling appeared to be the future of music. Lyrically the song addresses our species' entry into the technological age. For this EP reissue, the 7' Mix and Dub Mix are included on the A-side. On the flip is a new remix by prolific Ann Arbor producer JTC, an alias of Tadd Mullinix (aka Dabrye, SK-1, & Charles Manier). JTC speeds up and expands the song to seven minutes. Drawing on influences from Ron Hardy to Jeff Mills, he drives around suburban techno landscapes while simultaneously launching the listener into deep space.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is specially designed by Eloise Leigh and features a cyborg fossil motif with RGB color band and gradients. Each copy includes a post card with with notes.

Brooklyn's Dub-Stuy announces a new release series inspired by the tradition of Jamaican dancehall riddims and their enduring popularity. Taking a cue from Greensleeves' rhythm album series, Dub-Stuy's riddim series reimagines classic dancehall anthems with a bass music twist and a worldwide line-up of vocalists.

The first in this new series is an update to King Jammy's 1986 Punanny riddim by Brooklyn-based DJ Madd, who adds a double-time swing, pulsing 808 kicks and some serious sub bass pressure to the original while keeping the unforgettable hook intact. Taking turns to vocal the riddim is a cast of four MCs: Turbulence, Kingston's rudeboy-turned-rasta whose breakout single Notorious still rings loud today, Mikey General, the British-born singer whose beautiful tenor is a fixture of conscious reggae music, Miss Red, the young Israeli female MC taking the European scene by storm, and Kurry Stain, an upcoming lyricist from Kingston who has been working with JA Productions. Each MC brings their own distinct style to the track, giving us four versions of a timeless classic.

Punanny 2016 is released as a 2x7' pack - perfect for the vinyl fans and collectors - and in digital formats with colourful artwork that celebrates the legacy of this classic. A summer anthem ready to burn up the dance from Kingston to Tokyo!

ARtroniks - Torodial / Shifted' is due to release on the 1st of April 2016, catalogued as DUPLOC012.
duploc has been putting out dubstep since April 2015 and to celebrate one year of digitally-released music, the Belgian platform stepped up its game and decided to release its first vinyl record. Founder Pieter Grauwels emphasises that it's not his ambition to simply be an average digital label and combines that spirit with the aim to provide his artists with a physical format as well. However it's definitely not evident to release a dubstep vinyl in Belgium, it's been four years since a Belgian label did so. releasing a 12 vinyl featuring two highly-anticipated dubplates from none other than resident ARtroniks.

The Ghent-based ARtroniks was featured earlier onwith appearances onDUPLOC005 and DUPLOC009. Now it's time to welcome back Belgium's dubstep frontman with his own proper vinyl. ARtroniks is a well-respected resident in and around Ghent for quite a few events. Though internationally he's not passing by unnoticed, as the 23-years-old is strongly supported by DJ N-Type and J:Kenzo on their Rinse FM shows. Above all he was the first Belgian who had an episode on GetDarkerTV. Catalogued and titled as DUPLOC012, Torodial and Shifted will be exclusively available on vinyl for two months. A limited edition of 300 copies will be available via all the relevant vinyl stores from the 1st of April 2016. 100% Belgian brewed dubstep.

The Midnight Shift White Label series (MNSW) features full EPs from the label's artists. Where mood meets melody. Following the emotive and personal 'The Journey' EP from Eddie Niguel, Kaspar (Lisbon, Portugal) and former RBMA participant in '05 now brings his 'Sisyphean Rage' EP to the table. Of the legend of Sisyphus and his endlessly laborious and futile effort this EP is not. Instead, it is a remarkable breakthrough for the long-standing artist, with combined light from both Detroit's Jerry The Cat and the ever uncompromising Kirk Degiorgio for the remix. The leading track, 'Ravisher' sees Ka§par flexing his mettle under the spotlight. The ruff n' tuff house-meets-techno tumble will perk the ears of even the most seasoned listener as ripe for the dancefloor. An original composition is paired with comfortable expression, and casts a new stone in the heart of both genres. The B side shows the other side of Ka§par and delightfully, makes just as a powerful impression. One may know Jerry The Cat as a producer, DJ or percussionist on Theo Parrish and Moodymann productions, but the multi-talented cat puts on his singer-lyricist hat here for the personal anthem 'Let Me Be'. Backed by Ka§par's mod take on proto electro, it's a revival gem captured on vinyl. On B2, Kirk Degiorgio completes the all-rounded package with a less-says-more emotional instrumental, waiting needle to groove for that perfect moment.

Made up of Tom Bellamy (ex-Cooper Temple Clause), Paul Mullen (ex-YourCodeNameIs:Milo/Young Legionnaire), Eddy TM (DJ/new music radio and club guru) and Dean Pearson with years of history across a huge range musical landscapes, Losers are the rarest of species, a band with no safety net and no conformist formula to follow. Their previous material has crossed over a huge range of styles and genres with their earlier dance driven material developing all the way into the more rock driven and poignant emotive output of their previous album. Now, Losers are back with another more developed new outlook, as a new band, and more importantly, with their new album 'How To Ruin Other People's Futures'.

Losers' previous album '...and so we shall never part' was received with critical acclaim across a huge range of publications spanning from electronic all the way through to the rock press. The album also saw multiple tracks synced to the likes of the London 2012 Olympics, Game Of Thrones, CSI, Michael Bay's Black Sails, Xbox title Far Cry 3 and more. Achieving acclaim across the industry '...and so we shall never part' has also earned plaudits from the likes of Zane Low and Rob Da Bank alongside Gary Numan and the legendary Sisters Of Mercy, who both handpicked the band to tour with them in 2013 and 2014 respectively.

For long-time Losers fans 'How To Ruin Other People's Futures' will be seen as a rapid evolution to the bands top form. The new album is a free falling head first descent into the bands new dark, brooding and emotionally brutal sound. Crushing electronics reminiscent of HEALTH collide with instrumental and vocal dynamics and intensity that call to mind the sounds of early-Nine Inch Nails, whilst the lyrics are far more visceral and caustic than before. On tracks such as 'Chainsaw' and 'This Is A War' Losers exhibit their newly found raw power and abrasive edge, at times calling to mind the electronic punk edge of early-Prodigy albums. The lyrics are contemplative and full of ferocity, however they also induce feelings of transfiguring uplift. 'How To Ruin Other People's Futures' is the culmination of what Losers have been working towards over the past four years, harking back to the more guitar driven, melodic work of their second album, and even the more dance driven sound of their earlier incarnation, whilst eagerly succumbing to their darker and heavier sensibilities.

Made up of Tom Bellamy (ex-Cooper Temple Clause), Paul Mullen (ex-YourCodeNameIs:Milo/Young Legionnaire), Eddy TM (DJ/new music radio and club guru) and Dean Pearson with years of history across a huge range musical landscapes, Losers are the rarest of species, a band with no safety net and no conformist formula to follow. Their previous material has crossed over a huge range of styles and genres with their earlier dance driven material developing all the way into the more rock driven and poignant emotive output of their previous album. Now, Losers are back with another more developed new outlook, as a new band, and more importantly, with their new album 'How To Ruin Other People's Futures'.

Losers' previous album '...and so we shall never part' was received with critical acclaim across a huge range of publications spanning from electronic all the way through to the rock press. The album also saw multiple tracks synced to the likes of the London 2012 Olympics, Game Of Thrones, CSI, Michael Bay's Black Sails, Xbox title Far Cry 3 and more. Achieving acclaim across the industry '...and so we shall never part' has also earned plaudits from the likes of Zane Low and Rob Da Bank alongside Gary Numan and the legendary Sisters Of Mercy, who both handpicked the band to tour with them in 2013 and 2014 respectively.

For long-time Losers fans 'How To Ruin Other People's Futures' will be seen as a rapid evolution to the bands top form. The new album is a free falling head first descent into the bands new dark, brooding and emotionally brutal sound. Crushing electronics reminiscent of HEALTH collide with instrumental and vocal dynamics and intensity that call to mind the sounds of early-Nine Inch Nails, whilst the lyrics are far more visceral and caustic than before. On tracks such as 'Chainsaw' and 'This Is A War' Losers exhibit their newly found raw power and abrasive edge, at times calling to mind the electronic punk edge of early-Prodigy albums. The lyrics are contemplative and full of ferocity, however they also induce feelings of transfiguring uplift. 'How To Ruin Other People's Futures' is the culmination of what Losers have been working towards over the past four years, harking back to the more guitar driven, melodic work of their second album, and even the more dance driven sound of their earlier incarnation, whilst eagerly succumbing to their darker and heavier sensibilities.

Skeptical will be opening the Exit Records 2015 release schedule on 19 January with a 4 track 12" EP. Believe it or not, this is Skeptical's debut solo release on Exit, with previous contributions
consisting of his monster collaboration with Dub Phizix and Strategy, the mighty 'Marka', as well as individual tracks on the Mosaic series 1 and 2.

The EP features the percussive roller and title track 'Imperial', which has been taking dance floors deep into the jungle over the last few months in typical Skeptical fashion. As usual with his tracks this is not laptop music. Sub bass is essential to appreciate the full production qualities and the whole EP
demonstrates his power to achieve the utmost with the very minimum.

Skeptical has been building a head of steam and moving into 2015 he is set to come to fruition with more solo releases and collaborations in the pipeline.

* Utah Jazz returns with his best work yet for his fifth studio album.

* 'Despite hovering quietly at the contours of the drum & bass world, Luke Wilson's enduring status as a liquid-funk deity is down to his USP - which has barely changed in 15 years. 'From the off, album number five sparkles with the dusty, crackly, soul-sampling aesthetic that has made him an international promoters' dream.' - 9/10 - DJ Mag

* DRS features on 'Can You Handle It' and shows the harder gritter side of Utah.

* Random Movement also teams up with Utah Jazz to bring you the disco infused 'Be Right Here'.

* Support from Beats 1, London Elektricity, DJ Marky, Spectrasoul, Bryan G, BCee, Lenzman, Doc Scott, LSB, and a whole load more...