Beats Новости

sculptress of sound. radical illusion. the mathematics of emotions. rooster personality. greim love. ernst. network-mycelium. exec friendship crews. sonic wilderness. club aesthetics without club. 544 reasons to live. adult-hollow-hood. transformation capacities. the radical self. the internet and our potential to become cyborgs. pitch, shape, colour & tone. snowden revelations and the crew. public reverberation. non-human spaces. wild code. thoughts on capitalism within the human agency. sonic editing. between radigue - xenakis - influences of grime. the end of the CD object. wither-beauty. ink leftovers. silly poetess extravanganza. this is my process. thankfulness.

Kon:3p>UTION to: e[VOL]ution is the 9th solo album of the artist and producer AGF (Antye Greie, also Anye Greie-Ripatti or formerly Antye Greie-Fuchs, Laub). It is the 30th studio album as executive producer in collabarations with Vladislav Delay, Gudrun Gut, The

Edition of 100. Cover printed on Curious Metallic Perle Akoya paper. Red transparents tapes.

Braids are a three-piece experimental pop band from Montreal. In the spring of 2015 they released Deep In The Iris, their standout third record. Companion is the band's latest 4 track EP, written during the Deep In The Iris sessions, and completed during a burst of creative energy in August 2015. Here Braids use the palette of Deep In The Iris to paint decidedly different vistas - joy, disaffection, thunderous explosion to delicate introspection, the minimalistic power of "Companion" to the patient blossoming of "Sweet World". Distinct in their own right, these 4 songs are not to be dismissed as B-sides, outtakes, or the lesser of a group of songs. Though it uses Deep In The Iris as a compositional guidepost, Companion is a breath-taking journey all of its own.

Braids are a three-piece experimental pop band from Montreal. In the spring of 2015 they released Deep In The Iris, their standout third record. Companion is the band's latest 4 track EP, written during the Deep In The Iris sessions, and completed during a burst of creative energy in August 2015. Here Braids use the palette of Deep In The Iris to paint decidedly different vistas - joy, disaffection, thunderous explosion to delicate introspection, the minimalistic power of "Companion" to the patient blossoming of "Sweet World". Distinct in their own right, these 4 songs are not to be dismissed as B-sides, outtakes, or the lesser of a group of songs. Though it uses Deep In The Iris as a compositional guidepost, Companion is a breath-taking journey all of its own.

It's hard to believe that it's been over a decade since Digitalism broke through with their anthemic 'Zdarlight'. Nu-rave and dubstep came and (largely) went, hip-hop morphed into trap, and EDM made pop stars out of dance DJs. Back with their third album, 'Mirage' - some five years on from sophomore record 'I Love You, Dude' - the German duo have wisely resisted any vogues or trends. Instead, they present a record that takes their much-loved sound and opens it up to new permutations and possibilities.

'Mirage' sees Digitalism return in their most complete and coherent incarnation yet, the album spanning euphoric radio-friendly electronic pop and guttural dancefloor bangers with equal aplomb. Their songwriting craft has stepped up a notch too, their vocal tracks delivered with more conviction than ever and once again firmly placing them in a position as an act with big crossover potential.

With a newly focused approach, the duo put together 'Mirage' in the relatively short space of six months. This time the production felt so natural and clear,' says Isi. Our secret is our new light-heartedness.' The album was inspired by deprivation and travel' - a nod to both the trials of their extensive touring that has taken them everywhere from Coachella to Melt!, and their respective residences in London (Jence) and Hamburg (Isi). Usually, the best ideas just come to us when there's not much going on immediately around us', Jence explains of their creative process. When you're forced to imagine things, that's when inspiration is best. You know, when you switch off the light in our bunker studio, it's really dark, and there's nothing - until you start creating things in your head - and then as music.'

Dashes of disco, French touch, prog rock, rave and hip-hop are thrown into an eclectic sound palette that colours the album. From the full-power electro-indie of 'Battlecry' to the upbeat rock flavour of 'Go Time' and the euphoric melancholy of 'Utopia', their sensibility for storming riffs and melodies hasn't waned one bit. Then there's the scintillating epic 'Destination: Breakdown' and glitchy electro-rap 'Ism' showing yet more accomplished diversity. The two-part title track shows the evolution of their synth work in stunning fashion, beaming in inspiration from the greats like Vangelis and Tangerine Dream across a mesmerising twelve-and-a-half minute journey that makes for an impressive album centrepiece

First of all it's probably a snapshot of our thoughts, like a brain scan', says Jence on his evaluation of the new album. "It's a soundtrack to our own world, but so vaguely put again that other people can identify with it, or come up with their own analyses. It's meant to be something fantastic, something beautiful, yet fragile. Maybe a parallel universe that you step into, and you get stuck there. Or you get back into normality, had a hell of a ride, and count the days until you can visit it again. It's meant to stimulate your imagination.'








[H] 08. Mirage [Part One]
[I] 09. Mirage [Part Two]

Full Stepper Dub technoidal sound. Bristol Connection !

A master of crafting complex, intelligent, original productions, 2016 sees Flume return to the spotlight with the much anticipated 'Skin' album, via Transgressive Records. 'Skin' features such global superstars as Beck, Vic Mensa and the UK's own AlunaGeorge. Lead track 'Never Be Like You' (featuring Kai) roared to the top of the Australian singles charts and has gone on to become a genuine global hit.

CD 1 | Helix
CD 2 | Never Be Like You feat. Kai
CD 3 | Lose It feat. Vic Mensa
CD 4 | Numb & Getting Colder feat. Kucka
CD 5 | Say It feat. Tove Lo
CD 6 | Wall Fuck
CD 7 | Pika
CD 8 | Smoke & Retribution feat. Vince Staples & Kucka
CD 9 | 3
CD 10 | When Everything Was New
CD 11 | You Know feat. Allan Kingdom & Raekwon
CD 12 | Take A Chance feat. Little Dragon
CD 13 | Innocence feat. AlunaGeorge
CD 14 | Like Water feat. MNDR
CD 15 | Free
CD 16 | Tiny Cities feat. Beck

A joint release by LA's Hippos In Tanks and Montreal's Arbutus Records, the Darkbloom EP is a thrilling split by d'Eon and Grimes. Harnessing the dark energy of her sophomore album Halfaxa, along with the shimmering dream pop of her debut Geidi Primes, Grimes' side represents a synthesis of her two sonic personalities. Displaying a level of clarity and craftsmanship heretofore unseen in her releases, Boucher presents a stunning new collection of ethereal dreamscapes that expand her creative palette without compromising the spectral presence she is known for. Following the Middle-Eastern-tinged R&B of 2010's Palinopsia, d'Eon broadens his stylistic breadth through reference to a number of electronic genres - for example, he simultaneously incorporates elements of Chicago footwork and new jack swing, but surprises the listener with strange forays into bygone genres such as UK drum and bass and trip hop. Presently available worldwide on CD and Digital formats, Darkbloom will be available on vinyl, for the frst time in many territories, on May 20th, 2016.

She was a composer who wrote scores with geometric shapes, a poet who became a pioneer of early electronic music. Joanna Brouk's little-known body of work exists at the nexus between ambient, new age, drone, and classical minimalism—stark in its simplicity, lush in its expanse. Studying under Robert Ashley and Terry Riley at the fabled Mills College Center For Contemporary Music before graduating into the margins of the 70s bay area new music scene, Ms. Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power. Describing herself as less a composer than a channel, she took her cues from the frequencies of the natural world and the talents of collaborators like Maggi Payne and Bill Maraldo. Hearing Music collects for the first time the deepest cuts from her beguiling and rare cassette releases and her archive of previously unreleased recordings.

'I realized that, in many instances, it didn't matter what you said, it mattered how you said it: the tone of the voice, the rhythm, the sound.... Because sound has an incredible effect on other people, it can mak e them dance, put them into trances, it can control emotions by a certain pitch, a certain depth.' - Joanna Brouk

'Explosive, buoyant, electronic R&B, comes across like an oddball Stevie Wonder filtered through a 23rd century landscape' Clash

'Sitting somewhere between a less animated Thundercat and a more off-the-wall Stevie Wonder, Abacus' serious soul-n-funk really adds up..." i-D

'Hooked up with psychedelic synths woven together like a Tame Impala/Neon Indian cross-stitch, Abacus vows to not melt away like the drippy sonics his Soul Train-via-Flaming Lips soundscapes evoke.' SPIN

Hailing from the 'wonderful world of people from different cultures' that is South London, Jodie Abacus sprang onto the scene this year with a sound that is as classic as it is futuristic.
In early 2015, Jodie uploaded 'I'll Be That Friend' to Soundcloud - a track that picked up over 100,000 listens in its first week; it catapulted through the blogosphere and immediately hit the #1 spot on HypeMachine. His organic blend of feel good creations was deemed a breath of fresh air and championed by the likes of Clash, DIY and more recently, Tidal and i-D. Now, his appropriately titled first single, 'Good Feeling' danced from strength to strength after being backed by Radio 1Xtra stalwarts MistaJam, and Trevor Nelson and his recent single, 'Hot Kitchen' was championed by Annie Mac and Lauren Laverne across the BBC Radio Networks.
It's Jodie's infectious and humorous attitude that is truly the driving force behind his music. His inspiring lyrics, quirky nature, and vibrant visuals create a surreal and original world, all stitched together with a humble yet animated approach.
Enamoured with the LA school of funk (think Thundercat and Dam Funk) but taking inspiration from artists like Stevie Wonder and The Beach Boys, Abacus is creating uplifting soul music, filtered through contemporary, electronic beats. Whilst being described by many in the same breath as Pharrell Williams, Jodie knows he has a long way to go and can't wait to share more of his neo-funk pop tunes with us.
One thing is for sure, Jodie Abacus is a natural magnet for the good times and if you don't believe us, follow him on Snapchat- @jodieabacus

Lone AKA Matt Cutler presents his 6th album 'Levitate' - which marks a point of departure from the inviting warmth of 'Reality Testing's blend of hip hop and house - the listener is taken on a rapid joy ride through breakbeats that at times will leave them gasping. Following previous album 'Reality Testing' (and it's all conquering single 'Airglow Fires'), Cutler was left at somewhat of a musical impasse - a 6 month dry period with no new inspiration that was showing no signs of abating. The 'epiphany' moment came in New York. Bed ridden and feverish for days Cutler started to hallucinate; 'It was pretty terrifying - I'd try to go to sleep and I'd be hearing mad rave tunes form in my head. When i recovered i was left with all these ideas for fast, feverish tunes. Following that we went to LA and hung out with friends, driving round all day in the baking sun playing jungle and hardcore edits - all the best bits from rare jungle tunes spliced together. There was something that really seemed to fit hearing these energetic tracks whilst speeding around LA under perfect blue skies, that was amazingly similar to music I'd been dreaming up whilst in New York. I couldn't wait to get home and start putting this together - I had a new theme.' The result is an incredible 9 track LP, a breakneck psychedelic journey through hardcore, jungle, ambient, clocks in at a fat-free 34 minutes.

Following on from the underground success of Florist's debut EP, All Caps first release of the year sees the label pluck from the ether 6 transmissions by debut artisté - Neuroshima.

Cavernous Breaks. Fluid Subs. 1992. 2016.

My friend & i used to listen to this during the summer of 94, gazing out his bedroom window at sunset, watching the birds fly past the water tower on the horizon. One of the rare times when both of us would shut up for a few minutes and get lost for a bit...'

*Each record comes packaged in a mirrored silver-board sleeve + custom insert designed by Florist.*

Telebossa's Nicholas Bussmann is once again, after 2012's "Like You", transforming into Nicholas Desamory to release 'You only need to know how it feels to believe' - a House album of such warmth and rough elegance, it will leave the scene all excited. House has always been an open genre, allowing to sample, adapt and incorporate other styles. On 'You only need to know how it feels to believe', it's the reduced string and vocal arrangements that lead to this album's specific sound - the warmth - and evoke at the same time the great Norman Whitfield and the infamous Arthur Russell. This is how House music has to be in 2016!

In recent years, Nicholas Bussmann has brought manifold works into being. His latest releases include two cooperational albums with Chico Mello: Telebossa - a mélange of Brazilian songwriting, precise electronics and minimal music, receiving rave reviews and gaining nominations for many rankings of the year. In addition, together with drummer Martin Brandlmayer (Radian) Nicholas Bussmann released two complementary electro-acoustic albums: Kapital Band 1 '2 CD' and 'Playing by Numbers' and in 2010, he brought to stage a concept for a modernized opera with Barnes Dance.

"Convivium" is Mario Diaz de Leon's third album under his ONEIROGEN alias, and follows the "Plenitude" EP, released in 2015. It was developed over a period of two and a half years, primarily through live performance in the metal and noise underground of NYC. Like its predecessor, the album's core instrumentation is an array of hypnotic synthesizer riffs, pummeling percussion, distorted vocals, and surging noise. With "Convivum", Diaz de Leon has crafted a powerful and singular work of heavy electronic music.

A charged sense of anticipation permeates the music, sustaining tension and mystery through spans of repetition and moments of rupture. The songs build towards hedonistic climaxes, which yield to sparse, expansive passages in which every sonic detail is vividly heard. Inspired in part by Bataille's "Erotism", which connects the "rupture of boundaries" common to sex, mystical ecstasy and ritual sacrifice, as well as the work of psychologist Stanislov Grof on the impacts of birth trauma on the human psyche, "Convivium" is an incantatory journey through primal and dark creative forces.

The artistic output of Mario Diaz de Leon spans a wide range. In addition to his work as Oneirogen, he is highly active as a composer of modern classical music (with a 2016 commission from the LA Philharmonic and releases on Tzadik and Denovali), and is the frontman of Luminous Vault, his recently formed death metal band. Envisioning all of his activity as part of a spiritual practice, he considers Oneirogen to be the most personal side of his work.

"It's just me producing everything, and of course I perform it alone as well." he explains. "Each album is a kind of personal trial or rite of passage. As someone who also works in the classical tradition, I think of them as my symphonies. Its a project where i'm open to all my influences, and i'm entering into mystery and the unknown, battling to carve essences out of formlessness."

Operating within the same realm as Pye Corner Audio, Pentagram Home Video's debut LP for Death Waltz Originals offers up a dystopian analog synth attack swathed in layers of distortion and heavy pounding drums, it works as an imaginary soundtrack in your headphones but also as a powerful beast on more adventurous dance floors all the time being super melodic too.

Strictly limited edition of 400 copies (200 for the UK , 200 for the USA) 180g black vinyl housed inside a 425gsm single pocket jacket.

REPRESSED !!
Sam's debut EP on XL incorporates bright experimental production that showcases the wide range of his versatility and influence

Hotflush Recordings is delighted to announce the arrival of a second full length from Sepalcure, the American duo made up of Travis Machinedrum' Stewart and Praveen Braille' Sharma. Arriving four and a half years since their acclaimed debut, 11 track album Folding Time is a singular and tender statement that lands in May 2016.

This special coming together of distinctive musical minds produced a much-loved, self-titled debut LP in 2011, plus six EPs between 2010 and 2013, all of which suggested a penchant for broken beats and bright melodics. Both have since furthered their accomplished solo careers - Braille released his debut solo album Mute Swan, while Machinedrum's experimental exploration of Vapor City landed on Ninja Tune - that have kept them busy in the studio as well as on the road. As such, and owing to their insistence that any production work had to be done in person "since that results in a certain sound and experience you just can't recreate remotely', the new record took some time to come together.

The album, written over many bottles of whiskey, is made up of brand new music, but also tracks that have been worked on, forgotten, then revived over many years. Its title comes from the fact that, it felt like we were connecting the present with the past.

Going through each session was like digging through old memories.' Stylistically, of course, this pair have very different musical DNAs, but that means studio work cooks up many surprises along they way and results in an album that is awash with everything from field recordings to guitars and electric piano. It is a mix of playing and programming, has many multilayered tracks full of intimate and personal easter eggs and is, essentially, two homies hanging out and having fun, a meeting of our minds.'

Right from the distant vocal mutters and blissful guitar licks of opener 'Fight For Us' featuring Rochelle Jordan there is an seductive r&b sensibility to proceedings. Tumbling drums and pained vocals have you in a love locked free-fall before 'Not Gonna Make It' gets to the point with Sepulcure's trademark stuttering drums and fractured vox. 'Devil Inside,' featuring the pair's long time friend and collaborator Angelica Bess, is future pop from a perfect world, 'No Honey' strips things back to a harmonic headspace of bumpy rubber kicks and percolating jungle percussion, then 'Been So True' shows a playful side, lovable sense of sampling and broken reggae rhythm. The second half of the album explores direct dance floor grooves on 'Hearts in Danger', snaking synths and reverb rich beats on 'Loosen Up' and deeper, more introspective moments on tracks like 'Dub Of' and 'Brother Forest' before closing down with a brace of blissfully melodic and dreamy excursions to a beach during sun down.

With plenty of well-paced peaks and troughs along the way, as well as a underlying sense of humour and a very real human warmth, this is an album that works on both head and heel in equal measure.

PaperSkies is the latest release from French producer Somepling. It consists of eight, chilled, jazzy tracks. LP comes in a limited deluxe edition of 275 copies, printed on quality paper by engraver Jérôme Bouchard from original engraving. All copies are hand-numbered, and pressed on 180gr vinyl. 12''x12'' silk-screened insert included.

Tempo Records is proud to release three brand new tracks by Soul Intent. These tracks highlite the current state of modern Jungle (& Drum and Bass). "Give Me A Dub" on the full A side is all about heavy Amen drums and phat basslines, one for the late night hours (or early mornings). "The Dread" uses smooth drums and slick heavy subbass-lines, it's a hazy, dreamy track but dark & menacing at the same time, a wicked tech roller that echoes deepness reminiscing of that golden Jungle era. "Heaven ft.E" is all about melancholy with it's "crying" emotional deep male "Heaven" vocal, together with E's live saxaphone contribution and cleverly chopped-up Apache drum programming, this track reminds us of those special Bluenote/Speed days back in 1995-1996. This release comes as a limited 140g clear vinyl pressing with full artwork sleeve + white glossy inner sleeve, including a mp3 download voucher + a free poster/inlay and all tracks mastered by Stuart Hawkes of Metropolis Mastering London.
Early DJ Support & Feedback
Klute (Commercial Suicide) I really like The Dread
Doc Scott (31 Records, Future Beats Radio) Thank You!
Zero T (Footprints, Quarantine) nice1
John B (Beta, Metalheadz) BOOOHHHHHHH
Hyroglifics (Metalheadz) x
SB81 (Metalheadz) Nice one!:)
ArpXP (Metalheadz)sick!
DJ Flight (Play:Musik, Metalheadz) Heaven is cool, I'm always a sucker for a bit of Apache
DJ Storm (Metalheadz) Good tracks
Etherwood (Hospital) Decent
Chromatic (Innerground Rec) Big tunes! :)
DJ Clarky (Metalheadz) nice selection of tracks here
Chris Su (DSCI4) Nice old school vibes
Script (Metalheadz) Nice tunes. Very old school. I like:)
M-Zine (31 Records) thanks for the dubs!
Mutated Forms (C.I.A. Rec) massive!
Brian (Translation Recordings) Heaven Tempo is the one! Killer drums and vibe
FD (Critical Rec) Feeling this Heaven ft. E track!
Philth (C.I.A. Rec) Nicely done

REPRESSED !!

Fresh from his Phonat-remixing OWSLA outng with ASA, Sorrow jumps aboard the good ship Fent Plates with fve stunning slices of futuristc garage soul. "Chronicle" ignites with icy ambient charm before hurtling into a soppy wet two-step groove while "Cypher" jumps with more of a D&B-infuenced two-step and oozes all manner of harrowed textures. Flipping the switch with sof sonic sentments, "Kalypso" fexes a smouldering slow moton halfime vibe that provides heaps of space for the shimmering guitars and dreamy faraway vocals. "Lover's Charm" contnues the theme of sexiness thanks to more arrestng vocal cries and a cool juxtapositon of industrial drum mechanics and lush organic instrumentaton. "Mourner" closes the show on a much more refectve, moodier note, representng Sorrow at his fullest and most forward-thinking.

REPRESS

Warm release again from the Arhus - Regelbau team. A 12 stuffed to the brim with music by C.K & Timeman, DJ Sports, Optic & Maizena !Rhythmical ambient house music á la izquierda !

With bonus MP3 disc of instumentals and acapellas.

It's an EP by Archie Pelago, a Brooklyn-based band that's played both the Mister Saturday Night and Mister Sunday parties. They're a trio of players whose lighthearted name belies the seriousness of their music. Consisting of a classically trained cellist, a classically trained saxophone player and a live programmer/DJ, they make songs that work as well on dancefloors as they do in headphones. This EP lays out their strengths perfectly: Brown Oxford swings; Alice simmers; and Frederyck Swerl pulls on the heartstrings. Handstamped by the band and the Mister guys and pressed to 150-gram vinyl with love in Brooklyn.

After his manifold debut in 2009, followed by a second album "True Life / In Flames" with focus on the grand piano, Dial Records is pleased to announce Christian Naujoks's third solo album WAVE, a dedication to one of the artist's essential instruments: the electric guitar.
Inspired by The Durutti Collumn, John Fahey, Vincent Gallo, Azalia Snail and David Grubbs, and many others, Christian Naujoks breaks the boundaries between songwriting and minimalism, folk music and contemporary art. The recordings at Electric Avenue Studios were accompanied by engineering master Tobias Levin, known for his works on Kreidler, Faust, Felix Kubin, Pantha Du Prince & The Bell Laboratory, just to name a few. With WAVE Naujoks and Levin created a sound-seductive state of the art production, ten post-minimalist guitar pieces with an appearance of the artist's signature piano style on two of the songs.
Christian Naujoks recently worked on productions with his band Sky Walking (with RVDS and Lawrence) and released a piano tape on Martin Hossbach's imprint. After a series of concerts at Berlin's Berghain and HAU, the Golden Pudel Club in Hamburg, performances and collaborations around the globe including Israel, Mexico, Vietnam and the Philippines, he returned back to his studio in Hamburg in 2015 where the WAVE started.

Building momentum at a dizzying speed, DC Breaks' debut LP is beginning to seep into every corner of music's landscape. After welcoming 2015 with resounding first single 'Faithless', premiered by Radio1's dance champion Annie Mac, they reiterated to the underground that they were back after finely tuning their creative prowess and opening up to an even more diverse spectrum of sound.

Presenting a multi-dimensional approach to music-making, summer anthem 'If this is Love' demonstrates DC Breaks' widespread appeal. Keeping the hard-lined dynamics which made them so digestible to a drum & bass fan base, whilst creating dancefloor cross-over tracks like 'Faithless', this next record is the perfect follow up to solidify their title as production heavyweights.

Incorporating live percussion whilst pedestalling that driving bassline that makes DC Breaks so destructive in clubs across the globe, the guitar stroked follow up is both beautifully composed but doesn't lack the flare which makes them so recognisable. It's the perfect starter to the year's fairer season; a track to dominate the sunlit airwaves as well as sets at festivals worldwide. Also having just delivered a monumental remix on both RAM Records and dancefloor pioneer Spinnin' Records, Eelke Kleijin's mistakes was given an up-tempo revamp which has further pushed DC Breaks into the agenda's fore front.

And their most recent announcement, which is a slot at London's biggest drum & bass event to date, the RAM Records stage at the iconic SW4 festival will see the duo bring their debut album to the decks. On top of headline slots at some of Europe's biggest festivals, including Dour, with more dates exciting dates soon to be announced, all paths this year lead to DC Breaks.
Debut album due for release towards the end of this year.

April sees Bristol bass don Facta drop his first release on Bloc with a storming double A-side, backed up with a remix from PAN and Berceuse Heroique affiliate Beneath.

Facta is one of the most exciting artists to come out of Bristol in the past few years, with a string of high impact releases on seminal UK imprints Idle Hands, Tempa, Wisdom Teeth and Soundman Chronicles. And this latest 12 is no different.

The EP kicks off with Alsatian, a deep technical bass workout that merges the UK template of airtight drum programming and the deepest of deep sub bass with a bump and roll that feels like classic electro... Watch out for the second drop, the subs are absolutely lethal.

Beneath closes the A-side with a stripped back take on Alsatian that reduces the original down to its bare essentials of shimmering drums and rumbling sub bass. A seriously deep remix that is strictly for the bass heads.

On the flip, Scotch Mist is cut from the same cloth as Alsatian, with expertly deployed junglist drum edits and some tasteful sample choices elevating the track into something really special. This has been on dubplate for nearly two years and we're really proud to finally be putting it out.

Limited Edition of 500 copies. Mastered at Metropolis

Shout It Out is the long awaited second album from Featurecast picking things up where he left off with debut record - Run For Cover.

Returning with more of his signature brand of electronic party breaks infused with Funk, Drum & Bass, Soul and Hip Hop, Featurecast serves up the goods on this collection of upbeat and energetic tunes that are guaranteed to get crowds bouncing.


[B] 02. Shout It Out (Again & Again) [feat. Illvis Freshly]

Fill Spectre (Frederick Chicoine) is twenty­five year old DJ, radio show host, self­taught producer, and sound engineer from Montreal, Quebec, Canada.

He is a decade­long guitarist and mastering engineer who also composes original music. His earliest songwriting influences were heavy metal bands, such as Martyr andMegadeth.

Fred's affection for riff­based music along his burgeoning interest in underground dance music creates his exclusive bass heavy and percussion laden sound. Spectre'scompositions shine with audio based synthesis, creative vocal samples, and fast­paced drums, with a focus on sound system depth and energy. GourmetBeats is first record label to sign Fill Spectre's music.

EATBRAIN gain another slick addition to the collective, with the latest release landing from relatively fresh Antwerp-based duo, HYPOXIA (Titan Records // DnB Arena). Members Athys and Syntopia craft a brand of Tech and Neuro DnB with a bleak aesthetic influenced by the more sinister areas of Psychology. The 'ANOVA' EP takes its name from the Analysis Of Variance statistical method, with the change here being the sinister journey into an internal void during the inception of its components.

Micha³ Wolski is a Polish musician, music journalist, radio DJ and tireless promoter of dub techno aesthetics. Eight extended compositions on his new record La Mer' (Sea) recall those special moments when sound becomes a movement of a kinetic sculpture, an abstract painting, or a cinematic report from the Arctic solitude. Personal and introvert, yet simultaneously carrying certain universal message (cosmic loneliness molecular life), sound space created by Wolski manages to seduce listener and inhale her/him for whole 75 minutes. Associations with sculptural work with matter are not purely arbitrary. On his fourth full-length, artist consciously shapes complex and saturated form, further developing - on evidence on his earlier releases - penchant for exploring darker alleys of synthesis and sound design. In his varied and consistent narration, one can find a whole range of references to noblest protoplasts such as Pan Sonic, Rhythm & Sound, or even Vatican Shadow's desert manipulation. However, the key to album's consistency does not rely on the power of quote, it rather manifests itself in sheer scale and depth of imagined atmospheres and non-existent geographies. But Wolski's constructs are much more than a set of sea sound fantasies. La Mer' is a highly individualist vision of new worlds of listening AND hearing, truly deep acoustic ecology in time of overall hiss.

The first release on Nomine Sound is a solid four-track EP from label founder Nomine,a man with over twenty years' experience in dance music.

NS001 follows from Nomine's work for Tempa by looking to the east for inspiration, a stark dread and calm zen zoning out the dance. 'Path' is a worthy continuation of Nomine's acclaimed 'Blind Man', weaving a sample from Kung Fu Grasshopper over a bed of tumbling drums, plucked strings, and sub pressure. Having centred yourself, slide into 'Peace Please' and focus on the lingering flute melody, the flourishes of X=X's guitar and haunting vocals from iustina to deepen your meditation. On the B-side, open your crown chakra for 'Lost' as iustina returns to add a melodic depth to the floating strings and subtle skank of the drums and bass. 'Mantra' closes the session with a looping prayer and subtle acid lines leading you towards inner peace.

Nomine is the alias of Andrew Ferguson, who began his career as a drum & bass DJ in 1995 under the name Rage (later renaming himself Outrage to avoid confusion with the legendary MC of the same name). Over the past two decades, Ferguson has had releases on Metalheadz, Commercial Suicide, and Tempa, toured the world more times than anyone should, set up his own pirate station, and collaborated with Bill Laswell's experimental fusion outfit Methods of Defiance. Ferguson returned to the music world in 2012 as Nomine following a short break and, when he isn't back on the decks or in the studio, can be found teaching Advanced Music Production at the University of Bedford.

Om Unit & Sam Binga; 2 names now synonymous with inventiveness, and known for their prolific output within the sphere of the fringe of Drum N' Bass and heavyweight beat music return with a collaborative EP of forward-thinking pounders for the club environment and headphones alike.

Transatlantic EP opens with the title track, a searing halfstepper built around the classic Boymerang break, with the 85bpm 4/4 on the bottom end and pounding sub hits, this one has been destroying dance floors on recent world-wide tours from the 2 artists.


Moving along we run straight into 'Onionz' a skippy break-laden cheeky take on the 'Slow/fast' sound they have become known for innovating .


side B opens with 'Full Bones' a more laid back, reese bass downbeat movement with layered synth action and a smoother feel, and fi- nally closing with the enigmatic soaring FM tones of 'Wei', another what-do-you-call it track, sounding something like grime-in-the-very-early-80's meets Dancehall and Boogie.

Moving on from the debut release on the label from Perverse, Bristol based Sepiabrings his eclectic but richly produced minimalism to IFS002, a collection of contemplative, abstracted dubstep from the Bristol based producer. Having had his music supported by numerous figurehead artists around the globe, alongside releasing on labels such as Mindstep, Indigo Movement and the latest, on Joe Nice's Gourmet Beats, Sepia makes his subsequent physical release on Infernal Sounds.

Title track Laid To Rest lays down a minimal, slow building introduction, fat, sound design within an ambient framework, jazzy guitar samples rest nicely along subtle stab of sub bass. The minimal sound design and slowly reverberating bassline, mixed in with fat, monolithic stabs and static atmospheric pads perfectly lays down the comedowny tone of IFS002.

Remember is the most conventional of the three tracks on the release, building on the chilling vibes with a mid-paced slab of healthy, upbeat zootskank, with almost tribalistic drum patterns rattling alongside a hooky, echo-ing mid paced LFO bassline, evoking an almost psychedelic vibe, laid back but perfectly movable, designed for front row madness.

Closing track Separation winds things down with it's ambient, glitchy waves of reverberating subs into the mix, driven by shining ambient bass and synths and drifting alongside an abstrused drumbeat, communicating a contemplative, end of the night vibe, one to be pumped gently through the headphones to battle that post rave sadness.

Sepia continues in the tradition of many artists in 2016 and pushes the boundaries, not once breaking into worship or revival. He brings his trademark dreamy sound design, nestled within conventional Dubstep structure in an atmospheric context, laying down a varied, atypical sounding release, rewarding those extra spins on the table with beautifully mastered depth and listenability.

DBA present another vinyl-only various artists excursion, once again mixing new arrivals to the label like London's Karen Gwyer, Raven Cru and Italy's Dukwa, with established label favourite Lily.

out-there, loosely alternative House related, explorative Electronica EP

Andy C's 'New Era' is his first original material since 2014. New music from Andy is always regarded as a big event within electronic music, and the chorus that met the first spin of 'New Era' via MistaJam on Radio 1 proved that fans' appetite was as hungry as ever. One for the clubs, 'New Era' is set for release on his RAM Records imprint, with a further release on Atlantic Records scheduled for later this year.

Andy's last single was 'Heartbeat Loud' ft. Fiora, for Atlantic. Andy's remix of DJ S.K.T. 'Take Me Away' was his first since remixes for Rudimental ('Right Here'), Major Lazer (Andy's remix of 'Get Free' was B-listed by Radio 1) and London Grammar. In 2015, he also released an unofficial remix of Jack U's 'Take U There', one of the most sought after highlights of his DJ sets.

Andy C's milestone show for the coming months is his biggest solo UK gig to date, an 'All Night' event at London's legendary Alexandra Palace on 24th March 2016 for 10,000 people. Across 2016 he'll tour Asia, South Africa, Australia, North and South America, and Europe, before hitting the UK festival circuit.

His last London date, the O2 Academy Brixton in October, sold out in just 10 minutes (over 10,000 people signed up for tickets), and was the opening show in his winter 'All Night' UK tour which then took in Motion in Bristol, Birmingham's Rainbow Warehouse, and Newcastle's Digital, Manchester's Warehouse Project, and beyond.

The first editions of his 'All Night' tour in February and March of 2015 also sold out, as did his headline EU tours. He finished off his biggest festival season yet with Bank Holiday appearances at SW4 and Creamfields, plus further headline slots at Glastonbury (for the Essential Mix live), his debut at V, Wildlife (where he was the only d&b artist at the festival), and Parklife.

Elsewhere in 2015, Andy's international festivals included events in Las Vegas, South Korea (at the Olympic Stadium in Seoul to 30,000 people), Belgium, Australia, Czech Republic, Spain, Romania, Canada (Toronto), and the Caribbean, plus an extensive US tour that included Ultra Miami. His Ibiza dates included a monthly residency at Together at Amnesia Ibiza.

After having established their rule over the 12" format and turning your run-of-the-mill dance EP into a miniature opera in its own right, BLOND:ISH were bound to come up with a debut full-length at some point - but even so, WELCOME TO THE PRESENT drops as a major surprise: flexing the psychedelic and spiritual influences that already informed their LOVERS IN LIMBO EP (KOMPAKT 253), INWARD VISIONS (KOMPAKT 268) and WUNDERKAMMER (KOMPAKT 308), this new material presents itself not so much as the collection of DJ-ready peak-time bangers that some would've expected, but as what we admiringly would call a total trip. It sees the duo embark on a universal journey, departing from the club comfort zone and exploring the deeper shades of world electronica from within. Here, each track is part of a bigger story, accomplishing its role in a vibrant, colourful mix of electronic moods, field recordings, traditional instruments and polyglot vocals - a masterfully crafted and fully intoxicating soundscape unlike any other album debut out there.

Things start off in the most unassuming manner, when opener SHY GRASS lives up to its name and gently introduces a few fleeting chords to what sounds like the recording of casual child banter. The first real bass drum takes its sweet time to hit - and when it does, it does so like the wind caressing your cheek. It's a soothing, unadulterated chill-out vibe greeting the listener, followed by new age gem LOS PENSIAMENTOS and an aerial, highly immersive revamp of BLOND:ISH's classic club cut LUCY'S AFFAIR. It's only half-way through lead single ENDLESS GAMES - itself morphed into a special album-only version - that we indeed meet the first actual club beat. That's not an accident, but a very deliberate aesthetic choice - the result of what seems like the duo's very own alchemic procedure turning water into wine, and a multitude of disparate folkloric snippets into a blueprint for a unique new kind of ambient-infused dance floor.

Horsepower Productions, and their ever present head honcho Benny ill, revered in underground music circles as among the key early innovators of dubstep, return in 2016 with their much anticipated fourth album: 'Crooks, Crime & Corruption'.

Continuing their working relationship, which stretches back to the early days of 2000, for the design of the 'Crook, Crime & Corruption' packaging, Give Up Art drew on the visual language of law enforcement — creating rolls of custom printed 'Police tape'. Each plain, unprinted 12" sleeve is wrapped by hand in the tape, sealing in the discs, and making each pressing unique.

An ambitious and varied record, it finds the group expanding their horizons and broadening their sound palette, while maintaining the unparalleled production chops that first made them such a force in the scene.Their pioneering early singles sought to strip UK garage of its slickness, adopting a stripped-down, dubbed-out approach that emphasised roughness and powerful bass. This was music for real heads, not commercial dancefloors.'When You Hold Me / Let's Dance' launched the seminal Tempa label, and even the term 'dubstep' was first popularised in a 2002 XLR8R cover story about Horsepower. The 2002 debut album 'In Fine Style' stands as one of the finest documents to emerge from the UK undergroundl, while 'To The Rescue', which followed in 2004, saw the group play a vital role in shaping the direction of the music they had made possible. 'Quest For The Sonic Bounty' (2010) sees Benny and co. double down on their core strengths.It's certainly the most sonically varied Horsepower album yet. Rhythmically diverse, 'Bak 2 NY' and 'Kuriosity' unexpectedly draw from classic house, while 'Criminally Insane' is the perfect conclusion to the album, ten minutes of breakbeat madness evoking a crazed dash through rush hour London.If previous Horsepower records were defined in part by a commitment to darkness, then the new album sees a certain amount of light emerging through the cracks. Just check the summer BBQ vibes of 'Bak 2 NY', or the balmy shuffle of 'Curiosity'. At the other end of the spectrum the sticky weed paranoia and industrial clank of 'Ruf Justice', all gunfire and sirens over punishing sub-bass.Two of the tracks you might know already. 'Good Ole Dayz' and 'Justify' - originally released together as a 12' back in 2011 - both appear here in new versions. 'Good Ole Dayz' marries dubstep wobble with an explosion of colour, while the decidedly psychedelic 'Justify' (a collaboration with guitarist Harry Keyworth) falls somewhere between Hawaiian surf and Morricone western.The group's love of cinema has always been one of their defining stylistic traits, and it's in full evidence on 'Crooks, Crime & Corruption', there's a refreshing patience to these ten productions, and a stunning command of atmosphere.Immaculately constructed and immaculately realised, 'Crooks, Crime & Corruption' draws from numerous facets of the UK underground and further afield in order to take you on a compelling, wholly immersive journey.

* Mareggiata aSan Vito is the third vinyl release for the new London based label Kapvt Mvndi Records, from Blackwater.
The Ep comes in a single sided vinyl on a 12', 45 r.p.m. with black labels and artwork with credits.

* Mareggiata a San Vito is an EP from Vesàlio a.k.a. Livio Improta. A mature and balanced two tracks Ep, explicit homage to the sea and to the roots of the purest Italian electronic music culture.

* The EP opens with 'Vient', an hypnotic and dark piece that perfectly mix the British influences of downtempo and break core with dark ambient and Italian acid house influences.

* 'Terr_one" closes the Ep, a never ending magnetic tribal loop piece of twelve minutes.
This Ep is dedicated to those who lived through the dance floor,

* A name that's been on everyone's lips, Maduk is leading the way for the next generation of drum & bass producers, bouncing around Europe with his uplifting, high-energy productions. Signing exclusively to Hospital Records in 2015 cleared the path to complete his highly anticipated debut album. Twelve colourful tracks make up the spirit-raising 'Never Give Up' LP - a guaranteed mood-lifter that'll have crowds up on their feet world over.
As the title track would suggest Maduk's story is of sheer determination, with hard work and passion for the music he's gained a dedicated following that have become like family. His LP premiere pushes positivity with a wash of vocal lead tracks. The lively, feel-good vibrations of 'Just Be Good' (featuring Nymfo) and 'One Last Picture' (featuring Kye Sones) fit with the frenzy of animated elevations in 'Got Me Thinking' (featuring Veela) and 'Nothing More'.

* He continues to liberate the senses with the shimmering sounds of 'One Way' and drives forward with warm guitar strums on standout track 'The End' (featuring Voicians). The 'Never Give Up' LP also includes his previously popular single 'Not Alone' and Logistics collaboration 'Solarize'.
As a co-founder of YouTube phenomenon turned record label Liquicity and with 'Best Newcomer DJ' and 'Best Newcomer Producer' awards under his belt Maduk has played a huge part in igniting the fire for a growing movement of liquid drum & bass lover. Now reaching across the globe his force is set to continue with the release of 'Never Give Up' this April.

Ambient techno exponent, A Sagittariun, fires off another full-length album transmission this April on his own Elastic Dreams label. 'Elasticity' is the Bristol based artist's second long player, and the follow up to his acclaimed 2013 debut, 'Dream Ritual'. Having last released a trio of singles in early 2015 (for Hypercolour, Secret Sundaze and Elastic Dreams), 'Elasticity' marks a return for A Sagittariun, and fans of the slippery and elastic sounds that hallmarked his debut album will not be disappointed. 'Dream Ritual' helped firmly establish A Sagittariun as an artist whose musical chops and integrity operate largely outside of the mainstream and a producer who chooses to put the music firmly center stage, whilst opting to remain relatively anonymous within the music scene. A Sagittariun explains, Elasticity was recorded over quite a short period, but the sketches and ideas have been germinating for some time, so sonically it's very coherent and consistent and moves in a way that I personally like albums to move in, with a narrative and flow that holds you right to the end. The recipe for Elasticity was always to be malleable and pliable with the sounds and tempos, for me it's all about the listening experience, and creating a landscape and a world within that one can really get deep into and explore, it's optimistic and progressive music for the head, heart and feet. I really do advise the listener to don headphones and take the trip with me".

Clark liefert den Soundtrack für die von Warp Films co-produzierte Serie "The Last Panthers" auf Sky Atlantic. Dabei bricht er mit seiner bisherigen Diskografie und kombiniert - im Stile zeitgenössischer Künstler wie Mica Levi, Mogwai, Jon Hopkins oder Olafur Arnalds - Naturklänge mit klinischen, maschinell produzierten Geräuschen und einer experimentellen, erforschenden Attitüde. Die Auflagen der Tonträgerformate sind limitiert.

Pinhead (Hellraiser) in Fantasia (Disney). ooh ey...
.
Esoteric synths and classical harmonies from The Skaters mastermind.

Pinheads in Fantasia is probably Spencer Clark's most out-there endeavor. At some point his records became more than just trippy music with crazy artwork and his use of symbols and poetry started to take a more central part in the releases. He even stopped calling them albums, preferring the term soundvisions instead.

Fourth World Magazine Vol. II is the culmination of these tendencies, sounding like the creation myth for a new cult founded by Julio Cortazar, L.Ron Hubbard and Philip K. Dick in the garden of Locus Solus. And I'm not exaggerating with this.

With the help of The Wire writer David Keenan and artist AR Faust, Spencer Clark has developed a multi-layered release, using accompanying video (or facehugging), text and a full-color magazine in order to create a more tangible artifact.

Again, we see the lines between fact and fiction blurring greatly, making Pinheads in Fantasia a pure work of primitive science-fiction. First off, the album was supposedly recorded in an Open Air theater and in a golden metal box simultaneously' . The title combines the character Pinhead, from the Hellraiser series with Walt Disney's 1940s movie Fantasia, with music composed and conducted by Leopold Stokowski.

Clark also suggests that the conductor's death around his birth has somehow affected his spirit, turning him into a vessel for the defunct spirit or a cenobite, an explorer. This album is like a puzzle-box that unlocks the door to other dimensions, giving Clark access into the listener's realm.
And all this just to give you just a taste of his new mythology.
The music is a strange mix of micro-tonal melodies, warped alien vocals, gore sound effects, ritualistic percussion and Claude Debussy, following the pleasure and pain motif of the Hellraiser series, inducing a deep, trance-like state.

limited to 300 copies


Very limited new liquid drum & bass release from producer Brain, on the long-running Promo Audio imprint.

Recorded in Kobe, Kyoto, Tokyo, September 2015 Photos by Jim O'Rourke. Layout by Shunichiro Okada Despite decades of activity and having crossed paths in various collaborations Editions Mego is honoured to release the first ever duo recording from two of the most highly regarded citizens of planet experimental electronic. Individually, Jim O'Rourke and Christian Fennesz have been responsible for numerous legendary works which merge the traditional avant-garde with contemporary sensibilities. On It's Hard For Me To Say I'm Sorry these giants of experimental electronic practice come together for an immensely powerful sonic experience. The signature of both O'Rourke and Fennesz cohabit this new release with O'Rourke's gurgling harmonies swimming amongst the shimmering frequencies and strummed melodies produced by Fennesz. Two side long tracks situate themselves as a warm electronic adventure. Simultaneously radical and comforting these works shift from gentle sonorities to fully distorted explosions all of which reside within a template of tension between musical and non-music matter. Timeless in execution and presentation It's Hard For Me To Say I'm Sorry is a deeply rewarding sonic experience from two of the most romantic gentlemen active in experimental music today.

Recorded in Kobe, Kyoto, Tokyo, September 2015 Photos by Jim O'Rourke. Layout by Shunichiro Okada Despite decades of activity and having crossed paths in various collaborations Editions Mego is honoured to release the first ever duo recording from two of the most highly regarded citizens of planet experimental electronic. Individually, Jim O'Rourke and Christian Fennesz have been responsible for numerous legendary works which merge the traditional avant-garde with contemporary sensibilities. On It's Hard For Me To Say I'm Sorry these giants of experimental electronic practice come together for an immensely powerful sonic experience. The signature of both O'Rourke and Fennesz cohabit this new release with O'Rourke's gurgling harmonies swimming amongst the shimmering frequencies and strummed melodies produced by Fennesz. Two side long tracks situate themselves as a warm electronic adventure. Simultaneously radical and comforting these works shift from gentle sonorities to fully distorted explosions all of which reside within a template of tension between musical and non-music matter. Timeless in execution and presentation It's Hard For Me To Say I'm Sorry is a deeply rewarding sonic experience from two of the most romantic gentlemen active in experimental music today.

Solas ('Light' in Gaelic) is Claire M Singer's debut album spanning 14 years of her work in acoustic and electronic composition.In recent years she has focused on writing and performing a mix of organ, cello and electronics with regular performances at Union Chapel where she is Music Director, running a diverse programme of concerts and educational workshops around the Chapel's Henry Willis 1877 organ.

Other performances include the Roundhouse London by The LCO Soloists, a' fàs soilleir, an audio-visual work, exhibited at Tate Modern London, XMV New York City and Ceremony Hall Austin TX and she has performed as part of Spire at Muziekgebouw, Amsterdam, Kunst-Station Sankt Peter Cologne and many more.

The Molendinar, which was co-commissioned in 2015 by Civic Room, Glasgow and Union Chapel, London to celebrate Glasgow's Molendinar Burn Project wiil be performed on the 14th June 2016 at Glasgow Cathedral to conclude the weekend festival.

Expanded RSD gatefold reissue 2LP on 130701. Includes 6 previously unreleased exclusive tracks (LP1306X)

Record Store Day 2016 exclusive - significantly expanded double-vinyl reissue of Hauschka's debut album for 130701, 'Room To Expand'. The album has been repackaged and extended with the addition of six previously-unreleased exclusive tracks, and has been made available on vinyl for the first time ever - arriving with new artwork, liner notes, full digital download coupon and gatefold packaging.
Upon its original release nine years ago, Hauschka was the little-known alias of Dusseldorf-based pianist / composer Volker Bertelmann. 'Room To Expand' was the album that in many ways laid the groundwork for Hauschka's future success. Its very title suggested a frankly-articulated portent of future growth for the artist - both creatively, technically and in popularity.
Gathered to fit a single, final vinyl side, the six new tracks were all recorded contemporaneously with the original album and breathe new life into it. They offer a wider lens onto into this period Hauschka's creativity, perfectly complementing and extending the original set. Aside from the heavily delay-processing 'Vakuum One', all six tracks are solo prepared piano works, moving from the playful 'Zooviertel' to the more strident, pounding, swelling 'Run Run' and the fidgety, skittling 'Fragments' and ending on the impressionistic, rippling, fizzy-textured 'Vakuum One'.Expanded RSD gatefold reissue 2LP on 130701. Includes 6 previously unreleased exclusive tracks (LP1306X)

Record Store Day 2016 exclusive - significantly expanded double-vinyl reissue of Hauschka's debut album for 130701, 'Room To Expand'. The album has been repackaged and extended with the addition of six previously-unreleased exclusive tracks, and has been made available on vinyl for the first time ever - arriving with new artwork, liner notes, full digital download coupon and gatefold packaging.
Upon its original release nine years ago, Hauschka was the little-known alias of Dusseldorf-based pianist / composer Volker Bertelmann. 'Room To Expand' was the album that in many ways laid the groundwork for Hauschka's future success. Its very title suggested a frankly-articulated portent of future growth for the artist - both creatively, technically and in popularity.
Gathered to fit a single, final vinyl side, the six new tracks were all recorded contemporaneously with the original album and breathe new life into it. They offer a wider lens onto into this period Hauschka's creativity, perfectly complementing and extending the original set. Aside from the heavily delay-processing 'Vakuum One', all six tracks are solo prepared piano works, moving from the playful 'Zooviertel' to the more strident, pounding, swelling 'Run Run' and the fidgety, skittling 'Fragments' and ending on the impressionistic, rippling, fizzy-textured 'Vakuum One'.

limited to 300 copies

More limited liquid drum & bass action from Promo Audio. One pressing only.

With the huge success of their All or Nothing LP laying in the backdrop, Calyx & Teebee are about to take the title place yet again and with the full throttle forces of pounding basslines and meticulously constructed mechanics. But what else could you expect from two revered veterans of the genre, whose joint muscle has telescoped the competition in comparison.

However, it's not just their duteous workmanship and forty years of expeirence that makes their forthcoming '1x1' album so undeniably huge. In tracks like 'Nothing Left' Larry Con's vocals lead you by the hand into all-out anarchy. Revving between each break, your picked up and dropped by verbal crescendos. Angry, yet innovative and impressively intricate, Calyx & Teebee have raised expectations even higher.

And then comes 'Stray Bullet', a minefield of drum patterns and wavering note arpeggios. A steppy riddim which completely envelops the sense, each segment explodes on impact. Sliced and diced by invasive samples, you're unable to resist, plunging you deep into the mix, the slowly building drop pushes you into a freefall of plucky subs and jittering percussion.

'Ghetto' rolls out as another new number, again featuring the vocal talents of Doctor, it's a gritty, sharp and pumping with shaking subs, a conundrum of hi-hats and aggressive drum patterns. Pounding pads take you towards a colossal break, juxtaposing perfectly against the LPs softer touches.

Having already hit the number one spot on the Beatport drum & bass chart with both singles 'A Day That Never Comes', 'Long Gone' and 'Cloud 9', it's quite clear to see why the anticipation is almost unbearable. Also including the infamous collaboration with Doctor on 'Where We Go', brand new, female-lead vocal 'track 'The Fall', half-time switch up 'False Alarm' as well as even more material to be unleashed, this LP will catapult you head first into their greatest output yet.

Having played some of the world's biggest stages, including EDC, London's SW4, Ram's seminal NYE event and UKF's Sea Dance Festival, expect another one of music's most prominent seasons filled with new music from Calyx & Teebee. '1X1' is set to make history, which isn't surprising after hitting millions of streams with their previous singles and detonating dancefloors globally.

Harleighblu's 'Futurespectve' album charts the excitng development and artstc exploraton of a
gifed young singer and songwriter, bringing an eagerly awaited physical release for tracks from her
acclaimed 'Futurespectve' digital EP series, alongside a previously unreleased track. The project sees
Harleighblu - one of the most tpped talents in the UK's soul/electronic world - fusing her classic, hip
hop-infused soul background with a varied and arrestng plater of future beats, and a joyfully free and
experimental vocal approach.

Since her earliest releases, Harleighblu's inimitable vocals have been hugely in demand by many of the
world's hotest producers; the 'Futurespectve' album illuminates a stunning collecton of songs that
have been developed over the last year in collaboraton with a cluster of internatonal talent. Taking
the boards, there's producton from SpectraSoul, Audio Sparks, Captain Supernova alongside label
mates Lost Midas, J-Felix and Jonny Faith. Each track brings a fresh sonic spin, with Harleighblu's charis-
matc vocals and heartelt, grity songwritng tying it all together into a deeply immersive listen.

Futurespectve sees Harleighblu taking the next defnitve step and crafing a sharp, forward-think-
ing style of soulful pop music dusted with grit and gliter in equal measure. As this young artst has
metamorphosed, via the experiences and consequences of success coupled with the natural twists
and turns of early-twentes life, so her frame of reference has shifed; in place of the more wide-eyed
romantc leanings of old comes a frank, self-possessed lyrical voice that pulls no punches and makes no
apologies.

In 2006, Tim Arndt released the first Near the Paren- thesis album "Go Out and See". Arndt had intended to follow up that release with a more beatless ambient album, where percussion was left to the side and com- position took center stage. A shelved Idea that we now get the benefit of a full ten years later.

This new album Helical is the realization of Arndt's stripped down ambient concept. Helical features Arndt's characteristic experimental modem classical instrumentation and compositional style, but slows things down and stretches them out. The focus on the organic is clear, but moments of ethereal breath weave in and out and prevent the album from becoming too self aware.

Helical, as a loose reference to the geometric structure of our very DNA and it contains themes that are driven by a recent discovery of Arndt's past and ancestry. The release seamlessly stitches all of these concepts together and marks an unique release and new direction for Arndt's Near the Parenthesis.

Helical will be available in limited transparent coke bottle green and opaque grey vinyl flavors as well as compact disc on May 20th.

-7th album from bay area experimental composer Tim Arnt.
-Limited Grey and Coke bottle Clear Vinyl
-Near The Parenthesis has 3 tracks with over a million plays on Spotify.

Tenant is rumored to be the head honcho of Blueberry Mr FaltyDL himself. Although it is neither confirmed nor denied.

Inspired by the AFX Hangable Auto Bulb series.

Pure braindance fun no zeitgeist bologna here.

In 1958 the BBC Radiophonic Workshop opened with the aim to enhance the main drama output on the Third Programme (now Radio 3) following the development of new electronic music techniques emanating from Europe. Their work expanded across the BBC to take in TV drama (especially sci-fi), schools programmes and themes. The latter being their most celebrated and well known work: Delia Derbyshire's treatment of Ron Grainer's theme for Doctor Who.

This collection was originally released on vinyl by BBC Records in 1979 to celebrate 21 years of the workshop's creative output. From The Goons (Bloodnock's Stomach), to the Interval Signal, to Doctor Who and Great Zoos of the World, this is a fascinating chronicle of some of the most innovative music ever made. These ground-breaking compositions have provided a major influence on music from The Beatles and Pink Floyd and onwards into the contemporary world of Aphex Twin, Orbital and The Chemical Brothers.

On Silicon Tare, the sci-fi story that Seth Haley, who records as Com Truise, began on the Galactic Melt LP and continued on the Wave 1EP takes a dark turn. At the conclusion of Wave 1, the protagonist, Earth's first synthetic astronaut, successfully makes contact with the far-o­ Wave 1 colony but, once he does, things get fuzzy. He falls in love, there is a war coming. A story that began in hope and dreams of discovery ends on an uncertain note. Change is in the air.

It's evident Haley's style has matured since 2010's Cyanide Sisters. Sisters wonderfully warped sonics could have been the sound of broken VCRs spinning analog tapes, all of them singing in unison. His 2011 full-length Galactic Melt was rich and expansive, full of slowly-coasting synths, melodies that wriggled and popped, and masterfully-controlled rhythms. Since then, Haley's sound and production techniques have progressed, becoming wider and fuller -- high definition 3D madness. His always-cinematic signature sound and 4/4 kick drum patterns are present, of course, but the dynamics and tempos are increasingly more colorful and varied.
Silicon Tare opens with a skating sheet of synthesizer before easing into a steady, walloping beat. It doesn't stay there for long: halfway through, the lights come up, and synth notes crackle across the sky. Sunspot' is a departure-its soft-pink tone, synthetic slap bass and quasi-808 percussion recalls the edgier end of '80s pop. And he pushes the boundaries even further on Forgive,' a big, booming number with fat streaks of synth and a gleefully hectic rhythm track that stops, starts and sputters over and over again.

Silicon Tare moves Haley and the fictional Com Truise even deeper into the cosmos, discovering new lands along the way and o­ering a glimpse of where he may travel in the future. And if the characters at the center of his ongoing story may be in peril, Haley himself is in control. Tare sets the stage for the final chapter in Haley's Com Truise saga, which will be the first official follow-up to Galactic Melt. It's not only the perfect prelude to that finale, but the perfect representation of Haley's ever-expanding universe of sound.

Undercover speaks to sound's affect on emotions. Like waves in the ocean, each unique track comes from the same source. From the strongest and most powerful waves of a storm to the quiet and gentle tides, this is forty-seven minutes of pure pleasure.The feeling of this release is abyssal, dark and very organic, and it takes you on a very special underwater journey aboard Verne´s 'Nautilus."

Despite touring across the Atlantic and reaffirming their position as electronic-heavyweights globally, Delta Heavy have even had time to craft this next single with absolute precision. Demonstrating a multi-dimensional approach to music making, 'Ghost' and 'Tremors' are perfectly juxtaposed and pedestal the duo's vast spectrum of musicality.

They also flex their A&R skills, employing a host of artists to redevelop their already stellar-production standards. Both Zomboy and Infuze using their calibre and paying homage to 'Ghost' whilst twisting it into two slabs of bass which are almost unrecognisable. 'Ghost' epitomises the production-standard set by Eaton's biggest bass outlet. Slowly building vocals relay against a colossal break, which ebbs and then cascades into peddled drum beats and elevating synth patterns. With vocal crescendos then dipping you into half-time, it's impossible not to see this record exploding the stage at any festival this year.
On the other hand, 'Tremors' explores a totally different territory. Taking the feel of an old-school pounding riddims and infusing it with a futuristic, LFO-lead bassline, 'Tremors' is more reminiscent of the genre's darker undercurrent. Relentlessly rolling forward on pounding subs and driven forward by a creepy, cinematic vocal sample, Delta Heavy have followed up their last output with impeccable style and versatility.Both 'Ghost' and its flipside are sure to be reloaded through sets this summer; they create a journey which will only builds your anticipation to witness Delta Heavy at the biggest dance festivals the world has to offer.

Exploded View is a new collaborative project helmed by the UK-born, Berlin-based political-journalist-turned-musician Anika (Invada Records / Stones Throw). After playing a string of 2014 solo shows in Mexico with a backing line up composed of local producers Martin Thulin, Hugo Quezada and Amon Melgarejo, Anika and her new bandmates discovered a chemistry that they simply had to capture on tape.

Wild Oats is proud to present the KMFH debut album The Boat Party. After a year of collaborative releases, Kyle Hall, under the alias KMFH, has produced a debut album; a fusion of original work, sample tracks, and raw edits. The Boat Party album artwork pokes fun at European summer boat parties and juxtaposes the destitute state of Detroit and its recent proneness to discarded luxury in financial crises. Mainly, the inability to leave and the sometimes pleasant isolation of a boat party is what the album exudes. The listener has a certain commitment to the material which definitely has its place on the dance floor. You can find tracks that have soulful, funky, and organic feels, while others have a more abstract, mechanical, and robotic sentiments. The Boat Party was carefully constructed which makes the album a cohesive mix of soulful etherealness and roughly raw sounds; KMFH's cueing into the true aspects of Detroit.

Scott, Gavin & Robbie Hardkiss helped pioneer the American rave scene & this seminal comp made the Billboard Dance charts, went to #1 on the Rolling Stone Alternative Album chart. Reissued for it's 20th anniversary.

The last couple of years have been huge for Pomo, going from a relatively obscure Canadian producer to releasing his debut EP on HW&W, remixing for the likes of Janet Jackson and Mark Ronson, producing "Am I Wrong" on Anderson Paak's debt album and touring the globe with Disclosure as their opening act. Bastard Jazz has commissioned Pomo to be next in line for the fourth volume of their "Tempo Dreams" compilation series, following on the heels of the hotly contested Soul Clap compiled Vol. 3. As with other Tempo Dreams records, Pomo has curated a slick and well polished album full of exclusive tracks from friends and collaborators such as Lindsay Lowend, Aloka, Exmag, Syre, Daniel Crawford, FVLCRVM and more. Touching on the shimmering nudisco sound, plodding deep electronic vibes, funky instrumental hip-hop, and even a hint of drum'n'bass, Tempo Dreams Vol. 4 takes it's rightful place in the series as one of the most forward thinking compilations showcasing emerging young talent.

Liquicity returns to the soulful side of Drum & Bass with their third installment of the renowned 'Escapism' series. 12 brand new tracks by the likes of Makoto, Hybrid Minds, Nymfo, Champion, Dualistic and many more. This album is a great mix of established artists and upcoming talent. Escapism 3 will have a full vinyl and CD release and is out on the 22nd of April. Featuring artists such as Logistics, Dkay, Seba, Maduk and Bachelors of Science, the previous Escapism albums were widely supported among the Drum & Bass scene.
With sold out nights in Amsterdam, London, Antwerp, Cologne and Prague, Liquicity is also taking steps with their events. This summer the 2nd edition of the Liquicity Summer Festival will take place in Amsterdam with artists such as Pendulum, Camo & Krooked, Calibre, Hybrid Minds, Spectrasoul and Technimatic on the line up!

Born in Canada, Fatima Camara was raised in a large Portuguese family where traditional song and dance were as integral to her family gatherings as food, laughter, and wine. Before We Sleep, her debut album, is as a collage of the diverse musical inuences that have dened each chapter of her storied life: bass guitar lines wrought with the new wave sound that marked her formative adolescence, drums that echo the electronic music she migrated to during her early adulthood in Toronto's dance music scene, and an overriding melancholy that signals the conicted feelings she has when considering the thin layer of dust that has collected upon her chair at the family dinner table since she made her move to Berlin.
Apart from music, Fatima appreciates happy accidents, blended horizons, and unlit corners.

Halogens latest release brings two seasoned craftsmen, Ilk & Etch together for a collaborative effort on 'My Soul'. The two combine their production skills for a soulful stepper with intricate drum patterns layered with classic breakbeats, soul samples, and heavy sub bass - taking the listener back to the classic 90's jungle era with modern day influences.

The B-side features remix duties from Danny Scrilla. Danny is a well seasoned producer with releases on such labels as Cosmic Bridge, Civil Music, Rudimentary Records, and most recent Zam Zam Sounds. Danny brings his integrity to 'My Soul' with a heavy 808 halftime intro, seductive piano work, and detailed horn stabs; leading the listener into a melodic dance floor jungle shuffle with a delicate vocal sample weaving in and out of the track sending chills down your spine.

Blackest Ever Black presents a new vinyl edition, and the first CD and digital editions, of Af Ursin's 2005 masterpiece Aura Legato. Af Ursin is the alter ego of Finnish autodidact composer/improviser Timo van Luijk. His work is rooted in the use of acoustic instruments (wind, percussion, strings), but his special sensitivity to the timbral qualities of each instrument, and his deft blurring of them, results in a sound-world that is mysterious, amorphous and hallucinatory, full of suggestive shadows, creaks and whispers. Informed by years of intensive listening to various types of free music, exploratory drug use and especially the 'irregular organic forms' of the Belgian countryside where he resides, van Luijk's process begins always with pure improvisation: music played in an intuitive, sensual way, without the employment of conscious technique. He performs and overdubs each instrumental component himself, and out of this process micro-structures and loose arrangements emerge: the piece becomes an improvised composition. Over time he has evolved his own richly poetic musical language, full of allusions to drone, acid folk, classical, Musique concrète and jazz, but beholden to none. Aura Legato is one of van Luijk's darker and more acutely psychedelic offerings: a work of profound interiority, but one that also conjures images of old Europe and fin-de-siècle decadence - dabblings in Thelema, the fog of the opium-den - and has earned comparisons to Third Ear Band, Nurse With Wound, Mirror and HNAS. Fully remastered and housed in die-cut sleeve with gold detailing and individually hand-glued labels.

Concepts and ideas come fast and furious to Berlin trio Brandt Brauer Frick. Having turned heads from the group's inception with their classically-informed approach to creating techno compositions with acoustic instruments, BBF's output has been characterized by a restless creativity. The search for new sonic territory lead the group to record with a full 13-piece orchestra, and later to strip down their sound to sparse arrangements featuring more electronic textures, and to record an aggressively diverse DJ-Kicks mix on a legendary club sound system using only vinyl dubplates. Now, on the first new single release in over a year, the band adds a new element: the voice of collaborator Beaver Sheppard, who adds vocals to two new compositions. We met Beaver in Montreal during Mutek and it was love at first sight,' the band says. We had the chance to bring him over for a series concerts for some corporate shows in Switzerland and had 4 weeks of studio time and started working on songs together. These two songs are among the first we did together with Beaver back in 2013. The partnership with Sheppard is a perfect fit, adding a slightly melancholy focal point to Brandt Brauer Frick's percussion-heavy arrangements. The first fruits of the collaboration, Holy Night' and Poor Magic' comprise the new single, rounded out by a remix from Tom Trago. A full length album is in the works: release expected late summer 2016.

* Tracks from ALE005 featured on BBC Radio 3, NTS and Resonance FM
* Arc Light Editions named in The Guardian's Best New Labels for 2014

Voice Is The Original Instrument is the first of two crucial Joan La Barbara reissues incoming this spring on Jennifer Lucy Allan and James Ginzburg's Arc Light Editions.

* Voice Is The Original Instrument was the first record released by Joan La Barbara in 1976. It has since become iconic as one of the initial examples of extended vocal techniques in experimental music. The human voice is the only instrument on the recordings. The works on Voice is the Original Instrument were some of Joan's earliest compositions, researching the possibilities of the voice, in two rigorous études, "Circular Song" and "Voice Piece: One-Note Internal Resonance Investigation", and the more free-form "Vocal Extensions", which uses live electronic processing. 'My reason for producing the LP was to get my music out to the world beyond NYC and the major cities in which I was playing concerts,' she says. 'At that time, Carla Bley and Michael Mantler had started JCOA/New Music Distribution Service which handled small independent labels, so there were quite a few artists in the NYC area who were producing their own albums and distributing them through that service.'

* Just out of college and living in a Soho loft in New York, Joan began playing shows in New York with jazz and rock musicians, and with those in the new music scene. 'I did commercials, which, strangely enough, led me to Steve Reich,' she says. 'A composer I was working with, Michael Sahl (who was also Judy Collins music director and pianist) hired me to do some radio commercials and suggested me to Reich who was looking for singers who could imitate instruments, which was something I had been working on for some time and was part of my exploration of the voice. I worked with Reich on the development of "Drumming", imitating the marimba.

* Voice Is The Original Instrument was originally released in 1976 on Wizard Records. It was later issued by Lovely Music as an extended double CD edition. This is the first time the original LP, with artwork, has been made available again. It will be followed by a reissue of Tapesongs in late May.

Mr. Mitch's Gobstopper Records follows Loom's 'European Heartache' with GOB019, a debut release by rising producer Odeko. Influences on the Welsh producer's 'A History With Samus' EP are rooted in 21st century - and beyond - communication and evolution:"At the time of writing the EP, I was exploring my interest into humanity's developing obsession with technological integration, the process of creating synthetic life, virtual realities and environments and the potential future of companionship between human and AI." Fact Magazine profiled Odeko among 10 grime producers to watch in 2016 writing "What we've heard hints at an expansive approach exploring the hidden connections between Rapid at his most lovelorn and electronic experiments by James Blake or Oneohtrix Point Never....He's got a ton of potential to add nuance and shading to the label's emotional grime deconstructions, and the outside influences carry a welcome influx of new ideas at a time when the genre can feel a bit self-referential. Trust us on this one."

The 10&11th release of ROOM FULL OF RECORDS is OPSB(One Piece Session Band)again! OPSB is a three piece band and with the numbers Yoshiharu Yoshida (Flute, Pianica, Synth), PONCHI (Guitar, MPC), RYUNOSHIN (Bass). They have performed at lots of big stages regardless or not because of their live performance policy. Also, they are skaters, too, so they have many fans all over the world not only from their music but also from their skating. The 10th release Fullmoon' taste of exotic, rockin'. Thrilling bass line and exotic flute melody are coming at the first half but after that rough and edge guitar appear. The remix is Tokyo Black Star (Alex From Tokyo and Isao Kumano). It's solid and simple for direct to dancefloor because of long experience of DJing of Alex. He is playing a lot and getting the bomb from the dancefloor.
The 11th release is Slum Jazz Punk' ' sessão no céu'! Slum Jazz Punk' is taste not only punk rock but also free jazz. It's not standard 4beat dance music but it must be going to spread out to another genres. The remixer is Tadashi Yabe who is the member of UFO (united future organization). Swinging beat and acoustic guitar bring us to the air of Portuguese sessão no céu' is suit to listening and dance floor!

Infection jumps straight at you, jumps straight into life, and you'll catch the virus immediately. The initial repeated sample makes way for a banging beat, which in turn draws you into the surrounding atmospherics.Everything builds up nicely, with warped electronics launching into massive swirls of menacing bass. As fitting a composition courtesy of BTK and Optical, the production levels are high, with layers of sound sweeping in and out. The producers isolate things at the mid-point, before ripping the track back up to finish strongly. The beats'll grab you, the firing low end'll hold you, and you won't be able to escape the Infection.
Let It Go is equally massive, with looped choral samples to lead it off. The flavour is different from Infection, with a smoother feel to the intro, but the levels are ramped up soon enough. Both producers absolutely go at it, with thumping drums and smash-through bass. The dancefloor is just going to love this one, and you can imagine it going off everywhere and anywhere it is played. Synths drop in later, but the main features of the tune are its beats 'n' bass. Never giving you time to pause, this one is a classic in the making. Nothing's going to hold you back, just Let It Go.
Two absolute slammers from BTK and Optical. Get involved now.

The Black Keys' new album, Turn Blue, will be released May 12 on Nonesuch Records. Produced by Danger Mouse, Dan Auerbach and Patrick Carney, Turn Blue features 11 new tracks including the first single, 'Fever', which can now be heard at theblackkeys, YouTube and Soundcloud.

Turn Blue was recorded at Sunset Sound in Hollywood during the summer of 2013 with additional recording done at the Key Club in Benton Harbor, MI and Auerbach's Easy Eye Sound in Nashville in early 2014.

Carney comments, 'We are always trying to push ourselves when we make a record - not repeat our previous work but not abandon it either. On this record, we let the songs breathe and explored moods, textures and sounds. We're excited for the world to hear Turn Blue.'

This is the eighth full-length album from the duo and follows 2011's critically and commercially acclaimed El Camino, which is now certified RIAA Platinum. Internationally, El Camino is Gold in Belgium, Spain, Italy and Holland; Platinum in Ireland, France and the U.K.; and double Platinum in Australia, Canada and New Zealand. The record also resulted in three awards at the 55th annual Grammy Awards - Best Rock Performance, Best Rock Song, and Best Rock Album. The band now has a total of six Grammy Awards including three in 2010 for their breakout, RIAA Platinum album, Brothers.

Ya Tosiba ist ein Duo aus Berlin, das bass-triefende Synth-Riddims mit hochenergetischen Frauenvocals verbindet. Am Mikro steht Zuzu, die gefundene historische Texte in ihrer Muttersprache Azeri toasted. An den Synths und Drummachines: Mesak, der Chef des fantastischen Harmönia Labels. Der Finne ist einer der Pioniere der skandinavischen Skweee-Musik.

COUNTERSTRIKE stand as one of the hardest production entities to pin down in the heavy-hitting end of drum and bass, delivering exceptionally well-executed cuts across the multiple sub-genres of the scene to carve out their unique sound. Following up a string of releases across leading labels in the scene, which sparked as early as 2001 and sees them today as one of the leading forces with their heavy sound - they unveil their 2nd LP through their own Algorythm Recordings - FEAR DIVISION DESTRUCTION.

Opening with the ominous tolling of church bell, before dropping with a sample that places tongue firmly in cheek - DEMONS pairs Counterstrike with US producer Gein to deliver a stripped wonky shuffle between dnb sub-genres for the most depraved of dancefloors. The LP also delivers hefty collaborations with the Panacea and Eye-D, with TOCKOTRONIC bringing heavy sweeping tech and a trance-flavoured breakdown, while HOW IT ENDS strikes with filthy acid-influenced crossbreed. Titular track FEAR DIVISION DESTRUCTION places it's roots firmly in the Portuguese sound, delivering devastating waves of pulsating techno-influenced dnb. AGAINST THE GRAIN leads from towering bass into a proud display of Counterstrike's broad range of influences - with hard and heavy dnb melding perfectly with neuro. SHOCKWAVE delivers an angrily syncopated growl perfect for inciting unhinged, abandoned delirium across the rave, whilst THE RAGE shows the true power that a Counterstrike snare can deliver. THE SIGNAL drops with furious break beats, juxtaposed by a funky triplet rhythm on the switch. VOLCANIC sees them combining forces with one of the scene's top MC's - Coppa, to deliver a nasty slab of future hip hop.

FEAR DIVISION DESTRUCTION delivers what it promises, an aggressive but highly-tuned odyssey into the core of hard dnb that will rip your soul out through your eardrums and leave listened palpitating in the dance.

* Ed:it has been a man on a mission since his first forays into the drum & bass scene back in 2010. Since then he has honed his sound to become one of the finest purveyors of meaningful, soulful but gritty D&B, garnering fans from across the spectrum and heavy support from some the biggest names & labels, including Shogun Audio who are now proud to call him their own. Now an official signee and part of the Shogun stable, Ed:it's mission continues with his very first solo release on the label, the 'Pathways' EP.

* For my first release since signing exclusive to Shogun Audio I wanted to bring something a little different to the table but keeping to my own sound. There's something for everyone I think.

* The title track came together in a deep way, gathering ideas that really meant things to me. Vocal parts and piano samples etc. The Pennygiles collab wrote itself with Stu's atmospherics as the backbone. With 'Viewpoint' I wanted to create a really old school'ish flavour but gathering new elements. I wrote the intro ages ago then later I found those stab hits that for me just work moving into the drop. 'Night Creeper' came from a really experimental vibe. It began being very minimal but as soon as I received the Linguistics vocal I know it had to be busier, tekky and crazy!

* The whole EP really means a lot to me. It has new sounds moving forward as well as classic vibes that'll I always love to utilize. I know I'll listen back to it in the future and remember this time and signing onto the Shogun imprint' Ed:it

* One of the Nu Skool Jungle anthems of the past 12 months finally see's the light of day. Performed all over the world by the Ragga Twins, and showcased by Billy Daniel Bunter at festivals such as Boom Town, Glastonbury & Bestival.

* Inspired by The Ragga Twins infamous sound killing vocals from their 80's sound system days and updated fresh for 2015 in the instant dancefloor filler vibes of the Original Mix and Liondubs deep and dark ode to the current Manchester bass sound.

* "Original Mix" Is a Jungle anthem, sound killing vocals throughout, with a killer hook that leaves the dance floor chanting it every time. A distinct Old Skool Jungle vibe, with a Reggae Mid-section, and sharp modern Jungle production.
* "Liondub Remix" For all those who like their cutting edge vibes, Liondub has turned in a remix straight out of the future, with a dark, bass heavy slice of broken beat's and depth. Perfect for those who love the current Manchester sound.

Sonic fissures sizzle the bacon they ain't faking "Blow your zip code". A subterranean world of street wisdom and Cosmo-ghettology. Sensational spits grit over the grit, keep them swaying as they stagger from grey luminous fog coming in off the Atlantic. A cohesive nugget of rolling energy "My presidential Rolex". Kruton whips up jagged shards of rhythm into the air. Elaborate thought processes conveyed through instinctive vocal responses "Cake!". Weapons grade Prana, hooks and bass.

* A five-piece band isn't something you'd expect to be linked to drum and bass label Med School but The Erised's elegant approach adds yet another string to Med School's forward-thinking bow. A unique collective from Ukraine, The Erised includes drum & bass producers Detail and Hidden Element, dancer turned singer/songwriter Sonya together with a collective of jazz, rock and pop musicians.* The band's impressive 2015 debut release, the Desire' EP, included the supremely popular Pray' and It's Over , immediately capturing the attention of music fans across Europe and beyond.
* Fast forward one year and The Erised are set to unveil their debut album, 'Room 414', a mature, impassioned creation that explores the band's vast emotional landscape. Sonya's voice is more absorbing than ever before, delicately crafting tales of sorrow and heartbreak before seducing the listener with her trademark, mesmerising choruses.* The Erised's moody instrumental textures capture a fine balance between tragic and euphoric, fire and water, spring and autumn. No track is the same, as every minute passes, a different part of the story is told.
* 'Room 414' is a landmark moment for both the band and the label, as all involved take a step into the unknown with this truly magnificent album.

Low Res... legendary records where Venetian Snares and Doormouse did his first productions... Is back in town with a bloody good Breakcore 4 titles. Including a Tarmvred remix. The record opens on a Meander Remix, totally surprising tracks opening on a will of Hardcore... turning Acid and finishing on a bloody Breakcore Dancefloor weapon ! Then comes the Detroit Gore Police remix : Very Peace Off style, offering industrial amen breaks and heavy Bass supported by a hardcore pityless low medium kick.... B side opens on the Tarmvred remix... Metallic and industrial, grandiloquent and, finally quiet mental. The most innovative version here... with a pinch of PCP nostalgy:) Last tune is, finally, the original mix from Adjust : A breakcore dancefloor kick-changer, very in the mood of the party-time, not happy niether Dark... Just a bullet full of energy. RIOT SONGS !

Astrobal, nee Emmanuel Mario, burst onto the scene in his native France through collaborations with some of the country's most cutting edge artists, including Arnaud Fleurent-Didier, Holden, Institut, Iko Cérie... Most notably, his work as a producer and drummer with Stereolab's Laetitia Sadier left an indelible mark, rendering some of the most singular work from the iconic French chanteuse.

"Our blood runs hydrous with the seas/The essence of oceans spills through our veins." Laetitia Sadier matter-of-factly unfurls these words on the title track of Astrobal's first full-length, and they prove prescient. The album is aqueous, each track a slow wave building before a momentous crash of sound, with clean lines and fluid form. Symphonic strings and ethereal ambient washes are married to buzzing synths and Astrobal's crisp, crackling drums.

Take opening track "Everybody Loves the Sunrise": building slowly from Eno-esque synth gauze and swelling strings, it gradually layers in flutes, ricocheting drum snaps, and rubbery bass, crescendoing in a lush wall of sound before returning to its calm, Sunday morning peacefulness. The funky flipside to this opening chill is the strutting cool of "Isao & IO." Floating in on a laidback, Shuggie-Otis-on-quaaludes groove, Astrobal's wispy, French-accented vocals glide through crackling keys and chopped acoustic guitar, creating a melodic haze to get lost in.

Though eclectic, Australasie never feels less than a cohesive vision, with the guiding principles of texture and fluidity uniting the disparate threads. From the lounge-y slink of "Rubycon" to the hymnal warmth of "Trois Beaux Oiseaux du Paradis," Astrobal creates a universe one can swim around in; from start to finish, it is of a particular mood, all beholden to the vibe. It is an assured first full-length from an artist who has put in the time to find himself and build his own world.

Conceived as a studio project and conceptually inspired by the world of sci-fi novelist Aldous Huxley, Brave New World was created by Reinhart Firchow (recorders, flutes, ocarina, Stylophone, percussion, vocals), John O'Brien-Docker (guitars, organ, percussion, vocals, wind chimes) and Herb Geller (flutes, cor anglais, saxophones, organ). They where aided by Dicky Tarrach (drums, percussion), Lucas Lindholm (bass, bass fiddle, organ, piano) and Esther Daniels (voice). Irishman John O'Brien-Docker had previously played on Die City Preachers and Marcel, and also recorded as Inga & John - Inga was, of course, Inga Rumpf of Frumpy fame. He also played with Dagmar Krause and Anthony Moore, who would later be known as Slap Happy. Reinhart Firchow had also been around for a while and would later form Kaarst. Herb Geller was an accomplished jazz musician who had been playing and recording in several jazz outfits since 1954. Their album, originally released on Vertigo in 1972, featured an eclectic mixture of styles, blending medieval music, folk, electronics, jazz and rock in pure krautrock eclectic lore in the line of Annexus Quam, Achim Reichel or Tomorrow's Gift.


First ever reissue, housed in a glossy laminated gatefold cover reproducing the phenomenal original artwork and an insert with notes, and it's limited to only 500 copies!

From his seemingly bottomless well of unreleased conceptual pop, jazz and pioneering electronic experiments, Swiss composer Bruno Spoerri, in conjunction with long term collaborators Finders Keepers, finally unleashes the master tapes to an obscure 1972 feature length documentary called Langstrasse Zwischen 12 und 12 (Long Street Between Midday And Midnight). Directed by Gianni Paggi (who had also worked on Swiss pop music weekly Hits A Gogo) and radio host and author Max Rüeger this seldom seen film studied the stark counter balance between the lifestyles of the inhabitants of Zurich's famous Langstrasse - a varied and vibrant stretch of road in centre of the city which played host to a unique mix of contrasting cultural and social groups, working class families and energetic creatives. Langstrasse Zwischen 12 und 12 explored real-life stories of family run businesses, schools, nine to five commuters and the contrasting nightlife scene including the city's liberal after hours red light district. To accentuate the ironic and slightly schizophrenic nature of the production Paggi and Rüeger called upon Spoerri as one of the country's most versatile instrumental composers to share a first-hand impression of the area as a local himself. Exploring a wide range of musical disciplines from early modified synthesisers to rock rhythms via found sounds, jazz, folk and traditional Greek music, Spoerri successfully infused vibrant bursts of sonic colour into the monochrome imagery of the programme, creating a floating narrative undercurrent quite unlike anything heard on regular Swiss TV during the era.

In scoring such a project to a precise deadline Spoerri would require a trusted group of regular musicians, many of whom would appear on collectable records by Swiss groups such as The Metronome Quintet, The Rainbow Orchestra and Emphasis. As a leader of The Metronome Quintet himself Bruno was comfortable working alongside reliable members Fernando Vicencio (sax and flute), Ueli Staub (vibes, keys and percussion) and drummer Rolf Bänninger - who's prominent playing is best exemplified on the previous Finders Keepers/Spoerri LP Hommage Au Fromage. Other players on this session include Latin multi-instrumentalist Antonio Conde who had simultaneously bonded with Vincencio in the jazz rock super group The Rainbow Orchestra under famous guitarist/soundtrack composer Pierre Cavali (see record FKR008). Another Cavali/Vincencio collaborator to appear on this album is pianist Renato Anselmi who would later join both musicians in the band Emphasis - vital to this session Renato Anselmi would provide extra keyboards to Bruno's experimental and textural synthesiser tones. Later in the 1970s Spoerri would also enlist Anselmi to play on the soundtrack to art house film Lilith (recently sampled by US rapper Jay Z. For hardcore collectors of European jazz the appearance of trumpeter Franco Ambrosetti might warrant some deserved attention. A firm fixture on the Swiss jazz scene alongside Spoerri and regularly playing with George Gruntz, Ambrosetti's earlier work on records alongside players like American sax man Shahib Shihab or French saxophonist Barney Wilen remain some of the most expensive original items on the collectors market. The final icing on the cake for this session would be the inclusion of Switzerland's leading harmonica player Heinz Pfenninger, a welcome addition to the group having played with Ueli Staub in the award-winning Roby Weber Quartet (Pfenninger can also be heard playing bass alongside Rolf Bänninger on Spoerri's aforementioned Hommage Au Fromage LP).

Like most of Bruno's releases on Finders Keepers Langstrasse Zwischen 12 und 12 sees the artist explore unique new territories, combining the skill of incredibly talented musicians and combining his own discoveries in the realms of electronic music and his own brand of post- concrète found sound application which would appear on his rare postcard records made for industrial companies utilising wristwatches, pneumatic drills and forklift trucks as essential parts of his orchestral palette. This early 70's glimpse into Spoerri's narrative composition for the small screen captures an important European artist-cum-scientist treading a seldom trodden path between experimental pop, jazz and music technology in its infancy.

Miami ex-patriate Alexander Suàrez debuts on Unknown Precept with A Los Mártires. Conceived as an ode to those who spilt their blood in vane for political ideologies that failed them and countries that were never their homes, the five tracks that make up the release show the Brooklyn-based producer sinking into odd techno hybrids manipulation; shooting down unrestrained grooves and rusty samples while excavating lush sound exploration tinged by local folklore and grievous metallic tones. In his own words, Suárez discloses that the embodiment of this strange intermingling sound like an organic and humming invitation to an uninhibited meditation on our inevitable assimilation into modern industrial society; an overarching rhythmic theme built on the idea that the resistance to and the seduction of these systems might trap us in a push and pull limbo from which the only escape is rage or submission.