Beats News

Pangaea (aka Kevin McAuley) is one-third of Hessle Audio alongside Ben UFO and Pearson Sound - a label and DJ collective which has been operating since 2007.

The third release on his own Hadal imprint is another 4-track EP of techno mutations, indebted to both the lineage of UK soundsystem culture and US/European dance music.

Mastered and cut by Matt Colton at Alchemy.

Early support from Ben UFO, Pearson Sound, Blawan, James Ruskin, Surgeon, Shifted, Henning Baer, Benji B on BBC Radio 1...

Recorded and mixed by Peter Rehberg at Twisted, Wien March 2015-January 2016 Mastered and cut by Rashad Becker at D&M, Berlin, January 2016

Artwork by Tina Frank

Dedicated to Thomas Jerome Newton

Twelve years have passed since Editions Mego boss Peter Rehberg released his last full length release 'Get Off' on the Hapna label. In the interim, along with running the label, Rehberg has embarked on a series of soundtracks for the French artist and choreographer Gisele Vienne. Out of this collaboration the seeds were planted for the prolific KTL, guitar/computer duo with Stephen O Malley.

After a surprise return to live performance in 2015 we are now presented with Pita's new full length document under the banner of Get In.

Get In extends the perennial Pita sound into a paradox of intimidation and beauty. 20150609 teases the juncture between the human and the tool, the improvised and composed and the analogue and digital. Aahn inhabits a field of electronic nebula, simultaneously inviting and alien. Line Angel could be a new form of minimalism for the post internet crowd. S200729 harks to an acid most splintered whilst Mfbk completes proceedings as an ambient drift underscored with classical overtones.

Get in is a beautiful, engaging and unsettling listen. A multi-headed hydra presented as the ultimate dystopian sonic journey.

Limited Clear/ Transparent Red/ White vinyl
Seba returns again to Warm Communications with another sublime 12". Nichoho focuses around one of the cleanest amens we've heard in ages. Sensual female vocals wrapped around lush pads and driving bass. Sienna is another euphoric stepper Seba is so well known for. Rough & smooth as he does so well!

Dominick Fernow's Hospital Productions label finally unveil this epic, years-in-the-making 20 CD retrospective/compilation of Patrick O'Neil's noise project Skin Crime. Fernow has described Skin Crime as the missing link between European musique concrete, Japanese noise, and the gritty abstract electronics of what became the glory and gory days of 'American harsh noise' and has cited them as a major influence on his own work, and no doubt a major catalyst in the formation of Hospital Productions itself, the first ever vinyl release on the label was Skin Crime's self-titled LP. This exhaustive set includes unreleased studio and live recordings as well as early versions, compilation tracks and previously unheard mixes. Safe to say that this one's aimed at the die-hard fans, but it's a real eye-opener for anyone into noise or experimental electronics.

Despite being the creator and main operator of the legendary and eerie 'self abuse records, Patrick O'neil founded Skin Crime in 93/94 out of the morbid surrealism of mother project - Hanged Man's Orgasm. One of the earliest and most influential american noise institutions from the 90's, skin crime could be said to be the missing link between european musique concrete, japanese noise, and the gritty abstract electronics of what became the glory and gory days of 'American Harsh Noise.' the special and largely undocumented moment at which the 'noise' broke away from 'industrial' to destroy further its electronic roots. Its synthetic sound sources associated with industrial became so self abused that their electronic origins were rendered indecipherable and turned into a rotten organic abstraction.
Skin Crime distinguished themselves as not just another 'bedroom project' but a real dedicated live noise band. with a rotating lineup surrounding their core as a three piece, their highly detailed ascending compositions offset with their forceful and dynamic textures quickly secured them a place in the rapidly emerging international noise subculture. appearing on such cult releases as 'The Adventures Of Huckleberry Finn' tour vhs and 'An Evening Of Serious Noise' tape box, their unique live model saw the band performing alongside heavyweights such as The Haters, Merzbow, and Masonna, outlasting many of their peers.

Through careful selection yet extensive depth their key works as well as vital secrets are preserved here with respect to the mystery. Highlights include: unreleased studio and live recordings, early versions of Audio Pathology tracks, Trauma tape, extensive collection of compilation and split tracks ranging from obscure vinyl, tape, and cdr only releases, early cassette only titles such as King Of The Deathmatch, Eyestrain And Burn, many of which appear on CD here for the first time as well as hard to find essentials like the masterwork of Audio Pathology and classics such as Whorebutcher, plus four different studio remixes of the material from the Skin Crime LP - with different mixing between the members in addition to the full original LP. Furthermore the box includes the following releases: Desecration, Prenatal, Eyestrain, Electroshock Treatment, Genital Modification, Urge, Whorebutcher, Burn, King Of The Death Match, Audio Pathology, Tsunami, Parasite, Skin Crime Lp, Trauma, Monster, and much more - each disc is packed with bonus tracks."

REPRESSED !
End Ground forms the 3rd and final installment in a series of records documenting the solo prowess of Sunn 0)))'s Stephen O'Malley released on Sweden's iDEAL Recordings. It was performed on electric guitar thru Sunn model T amps, and Captured on zoom H4 at Centre Cultural Suisse, Bad Bonn Carte Blanche, Paris, France, on 18th October 2013.
In solo mode, stripped of his usual accomplices and collaborators, O'Malley is no less than an elemental force. His durational meditations absorb and consume with steadyhanded wave after wave of charred, sustained, and sub-harmonised chords casting the mesmerising minimalist practice of La Monte Young into the physicality of Black Sabbath's original, heavy metal die.The A-side/first half of this 45 minute performance features O'Malley tentatively coaxing out languorous riffs which turn the air around him to a pensive, vibrating mush. As the 2nd half dawns he begins to deliver more crushing blows, drawing out and subsiding the chords with a patented, gut-wrenching and vivifying power that transcends rock, avantgarde, minimalism - all of that - to awaken dormant senses not usually experienced with other musics or concise temporality.
As with many of the most affective heavy drone recordings by Sunn 0))), among others, a modicum of patience is required in order to attain the right state for reception, but once your mind and body are malleable, the impact is deliciously visceral, primal and whelming.

Classic Apollo EP from the leader of the new generation Synkro originally put out in 2012 and now repressed on Very
Limited Edition Clear Vinyl 12" after being out of manufacture for well over a year.

LAST KNOWN TRAJECTORY welcomes SYNTH ALIEN to its roster, here delivering four tracks of pure, timeless, soul-infused electro.

Limited pressing.
Artwork by the fantastic Pla´stica.

1 CD in replika gatefold sleeve with 20 pages booklet

2 billion views and 8 million subscribers later and almost 750K albums sold - UKF, one of bass music's most respected influencers, gears up for the release of their 20th compilation LP, UKF Bass House. Since it's inception in 2009, UKF has taken its subscribers on a journey of musical exploration through the vast electronic landscape, championing and discovering the most exciting artists in bass, beats and beyond. Ever-evolving and setting the precedent of sound, this April UKF will release its first ever bass house album. Representing a plethora of new electronic music talent across 2 CD's, 30 tracks and 3 exclusives, UKF Bass House features artists that fuse the brand's favorite genres in refreshingly progressive way.

Split into 2 CD's, the division of UKF Bass House is not just for convenience. Representing the strengths of two sides of a burgeoning electronic music scene, this album takes you on a journey of discovery of the soaring sounds of the US festival circuit right back to the UK's filthiest, bassiest underground clubs.

Energetic, high impact and full of surprising twists and turns, this meticulously curated track list features the biggest names in the game such as Tchami, Chris Lorenzo, Valentino Khan, My Nu Leng, AC Slater, Chocolate Puma, , Kill The Noise, Sonny Banks, Taiki Nulight, Cause & Effect, Deekline, Jaded and Redlight and well as 3 never before heard exclusives from Jaded, AK9 and GotSome.
Better known for their Drum&Bass and Dubstep annuals, the release of UKF Bass House proves once again that the brand is not only evolving with the current electronic music landscape but shaping itc

* Eastcolors returns to AB and serves up two collaborations, co-opting talented friends Nami and Mailky whilst also remixing Detail and Tiiu's 'Delusion'. All 3 tracks deliver the straitjacket tight production values fans of Eastcolors have come to expect and are sure to increase his already ascending popularity.

* Eastcolors & Nami - Times
Air cushioned pad sweeps, subterranean winding and resonating bass layers open up this monster. Proceeded by captive-animal, bar rattling, intense beats assembled and moulded with the precision of a Swiss timepiece. An absolute raging beast of a release.

* Eastcolors & Mailky - Bounce
Eastcolors and Mailky manage to bridge the nexus between 1992 hardcore and 2016 D&B. A huge hardcore riff combines with a dense, coloured, whomping bass and shuffling breaks laced with a juggling percussion giving a wonderful synthesis of the old and new. * Detail & Tiiu - Delusion (EASTCOLORS Remix)
Delusion goes under the production knife and gets a little nip and tuck from Eastcolors. The soft understated bass of the original gets excised and replaced with a more growling, sideways moving variety whilst picturesque pads hover in the background. The beautiful, emotionally textured vocal of Tiiu is selectively deployed while coiling breaks add some extra hustle to the beats.

* 25-year old Bristol based multi-instrumentalist Memotone (aka William Yates) returns with a bleak, beautiful and politicised new album, set for release on electronic mavens Black Acre in April.

* His new album Chime Hours' follows his stunning debut LP I Sleep. At Walking.' A master of 11 instruments, Memotone comes from a family of artists and grew up on a diet of grunge, minimal classical compositions and electronic music. Yates is also an illustrator and film composer (he recently sound-tracked a horror serial produced by Eli Roth), something that runs deep within his avant-garde productions.

* Creating an otherworldly sate of mind with sonic soundscapes, the albums roots twists around rural horror, techno and neo-classical sounds mixed with field recordings documenting archaic seasonal ceremonies. From the spiralling darkness and crackled techno pulse of Poison Arrow' to Memotone's ghostly melodies intersecting brutal electronics on All Collapsed', the album buzzes with a variation of moods and ideas from an artist not afraid to run the full gamut of emotions.

* Emphasizing texture over tone, CHIME HOURS' is heavily centered around the sounds of a analogue synthesizer, whilst also featuring live cello, piano, clarinet, violin, church organ, guitars/bass and trumpet that's given a distorted twist. The album also sees Memotone bring his voice further forward, creating brief flourishes of glimmering effects.

* On tracks All Collapsed' and You Saw the Future' Memotone toys with ideas surrounding a post apocalyptic world that's stripped bare by humans, whereas the rest of the album takes influence from The Middle Ages, rituals, civil war, gritty hand to hand combat and a fear of ghosts and the religion that surrounds them. Memotone recorded the rituals practiced at a folk celebration in a village near where he grew up, explaining that: I thought, perhaps there is a reflection of our distant future in our past. Not only the middle ages but spanning human history. We have already lived, and more importantly survived, through times as hard as the ones we are self imposing now.' The title CHIME HOURS' is taken from English folklore, which believed that those born at certain hours could see ghosts.

* Layered with abstract noises, analogue electronica and snatches of fragile melody, CHIME HOURS' evokes darkened alleyways and ethereal worlds, making for a deeply immersive album that's testament to a distinctively inventive artist.

* Featuring remixes from Fis (Triangle/Exit/Samurai Horo) and Shapednoise (Type/Hospital Productions/Opal Tapes).
* 'Exosomatic Artifacts' inhabits the world of ideas while enacting the decay of the body.
* The Sensorial Surrogate' captures and reproduces fragments of the world, surrogating them in representations. The human sensorial experience is stripped of its physicality and mediated through plastic and glass, pixels and vibrating cones. Can we still define ourselves as human, or has the sensorial surrogate turned us all into cyborgs
* Disguised doses of venom absorbed via electrical stimuli injected to the human brain: Envenomation'. An orgy of geometrical luminescent constructions of abstract realities, conceived and perceived by swarms of connected brains. A socially hyper-connected form of life or an envenomed wasteland where the vitality of the body is entrapped in a world of ideas which try to transcend it, bypassing life and propelling towards corporeal death
* Computer Worm', a virus infecting a vast biosphere of code, occupying, multiplying, and corroding from within. When are we no longer the computer and in fact the wormhen are we no longer the computer and in fact the worm

[A] A1 | Don't Stop The Rock (Bigfreakbeatreconstruction)

Low Jack's Editions Gravats present Black Zone Myth Chant (a.k.a. High Wolf) at his most 'floor-friendly with five tracks of mutant, refractive rhythms and cosmic melody cut-out and expanded for DJ purpose from last year's 40-minute judgement mixtape.
The collaged, psychedelic fabric of his mix is teased into new, minimalist rhythmelodies and chaotic harmonics, flipping its fragmentary ideas into colourfully-plumed,
outer-limits dance trax that sound quite unlike anyone beyond the obvious aesthetic touchstones like Hieroglyphic Being, Sun Ra or DJ Screw.
Reload Pain starts up like some Far Eastern synth phantasia replayed by khat-high Ethio-jazzers, whilst Pitchblack stirs a viscous brew of screwed vox and cranky discord lightened up with glittering celestial arpeggios, and Jail Love opens a 3 minute window of beat-less kosmiche synth contours. Night Chicks float us back to the dance on choral pads and trickling tribal drum patter, before closing with the hyper alien set-dance of Zero To One.

Two years ago Shelter Press was based in the Alps where Pete Swanson made a s stop while he was on tour. Not sure why we started to talk about this LA-based duo he released a few years back but the idea of having Bulbs doing a new recording for Shelter Press came up before dessert.
If you've never heard their music befofre they sound like Stars of the Lid jamming with Seekers International and a lucky dip of quaaludes, they turn a standard guitar/drums set-up into apparatus for loosely fluid adventures between the plunging, exploratory dub and chant of 'Ladder Wing', thu the amniotic ambience of 'Skylight', to pursue the beautifully elusive dub spectres in 'Yoke' As Pete Swanson explains:'Bulbs is a band that I like so much that I started a record label to rep their work. I put out their 'Light Ships' album in 2008 because I was so impressed with how futuristic their music was.
They've remained active on their own terms since then, releasing a number of microeditions of their music including a few incredible tapes. Generally Bulbs' music does not sound like the guitar/ drum instrumentation would indicate.
They have much more to do with Chain Reaction than White Stripes, but with the benefit of live instrumentation and an adventurous edge, they end up much wilder, looser, more organic than anything coming out of Berlin...'

* Over the years, drum & bass has seen literally thousands of record labels come and go. But amid the seemingly infinite imprints that have provided an outlet for the music, very few can claim to have had anywhere near the influence of the mighty Virus Recordings.
* Ed Rush & Optical, alongside fellow 'tech step' luminaries Matrix, Trace, RymeTyme and later Bad Company and Cause 4 Concern, layed down the Virus template on timeless tracks such as 'Gasmask', 'Watermelon' and 'Medicine', as well as LPs 'Wormhole' and 'Sleepwalk', and within just a couple of years had a seismic influence on the sound of Drum & Bass.
* Ed Rush & Optical join forces once again to bring you their 7th LP release entitled 'No Cure'. Representing the next step in both their journeys, the album sets the stage for Virus Recordings for both this year and the future. With dynamism, funk and an overarching sense of groove, the record plays to the strengths of both producers, creating something which is more than the sum of its parts. Take a trip into the darkside, with the experience and talent of Ed Rush & Optical as your guides.
* The album begins with tracks like the stalking, shimmering title cut, which features vocals from MC Rymetyme. The
pace is picked up with choices such as Eternity and Falling Down Stairs, which show that Ed Rush & Optical, both with over 25 years in the game, are still repositories of new, fresh and invigorating ideas. Overall the LP explores themes from the beginning of the duo's careers brought into the sharp focus that modern music now has without ever losing the funk and flavour that Virus has become synonomous with.
No Cure is next level, and will be many people's choice for album of the year.*

* SPEAR062 sees the return of Hybrid Minds with fresh material for 2015 and a whole host of guest vocalists.

* Hybrid Minds have gone from strength to strength since their debut album release on Spearhead Records and continue to show why they are in such high demand amongst d&b lovers worldwide.

* The 'Lifted EP' comes on a limited edition 12' picture disc which certain to become a collectors item.

* Support from London Elektricity, Friction, Drumsound & Bassline Smith, Bryan G, Blu Mar Ten, Doc Scott, Technimatic, S.P.Y, The Risky and a whole load more...

'I watch you drown, with neutral eyes, I caught you
up with hate that you have never heard - But it's only
words'.
Alex Rendall spins a delicate web of words over a
chilling beat, rich in texture and detail, created by the
crate-digging producer Amos Childs, collectively known
as JABU of the Young Echo collective.
The pair collaborate on the frst vinyl release on the
No Corner label to tell two sonic tales of love and
loss - one that everyone can relate to, put in suitably
abstract terms. Rendall's voice paints a vivid picture of
after-hours melancholy, backed by delicately effected
percussion and haunting pads.
The fip side - You & I, a JABU set staple has been
remixed by another Young Echo member, Kahn.
Retaining the delicate textures of the original, Rendall's
voice softens and his wordplay becomes even more
effortless -

If John Daly returns to his own One Track Records it means business. His lush techno style (rooted in early 90's Detroit techno) meets balearic vibes resulting in a true deep house excursion that comes in 3 versions! Recommended!

30 minute soundtrack housed in sleeve designed by Mark Leckey himself. Mastered & Cut by Matt Colton @ Alchemy. Vinyl-only edition of 500 copies.

LIMITED VINYL HAND STAMPED RELEASE
Next up on Belfast based Titanic City we return to where it all began with a release from Martin De Brig, we first heard this release at a label party as part of Martin's live show. From then, with the crowd reaction we knew it was or next stop. This track is more rooted in Chicago than Detroit with a Jacken baseline and the highest of synth lines, The Chris Nez remix takes it a totally different direction with more of a Electro feel. on the flip A dog called Cairo has an arpeggiated synth line that builds and builds layered with hats rides claps and snares another floor filler. On remix duties for this one we have Snuff Crew who need no introduction.
There's a rough and raw DIY feel to this music that makes it jump out of the speakers and arrest your attention, as is always the case with Titanic City. Stand up pay attention.

Massive Attack sind mit ihrem offiziellen Album-Vorboten zurück: Ihre neue EP - Ritual Spirit vereint neben der Rückkehr von Tricky (auf dem Track - Take It There ) auch Gastauftritte von dem gefeierten Schottentrio Young Fathers (- Voodoo In My Blood ), Roots Manuva (- Dead Editors ) und dem Newcomer Azekel (- Ritual Spirit ). Produziert und geschrieben hat Gründungsmitglied Robert del Naja die neue EP zusammen mit seinem Langzeit-Studiokollegen Euan Dickinson. Schon jetzt kündigte die Band an, dass eine weitere EP, an deren Aufnahmen auch Daddy G als Songschreiber und Co-Produzent beteiligt war, im Frühjahr erscheinen wird. Zudem soll auch das nächste offizielle Studioalbum noch in diesem Jahr kommen. Massive Attack sind momentan auf großer UK- und Europatour, für deren Vorprogramm sie Young Fathers engagiert haben, die auch zu den Gästen der neuen EP zählen. Ein Großteil der anstehenden Konzerte inkl. allen kommenden Deutschland Shows, deren Stage Design von Robert del Naja und den United Visual Artists stammt, ist jedoch bereits seit Monaten ausverkauft. Die EP erscheint als Heavyweight Grey Vinyl.

The trained pianist Max Loderbauer, together with Ricardo Villalobos, has just breezily launched the jazz sanctuary of the Munich-based ECM records into the ether as "Re: ECM". On the new adventure he now logically again finds himself working with sanctuaries. For the tool he uses for creating worlds is the finest modular synthesizer in the world, the Buchla 200e.
In the glow of this altar-like cockpit, he welcomes the two inspired Swiss musicians, clarinettist Claudio Puntin (also mini-mallets and electronics) and percussionist Samuel Rohrer (also Kaoss pad and other electronics), both of whom have published their own as well as co-operative productions on ECM. With ambiq, they are now exploring remote musical universes on Rohrer's innovative arjunamusic label, with the aim of opening doors of perception to the electronic scene by means of enhanced possibilities of instrumental interaction.

Full artwork, double vinyl , shrink-wrapped , limited to 500 copies worldwide.

'When we released Martin's first big single on Neodigital Recordings in 2012 we knew he had all the skills and motivation to be successful within music. Over the past years he successfully proved to do his own thing and took his firm place in the scene. It is really awesome to see him doing so well. He deserves all of that. Putting out his new record on Neosignal Recordings feels like our boy and good friend is coming home! It's a damn fine piece of music :'
PHACE & MISANTHROP

Neosignal Recordings will release Mefjus's 'BLITZ' on December 11th. The 4 track EP contains the edgy, futuristic and techy drum & bass music that's become his signature - heavy but sophisticated, catchy but fresh.

Essential club pressure from Her Records, courtesy of label co-capo, MM (fka Miss Modular), including a dancehall flip of CYPHR's Brace and arriving hard on the heels of Kid Antoine's
Bodypaint killer.
Uptown, with Why You All In MY Face, he essentially picks up where their last white label, Fraxinus' flip of DJ Diamond's B-More classic Hey You Knuckle Heads left us; warping a bouncing B-more chassis with eye-quivering FX, handbrake turns, and the kind of sustained subbass tremors that make your clem fandango.
Downtown, he performs dancehall voodoo on CYPHR's Brace, screwing the ting to a slower tempo meshed with I-Octane & Bounty Killer's vocal to Double Trouble for maximum danger.
Trust these are tried and tested for all DJ and dancer...

Ecstatic offer a fascinating, often dizzying insight to the primitive industrial minimalism of Italian siblings, Giancarlo and Roberto Drago, a.k.a. The Tapes, via Selected Works 1982 - 1992 sourced from original tapes and pressed to vinyl for the first time ever.
Following on from Ecstatic's issue of 'mail artist' Danielle Ciullini's Domestic Exile Collected Works 82-86, this set surveys a blind-spot in most people's knowledge of early '80s Italian underground music, framed against a backdrop of the Anni di Piombo, or Years of Lead - a period of domestic political turmoil between the late '60s and early '80s - and the mushroom shadow of nuclear war.
Like their international tape-scene allies, The Tapes reacted to this world thru a matrix of mono-synths, drum machines, microphones and 4-track recorders, mostly recording/ experimenting ideas direct-to-tape in one take and making a virtue of their lo-fi set-up's infidelities and imperfections - randomness and mistakes were embraced rather than discarded - whilst absorbing the counter-cultural influence of William Burroughs or Throbbing Gristle, and the sci-fi dystopia of J.G. Ballard and John Foxx.
These 21 tracks, drawn from 10 different, limited tape releases, perfectly distill a wandering, weirdo spirit, ranging from the funereal swagger of Tanz Fabrik and the darkwave hip-thrust
of The Day of Silence to freeform, motorik trajectories such as Time Out of Joint and singular enigmas like the Actress-esque bobble of The Wait and Falso Movimento B2's weightless, hyaline spindles.
Collected and compiled by Alessio Natalizia (aka Not Waving) and remastered by Matt Colton, Selected Works 1982 - 1992 represents a decade of modest but searching and instinctively
grooving experimentation of the rarest, precious and compelling kind.
As Giancarlo Drago explains:
'The Tapes was an unplanned experience, an unplanned need to express myself Looking back on this music I wonder sometimes how I did it - the whole process from the concept to the completion. Everything I do now seems trivial and obvious and I just end up aborting the idea. And exactly for this reason I think that everything has its time, with a beginning and an end...'

Their seminal collaboration with Prides has once again projected Loadstar onto the genre's forefront. Demonstrating their ability to merges signature breaks alongside an emotive vocalist the drum & bass duo has offered up yet another crossover single to hit both the clubs and radio airwaves.
Having received support from BBC Radio1 tastemaker Annie Mac, as well as 1xtra's prime time radio Mistajam and pivotal DJs such as label boss Andy C, it only made sense to this follow up with a track to propel them into the New Year.
First up is 'Lifeline', a track instantly recognisable from their set at London's biggest NYE event, Ram's night at the O2 Academy Brixton. Lead by melodic, harmonious vocals and underpinned by tinkling piano arpeggio, you're then pulled forward by a rolling bassline. Standing testament to their powerful ability to command crowds through a varied discography, epitomised by this next single, it proves their longevity as artists.
Next up is the aptly named 'Switch', taking the record into a totally different direction. Smashing amens take you deep into the mix, creating a full throttle assault on the senses. Slipping into the genre's murkier depths, it's impossible not to imagine this cut detonating clubs across the globe.
Staring as we mean to go on, Loadstar return with another single on a famed imprint that epitomises why they're such revered names across the genre. From the early Bristolian years to present day, Loadstar reign over a spectrum of sound they helped to develop.

Melodic space mantras from infamous synth shaman Spencer Clark. From 2012. TIP!
You might remember Spencer, the extremely prolific experimental musician, as one half of the cult drone-duo The Skaters.
Following Bamboo For Two and Make Mine Macaw, The Garnet Toucan completes Spencer Clark's Romance Audio Trilogy. The series is centered around the image of the parrot, or the toucan, as a messenger from the outer-planes, connecting humans with nature.
This final segment sees the integration of this spirit animal back into the celestial heavens, a supernova morphing into a nebula of warm, repetitive synths and looping chants.
Unlike recent ambient/drone releases, this one preserves the sun-bleached mysticism of Southern California, choosing melody over dissonance and primitivism over futurism. The Garnet Toucan feels like a precious artifact unearthed from the golden age of drone music, surrounded by the halo of early not not fun releases.
Glistening with new age candor, monopoly child star searchers is spencer's most esoteric and accessible project at the same time. Tribal percussion is gracefully entangled with heavenly synthesizer harmonies, creating colorful, psychedelic soundscapes.

Just try 'Champagne's Amazon Friend', a deep rain forest incantation using soft wooden sounds and sci-fi melodies to create a sublime, organic drone pop hit.
More ayahuasca-fueled visions arise from the toucan's celestial forest, conjuring spirits old and new, alien and terrestrial, reaching darker notes towards the b-side, only to burst back into sublime highs with 'Celestial Toucan' .
From under his star-studded cape, he seems to manipulate the most primal energies during his ritual with the aid of pan flutes and pitched down vocals in his intergalactic drum circle.
Spencer delivers a beautifully crafted LP, that would soothe ambient, psychedelia, techno and minimalism fans alike. Highly recommended!

With their second longplayer Meanderlust, Randweg undertake a trip along melodic fields and rhythmic turns. The songs sound self-willed yet catchy: they are feel-good-music with an experimental core. With unusual instrumentation (clarinet, guitar, bass, cajon, computers) and unique style, Randweg treads a previously untrodden path: A detailed one, sensitive, gentle and scratchy, one that you would like to go more often now.' (De: Bug). The duo breaks with any expectations one could have given the instruments collected here, and the clarinet playing has nothing to do with the usual clichés one may associate with this in itself innocent and lovable instrument. On the contrary, its sounds remind us a lot more of our well-loved vintage analog synthesizers. (Groove) Andreas Ernst plays the clarinet since he was 12 years old. The way he puts his instrument to use is exceptional: the clarinet serves more as a natural oscillator, whose vibrations are alienated with effects and transferred to a different world of sound. A woodwind instrument as a controller for soundtransducers, filters and delay. Andreas distinctive playing style can also be found in tracks by Ripperton, Ellen Allien and Der Dritte Raum. David Baurmann forms the musical counterpart on bass and guitar and enriches Randwegs electronic beats with cajon. Firmly anchored in Aachen's electronic music scene as a DJ, here he is a multi-instrumentalist, to whom the duo owes their peculiar band-like sound. It's a stroke of luck the two met 2007 in Berlin. Together they are Randweg. The reimplementation of the pieces on their debut album Equisetales (2013) aroused Andi and Davids appetite to perform live.

Die "Tempa Allstars"-Kompilationsreihe ist seit ihrem erstmaligen Erscheinen im Jahr 2003 - und damit den
Anfangstragen von Dubstep - so etwas wie ein Lackmus-Test für die UK-Underground-Szene. Deshalb schon
mal vorweg: Auch die 2015er-Ausgabe Nummer 8 kann bestätigen, dass mit der Bass-Musik im Vereinigten
Königreich alles in bester Ordnung ist, die Zusammenstellung enthält ausschließlich Killertracks. Das Lustige
an der Serie ist ja, dass sich auf der Doppel-12'' statt der angekündigten Label-Allstars eher die Newcomer
finden. Und wenn dann doch mal Skream oder Benga Eingang in die Pressung gefunden haben, dann
weniger mit labeltypischem Trademark-Dubstep, sondern vielmehr mit UK-Funky- oder 130-BPM-Nummern.
So verhält sich das auch bei "Tempa Allstars Vol. 8". Der Sampler bietet eigentlich nur einen "echten"
Dubstep-Track von Distance & Youngsta, die Nummern von Acre, Cliques, Biome und Epoch bewegen sich
im 130er-, das Stück von Fracture sogar im 160er-Bereich.

Housed in limited edition sleeve artwork.
After releasing the fourth "Secret Rhythms" album in collaboration with
Jaki Liebezeit, Burnt Friedman returns with a preview of his forthcoming
new solo album.

ELEM sees the light in 2012, during an electronic music improvisation night at "L'Asilo" (Arts and Culture production center in Naples, Italy) . ELEM started as an audiovisual project based on electronic music improvisation and multimedia arts, created by Loredana Antonelli ( visuals ), Fabrizio Elvetico , Emanuele Errante and Marco Messina (electronics) . ELEM is today an interesting novelty in the European electronic music scene that always welcomes new experimental and inspiring projects to give new life to Art and Music productions.

Part Two of Fhloston Paradigm (aka King Britt)'s beautiful Cosmosis EP series starts with the haunting broken techno of 'Nimoy' , bass line and subtle piano gently modulating over scissoring drum machines and dubbed out claps, the switches in rhythm and the layers of chugging drums catching you off beat. The track builds into a heart-tugging melody, the drums breaking up under it's force. 'Return' is a pure analogue brain massage of a track, a deep space exploration of undulating arpeggios and shimmering emotive notes. 'The Hour' finishes the record , slow building waves of melody and chords, shimmer and swell, the repetition and addition of a mournful bass line consolidate the emotional energy of the track.

Erda (1972)

This piece illustrates my early research carried out in a professional composition studio. After studying every available tools and creating variably hybrid connections between them, I chose to compose several short sequences, each being the expression of a research based on a sonic manipulation and exploring a well defined sound hue. Besides, my background as a percussionist and a jazzman encouraged me to conduct a rhythmical study in each of these sequences.

'Erda' consists of seven movements:

1. Variations: a lengthy framework interwoven with granular variations.

2. Cellules (Cells): this movement comprises a group of melodico-rhythmic cells shifting from the left channel to the right channel. The slightly raucous and acid texture of the 'square' sounds, that can be heard in several movements, is a reminder of saxophone and muted brass sonorities, as used in contemporary jazz.

3. Grillons: (crickets) an evocation of the realm of insects.

4. 54 oiseaux (birds): stereotypical bird songs produced by the generators of the studio 54.

5. Erda: a tribute to the Goddess of Wisdom and the Earth in Wagner's Das Rheingold and Siegfried.

6. Genorgue: this sequence is somehow mirroring Cellules. The sound has however lost some of its aggressiveness and is getting closer to that of an organ or an electric piano.

7. Klook: rhythmical drumming figures such as those Kenny Clarke (aka Klook) used to teach me.

8. In memoriam J.C.: a tribute to John Coltrane.

Suite N (1982)

Commissioned by the Direction de la Musique and the Ina GRM.

Composed in the Ina GRM's numerical composition studio with the assistance of Benedict Maillard and Yann Geslin.

In a composition studio, musical research is never very far removed from madness. The first step is the initial work on the sound picked up by the microphone and the varieties of delirium that result from it : exaggerated amplification, inversion, transformation. Synthesizers and their crazy possibilities com next. The third step is the computer, one of the purest products of logic. All the same, the musician approaches the robot warily : he prefers his own models to formal and mathematical models, and he uses the computer like an instrument. Anyway that seems to be the choice of the computer group in charge of studio 123 at the G R M , and we may congratulate ourselves that this is the case. Thanks to the MUSIC V program. GRM's PDP 11 computer can synthesize sounds from any instrument. Mainly it can transform and treat absolutely any sound fed into its memory : sequence accumulation, contraction, drawing out of sequence, acceleration, slowing down, reversing, spatialization, filtering, speed variation, etc...., all this on a much broader scale than comparable traditional means. My intention in 'Suite N' was, on the one hand, to use solely sounds produced by the computer either by direct synthesis (MUSIC V) or by sound treatment, and, on the other hand, to work with a definite form. A, B and C correspond to the exposition of the themes. A' B' and C', to their variations. Each of the nine families of sounds represents a different instrument. Once the musical lines are established, they are re-used, together with their variations, in the development of the piece.

Jean Schwarz is an idiosyncratic figure in the world of electroacoustic music. With a dual background in jazz and ethnomusicology, he has crossed times and genres with an unwavering singularity, infusing improvisation, ballets or cinema with the art of acousmatics. 'Erda' or 'Suite N', each in their own way, demonstrate Schwarz's unique propensity for exploring sound, its cross-fertilisations and its evocative power.

Nach zwei Alben auf dem britischen Label Planet Mu (Heimat von Künstlern wie Mu-Ziq und Venetian Snares) schließen sich Solar Bears nun Sunday Best an. Als große Fans von David Lynch wurden sie auf das Label aufmerksam. "Advancement" hat alles, was etwa "Boards Of Canada"-Fans glücklich machen sollte. Psychedelische Soundscapes gekoppelt an modernste Elektronik, flirrende Ambient-Passagen genauso wie knackige Beats als Kontra-Punkt.

Wurde schon der Vorgänger "Supermigration" mit reichlich Lob bedacht, führt "Advancement" das Konzept nun weiter. Die beiden Musiker David Kowalski und Rian Trench aus Dublin haben sich abermals mit dem amerikanischen Film-Regisseur Micheal Robinson zusammengetan, der das Werk mit einer Serie von Video-Clips im Netz begleitet. So finden die sowieso Soundtrack-geeigneten Stücke eine großartige visuelle Entsprechung. Der Clip zur ersten Auskopplung "Wild Flowers" gewährt einen ersten Eindruck.

After nearly a decade, Fog is back. Andrew Broder's project has been tough to trace, leaving a trail of acclaimed albums, each considerably different than the last, on notable electronic labels before disappearing like its namesake. But For Good is as much a return to what the Minneapolis auteur does best — piano, turntables, and voice caught up in a gorgeously taut swirl — as it is a foray into music without precedent: digital soundscapes seamlessly wed to guitar, bass, drums, violin, sax, and synths.

It's the sad/pretty pop of Antony and the Johnsons, Bon Iver, or Julia Holter spliced with the new noise of Arca, Shabazz Palaces, and Oneohtrix Point Never. Broder flexes his knack for better mood-building through collaboration and collage. His Twin Cities geniuses pitch in — Mark Erickson, Tim Glenn, Jeremy Ylvisaker, Mike Lewis, et al. — plus Dntel and Doseone (behind the scenes) and violinist Leah Ottman.

For Good's sonic focus isn't a surprise. In 2015, Broder produced a bleak-banging rap tape for MC Crescent Moon, covered Beach House and FKA Twigs on Soundcloud, and dropped a five-cassette drones-and-beats set for the heads. But the production here is also cleaner than ever, and likewise the vocals, which Broder honed most recently fronting his rock-ish band the Cloak Ox. The lyrics showcase an eye for observation and introspection that makes cousins of Bill Callahan and Phil Elverum, and if there's a heaviness haunting the words, it's the workingman's wont. After holding a series of random, short-lived side jobs, Broder learned a trade so he could better support his family — he's a handyman and commercial painter back home. But in giving more of his time to the grind, he conversely found himself at his most musically inspired. That push/pull is a crux of the new Fog.

Broder funded For Good via Kickstarter, and recorded parts at Justin Vernon's April Base compound (with basketball breaks) and Eau Claire studio Hive (where co-producer Brian Joseph actually keeps bees). But the album was made mostly in Broder's basement, in the company of his space heater and 3-year-old boy, Sonny. While the poetry stays oblique, these are ostensibly songs about hard work ("Jim"), stubborn love ("Trying"), and elusive purpose ("Made to Follow"). Also, being a dad. Tender closer "Father Popcorn" lets all the digitalia recede as Broder contrasts his hustle against the relief of a child's naïveté: "Sticks his tongue out, flops his earlobe... Presses his mouth to the window, blows his own cloud." And right there, in the record's final moments, the concept of "Fog" flips, from a mysterious haze that connotes dread, to a gesture that is, decidedly, For Good.

After nearly a decade, Fog is back. Andrew Broder's project has been tough to trace, leaving a trail of acclaimed albums, each considerably different than the last, on notable electronic labels before disappearing like its namesake. But For Good is as much a return to what the Minneapolis auteur does best — piano, turntables, and voice caught up in a gorgeously taut swirl — as it is a foray into music without precedent: digital soundscapes seamlessly wed to guitar, bass, drums, violin, sax, and synths.

It's the sad/pretty pop of Antony and the Johnsons, Bon Iver, or Julia Holter spliced with the new noise of Arca, Shabazz Palaces, and Oneohtrix Point Never. Broder flexes his knack for better mood-building through collaboration and collage. His Twin Cities geniuses pitch in — Mark Erickson, Tim Glenn, Jeremy Ylvisaker, Mike Lewis, et al. — plus Dntel and Doseone (behind the scenes) and violinist Leah Ottman.

For Good's sonic focus isn't a surprise. In 2015, Broder produced a bleak-banging rap tape for MC Crescent Moon, covered Beach House and FKA Twigs on Soundcloud, and dropped a five-cassette drones-and-beats set for the heads. But the production here is also cleaner than ever, and likewise the vocals, which Broder honed most recently fronting his rock-ish band the Cloak Ox. The lyrics showcase an eye for observation and introspection that makes cousins of Bill Callahan and Phil Elverum, and if there's a heaviness haunting the words, it's the workingman's wont. After holding a series of random, short-lived side jobs, Broder learned a trade so he could better support his family — he's a handyman and commercial painter back home. But in giving more of his time to the grind, he conversely found himself at his most musically inspired. That push/pull is a crux of the new Fog.

Broder funded For Good via Kickstarter, and recorded parts at Justin Vernon's April Base compound (with basketball breaks) and Eau Claire studio Hive (where co-producer Brian Joseph actually keeps bees). But the album was made mostly in Broder's basement, in the company of his space heater and 3-year-old boy, Sonny. While the poetry stays oblique, these are ostensibly songs about hard work ("Jim"), stubborn love ("Trying"), and elusive purpose ("Made to Follow"). Also, being a dad. Tender closer "Father Popcorn" lets all the digitalia recede as Broder contrasts his hustle against the relief of a child's naïveté: "Sticks his tongue out, flops his earlobe... Presses his mouth to the window, blows his own cloud." And right there, in the record's final moments, the concept of "Fog" flips, from a mysterious haze that connotes dread, to a gesture that is, decidedly, For Good.

* In this age of electronic surrender, where identities and realities can be sloughed from you as easily as leprous skin, it must be considered: What is the storage capacity of our personal spiritualties Does our ease of transition affect only the exterior, or do our humanities become ragged with use—or does it become compressed as these fragments of reality splinter away from us What is the sound of a soul in 2016

* The scream of such corruption may be incomprehensible to the untrained mind, yet in the aural abattoirs of Gainstage these flayed metaformations are brought into our UnReality. Beneath the sediment of humanity, the sun shines in RGB: convert to grayscale, and watch a world of self-buried definition open before you. In this new landscape, the cold light illuminates shattered ideologies and the dust of forgotten deities left behind from some cosmic flea market. Inhale this world: serrated serotonin dragged up spinal digitalis, crushed-god ecstasy snorted up behind your third eye. Pounding metamorphosis as Void whispers to you incessantly: chug. chug. chug. A celebratory consumption of self, filling the pipes of the body with shambling effervescence and an eternity of hissing and indecipherable voices. Soft light—the color of stone, of ancient mountain and dirty concrete—fills the spaces behind your eyes: eigengrau as lover, her crushing arms enfolding you with the promise of silent dominion.

* In these alien pieces of audio, one need not find terror, but enlightenment. There is no deception in destruction, nor lies in death. Allow the weight of Elevated Noise to act as psychogenesis—you may find yourself rising faster than you fall.

Klone and Skynet join forces for a sampler that underlines Mindtech's dedication to quality DnB. Featuring two tracks from two stars of the underground movement, Mindtech's latest sampler serves up to equally energetic but precisely engineered tracks. The perfect way to warm-up for the imminent Peace of Mind.

Klone - Oblivion
After a ten year wait, Klone, one half the mighty returns to Rascal and Klone makes his long awaited return to the Neurofunk scene - and it's like he never left. Beginning with an arpeggio that draws you into a dystopian soundscape, Oblivion transforms in a chugging monster. Featuring dark, deep bass reese notes that pull you through the speakers, and a chugging sub-bass, Oblivion is relentless. Add atmospheric synths and a hard-hitting drum
beat, and Oblivion was worth the wait.

Skynet - Disorder
The second track, sees ones of the Neurofunk scene's pioneers return to Mindtech for another tour de force in aggressive Drum and Bass. Like any artists at the top of his game, Skynet's style has progressed and evolved, so Disorder is just as threatening and grimy as you'd hope. Featuring an urgent synth line underpinned by a classic neuro-bassline, Disorder is the perfect blend of the old and new. As for the Drums
Disorder pulls no punches, with snares, kick drums and everything in between

The second 12" on Bandulu affiliate, Hi5Ghost's Paper Cranes imprint! Two cuts from fast-rising Bristol producer Lamont. 'Pondering' is first up on the disc, featuring Beezy on vocals, setting the murky tone over a gully, low-slung roller - razor sharp fragments fling out from below the elasticated low-end and the precise bounce of the drum pattern, sure to give the rig a good test. Flip it around for more instrumental goodness, this time it's Lamont on his ones - 'Shadows' proves his skill in the field of nu-age darkside garage music once again.

This disc comes served in hand-numbered and stickered sleeve, vinyl-only edition of 300.

On 'Sebenza', meaning 'work' in the Zulu language, South Africa meets South London as the LV trio of producers hook up with three of their favourite South African MCs, Okmalumkoolkat from Dirty Paraffin, Spoek Mathambo and MC / producer duo Ruffest. The first sessions from the album started two years ago, when one of LV went over to Jo-burg to DJ and hooked up with Spoek Mathambo on a tip off from a mutual friend. One thing led to another and they were introduced to Okmalumkoolkat, and on a later visit, to the duo of Sello and Max who make up Ruffest. Their talents as MCs and infectious characters are what drew LV to them, and by happy coincidence, the synthesis of their vocals and LV's music form something fresh, unique and playful. Across the album, LV's music is 'zingy'; analogue synths digitally propelled by multisided rhythms, that take off from the interzone between UK funky and kwaito house's bouncy rhythms, but detour much wider through the spidery, digital soca / kuduro of title track 'Sebenza', the afro-garage of 'Animal Prints', the scuttling triplets of 'DL' and 'Limb', the half speed grime of 'Zulu Compurar', the old school electro hip hop of 'International Pansula' and the Prince-like synth melodies on closer 'Ultando Lwaka'. The album shares a palette of sounds, but each track stretches those sources into different templates, each custom built with the MC's flow and topic in mind, slowed down and sped up where needed. The three MC's styles differ from each other dramatically. Okmalumkoolkat shifts schizophrenically through different characters; he's an Afro-futurist tech nerd on 'Zulu Compurar', a wired gangster on 'International Pansula', and on 'Spitting Cobra', a shapeshifting bad man. Ruffest mix shout outs to the thugs on 'Hustla', boast their uniqueness on 'Nothing Like Us' , bring the party on 'Thatha' and get love sick on 'Uthando Lwakho'. On 'Limb' Spoek Mathambo's rhymes dissolve into the rhythm like a holographic James Brown, while 'Work' answers Okmalumkoolkat's 'Sebenza' with instructional cheerleading over clicking beats. 'Sebenza' is a joyful listen, refreshing in its disregard for musical and verbal cliché. It brings to attention a handful of the awesome talent of South Africa's young generation of MCs over the finest productions of South London.

Unformated Bass Music, 140 BPM speedbreakz in an uncomon sense and very efficient (specially for the B Side). The record brings free dowload of Patric Catani's remixes.

The Duttyest of the dutty return with DAUDIO027, as BTK's Dutty Audio label continue to break new ground and release some of the hottest music on the neuro, and the wider drum & bass scene. This time around, label head BTK teams up with Optiv and Mindscape for two enormous tracks, Ruthless and Heads Above.
Dutty have always been about standing out from the crowd, doing things a little bit different, and catering for those that love their music loud and hard. Both these tracks fit the core ethos of what Dutty is all about, and fans old and new are going to love them.
Ed Rush 'These guys just keep on delivering. Bangers. Full support here :)' Enei 'great!' Loadstar 'tidy! always love optive and btk tracks' MC Coppa '50 Shades of Dope! Ruthless is badass' Dieselboy 'solid as fuck'
Ruthless, a collab between the three producers, gets going without any hesitation. A fading vocal sample comes in and goes out in the intro, as the track builds itself up underneath. Get ready for the mental drop, as all three artists add something distinctive to the mix. Funky, hard driving drums stand firm, as the electronic bass hums along, creating a breakneck soundscape straight from the underground. Flashy samples are up next, as the pace is picked up and direction set fair for the future. BTK, Optiv and Mindscape bring the beats down, just to recharge them and let things loose again.
On Heads Above, Optiv & BTK take over the production, with a sharp, metallic opening to the track. This is overlayed with warping bass sounds, and a ticking, headnodding beat. The comrades swap ideas, with elements of each other's sound obvious on the track. Always reaching forward, never looking back, Optiv & BTK know how to deliver the goods.
Mob Tactics 'GUTTER!!!' Gremlinz 'Smashing it!' Foreign Concept 'Sounding good lads!' John B 'v nice indeed'
Headed straight for a dancefloor near you, both Ruthless and Heads Above are great examples of the Dutty sound, and will appeal across the board. Make your next purchase DAUDIO027, you won't regret it.

Support Includes: Loadstar, State of Mind, John B, Dieselboy, Doc Scott, Mob Tactics, Random Movement, Bowser, Ray Keith, Maztek, Grooverider, Borderline, Gremlinz, Serial Killaz, Trei, Foreign Concept, Dabs, Neon Lights, Ed Rush, Dose, Chris SU, Eastcolors, AMC, Mutated Forms, Mampi Swift, SIGNS, AK1200, Enei, Joe Ford, Basher, Skynet, Rene LaVice, Crissy Criss, Billian!

If you've driven past club flyposters in London, you'll have clocked the energy coming from the successor to UK funky scene, deeptech. 'Be There/Uhh' by east London's Truce sees the first Keysound release to come from this vast, vibrant and under-reported underground movement.
Truce has had releases on deeptech labels AudioWhore and SOTU Recordings, DJ support from EZ, Mark Radford, Supa D, Pioneer, Cameo, Ras Kwame, Amine Edge, Shiba San and bookings from London to Ibiza, Tenerife to Amsterdam. He sites Kenny Dope, Frankie Knuckles, Marc Kitchen, Dennis Ferrera as his house music influences. 'Though most important is my Dad who was doing music before I was born' insists Truce. 'Studio time with him was my biggest influence.' His dad is Calypso artist Shorty. Linear, 4x4 and driving: on one hand this 12' could be seen as representing a departure for Keysound Recordings. Yet on the other dive into 'Be There' and 'Uhh' and you find two hypnotic bassy rollers, estranged cousins to both Beneath's Keysound EP or LFO's 'LFO'. Not that either of these are explicit reference points to Truce, as like the deeptech scene, he's rooted firmly in the here and now.

Off on a slightly different tangent to Ed DMX's more customary electro-funk nuggets, this substantial six-tracker takes DMX Krew into darker, tougher and more abrasive territory. No sh**!

Fill Spectre is a 25 years old Producer, DJ, Radio Host, Self-taught musician and sound engineer from Montréal, Québec, Canada.

Fill's love for left-field music and metal brings a special ingredient to his tracks that are to leave you reckless when listening to his beats. Discovered by Joe Nice in early 2015, he got into the scene with a splash. Signed on GourmetBeats first, Banana Stand Sound with his dance-floor wrecker ''Battle for Spice'' and now onto well-known established Encrypted Audio, Fill Spebctre music is one which we can't categorize as of yet.

2016 looks like a promising year with loads of forthcoming material and the search for a new sounds. Keep watch!

The album " Nothing Else " of the Apulian singer Francesca Gramegna , produced by Nerio " Papik " Poggi ( collaborator among others by Mario Biondi , Matt White, Sarah Jane Morris ) , ranges from vintage atmospheres bossa nova , lounge where is the protagonist the velvety and sensual voice of the young performer . Among the pieces we find the hit of the same Biondi " This Is What You Are " , " My Love " by Paul McCartney , Brazilian tunes like " Agua De Beber " and " Portal Da Cor " by Milton Nascimento , then in addition to some songs in Italian as " Un'Estate Fa, " Sfiorivano le viole " Rino Gaetano and" Conversation "by Mina . Last but not least a new song from the soul atmospheres titled " Nothing Else to Prove . "

Claire Boucher speaks a different language. And Halfaxa, her second album, feels like the dictionary from which we might discern just where this being comes from. Halfaxa is simultaneously more human than Geidi Primes, and yet falls deeper into a hole of mystical obscurity. The lyrics, as throughout this album, are designed to be an additional instrument, and not necessarily a device that gives obvious meaning to the proceedings. There is a strong focus on primeval and simplistic percussion to Boucher's music, though I am apprehensive to compare it directly to club music. Even with all the fog and barriers she presents us with, at the core of her music is the human heart. There is a heartbeat in every note. Her breath is often used as a percussive element. Somehow, Grimes says more about life through her methodology than through what she literally chooses to say. Like all great world music, her sound transcends language.

8.5/10 in DJ - 'It's a murky half-time stepper, with fast itching scuttering below its sonic future weaponry. The real magic in this moody tune belongs to the bassline, the perfect 4am head-down roller'.

* Mako has gone from strength to strength. In 2015 he has a stellar year- he released an EP on the main Metalheadz label and put the finishing touches to the OneMind project in collaboration with DLR that has resulted in an album forthcoming for Headz.

* This brings us to the release of 'The Third EP'. The tracks develop the theme Mako has been crafting- stark soundscapes move across well executed breaks and basslines, a massive release for Mako. The artist grows in confidence with each release and it's great to be able showcase this on Headz.

'Six Cycles' is the debut artist album from one of the world's leading orchestrators, arrangers and conductors; Matt Dunkley.

Having worked on films such as 'Inception', 'The Dark Knight' and 'Black Swan', and with artists such as Patti Smith, Nick Cave, Massive Attack and Kronos Quartet, as well as a successful composer for film and television, it was only a matter of time before Matt Dunkley released his own album. Recorded with the renowned Babelsberg Film Orchestra, the result is a rich and nuanced cinematic soundscape, replete with stirring builds of Wagnerian grandeur.

'The inspiration for the six pieces that comprise 'Six Cycles' all derive from disparate sources, whether it a piece of poetry, a painting or the emotion of personal loss. Initially they seemed to be unrelated, but as I listened to them as a whole, a sense of them belonging together slowly emerged, forming a true "cycle". I want the listener to discover their own world within my music, hence the wilfully enigmatic titles.'
- Matt Dunkley

Matt Dunkley studied trumpet and piano at the London College of Music and has gone on to conduct all of the UK's top orchestras as well as international ensembles such as The Los Angeles Philharmonic (at The Hollywood Bowl), and The Sydney Symphony Orchestra (at the Sydney Opera House). He has scored two feature films, a number of network series for British Television as well as music for adverts and production libraries. For the theatre, he wrote and arranged a ground-breaking arena version of Peter Pan: The Neverending Story, that is currently on a world tour, and he has just completed the score to Flanders Fields, a theatre piece set alongside a war grave cemetery in Belgium.

Luneworks was created during a period of personal upheaval for Colleran, who headed out to a friend's tiny spare room in L.A with just a laptop and a few changes of clothes. What ensued was an intense month of twelve hour night-time writing and recording sessions, where Jack sought to isolate himself in order to keep the songs as pure as possible. The quietness of the city at night was a real inspiration, and the constraints of an alien environment proved something of a liberation. The ancestral, ethereal spirit of Ireland is also present throughout Luneworks. Kevin Shields (My Bloody Valentine), one of Dublin's most famous sonic outliers, is a noted influence - another musician who has wrung sweet emotion out of chaotic noise. The result is Luneworks, a fully immersive head-trip, a record that is at times brutal and at others unbearably beautiful, sometimes in the overlap of a single track. Luneworks is a mirror to the soul - a gorgeous, wordless expression of unedited, unfiltered emotion, heralding the arrival of one of the most important electronic artists of our generation. Key Points: ' Played on BBC Radio1: So much love for this, it's epic' - Phil Taggart ' Mmoths has previously played shows as special guest of Aphex Twin, and The XX, putting 'Luneworks' on the stage. ' Great support from tastemakers Media: Thump, DIY, Stereogum, The Line of Best Fit, Wonderland... ' First track Deu premiered on XLR8R

After the great success of "Lost Dats Vol 1", Persian Prince brings forth 4 more exclusive cuts for the second volume of the series.

The ragga and jungle vibes are heavy here throughout. "Roses Dub" and "Chill Out"both feature fast rolling dubwise-style jungle/dnb, while "Red Eye Dub" showcases a more frantic and choppy oldskool style of breakwork. "Dennis Dub" slows things down a bit and brings it back to 92 with ragga hardcore sounds: classic dancehall vocals and heavy breaks are on feature here, alongside exceptionally weighty sub-bass ready to flex any good soundsystem.

Cassette reissue of Samoyed's lost debut album, originally released on CDR in 2008.
- Limited Edition of 50. - Handmade insert woodblock printed on Japanese washi paper - 5 unreleased, mostly unheard bonus tracks

Shoc Corridor was the London post-punk quartet of Paul O'Carroll (Voice, Synth), Andy Garnham (Synth, Bass, Drum), Chris Davis (Guitar, Bass, E-Bow) and Nogi Prass (Synth) named after the Sam Fuller film from 1963. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Eno, PIL, and Joy Division. 'Experiments in Incest' was released in March 1983. Six songs, clocking in at almost 40 minutes, the album is largely instrumental pieces built around electronic rhythm tracks and layers of ethereal keyboard melodies. Evocative and dreamy, the music escorts you on a tour of icy landscapes, with Paul's occasional deep, rich vocals guiding the way. As one reviewer stated, this album is a 'hypnotic electronic soundtrack music for a movie of the mind'.

WhoMadeWho... Aren't that those three Danish guys who reformatted Funk Punk with Euro-cowbells a while back That is correct, but that is also a very narrow question. Shuffling genres emerging from the postmillennial style-clash is but one of their many talents, although perhaps one of their key disciplines. In any case, the genre-crossing think-tank consists of drummer/DJ/producer Tomas Barfod, and the two-headed vocal monster singer/bassist Tomas Hoffding, AKA Bon Homme and singer/guitarist Jeppe Kjellberg. With three extremely different backgrounds in electronica, rock and jazz (respectively), each member supports and compliments each other independently, as one, challenging the traditional 'band' structure of days long past.
There is a significant reason why WhoMadeWho, unlike congenial bands like The Rapture, LCD Soundsystem or Radio 4, survived the so-called new millennium. It is their unconditional curiosity towards contemporary club sounds and their approach, often incorporating the functionality of club tracks in their own songs, to look further than the edge of the stage, keeping a close eye on and constantly checking the pulse of the dancefloor. Keeping this virtue close to their hearts has already brought them major exposure in some of the biggest sets from Jamie Jones, Maceo Plex, Tale Of us and many more...

This approach they have issued in each of their six studio albums. So what better way to revive this approach as the DJ mix And what Mix-series would be better suited, after acts like Matthew Dear, Dixon, Modeselektor or M.A.N.D.Y., to open WhoMadeWho's vocabulary book for their own Body Language Oops, spoiled the surprise. But surely it was clear that one of the best fits for their intentions is also one of the most prestigious and celebrated series - Get Physical Music's Body Language series.

Directly from the beginning, David August's revision of The Acid track 'Ra' makes the depth known as it fades into The Invisibles' falsetto-meditation, 'The Stain'. From Cibucolors' 'Down the Wall' the sound meanders gently towards the club-groove as it gains a touch of Acid-House thanks to Ghost Culture, then indie-dance bliss made by The Golden Filter and Weval. Next a Nick Galemore contribution with a tiny bit of magic from WhoMadeWho. Here you are grooving to a tapestry of post-rock guitar inching inexorably towards a peak-time bounce. The WhoMadeWho acapella of 'Wanted Your Love' can then be heard perfectly adapted to Luke Abbott's number 'Modern Driveway' before pumping up the floor with George Fitzgerald's 'Your Two Faces'.

What follows is more contemporary Club material in the form of DJ Tennis via a Roman Flügel remix, &me's 'Trilogy' - probably one of the eulogistic cuts of the previous House-season - and the hypnotic House of Fort Romeau. The whopping Applescal kick drum then advances into the WhoMadeWho-exclusive in the mix, the ultra-catchy 'High & Low' (a misleading title, incidentally). This gently stalking and then flourishing into the hook pop song is an unmistakable highlight in this mix. A climax even, after which Clark tiptoes in. Meanwhile, 'Strength Through Fragility' finally connects with Nosaj Things' ambient/bass hybrid '2K'. A deep, worthy culmination of this amorous sound journey through the WhoMadeWho orbit.

* Until 2015 all Skanna masters where believed to be lost to cutting houses, defunct labels and the ravages of time leaving only compilations from the time to fill in the blanks. Until now! Skanna Records in collaboration with Underground Music present two seminal Drum & Bass vinyl reissues, Remastered from Original DAT Masters for digital and Vinyl by Bob Macc @ Subvert Central Mastering.

* After two years of hunting, a search of John's parents house finally turned up just one DAT containing pristine original masters from three seminal Skanna EP's. Another chance find at the same time among the archives of DJ Spatts from The Criminal Minds turned up their remix of "The Greatest Thing". The result is three Seminal reissues that sound better than the original pressings, now changing hands for silly money on Discogs, if you can find one in playable condition.

To follow up the recently released Truper Triple pack 12' , Basement Records now present the follow up Triple pack 12' The Sentinel Projects. These classic Drum N Bass tunes from 1994 and 1995 once again show the awesome talents of Rupert Parkes aka Aquarius, Code of Practice, Phaze 1, Photek, Special Forces, Studio Pressure, Synthetics, System X & The Truper.

* These six stunning Atmospheric Drum N Bass tunes carry all the familiar trademarks of a Rupert Parkes production, Tight intricate drums, sublime bass and stunning strings. The original releases demand collectors prices so now available remastered and available as a triple pack 12'.

* A fixture on the UK jungle scene since the early nineties, Photek a.k.a. Rupert Parkes
(born 1972, St Albans, England and associated with Ipswich in the nineties) is best known for his role in developing the "intelligent" drum & bass genre. Over the course of his career, Parkes has developed a sound that is simultaneously individual, innovative and accessible, earning him much respect and popularity amongst critics and music fans alike. The strength of the sound finds foundation in Parkes incredibly detailed drum programming, which is then augmented by his sophisticated sense for combining abstract sounds with jazz and classic techno influences. - Recently Parkes has been more and more active in producing music for film, having worked on a number of scoring projects for upcoming features from his new home base in Los Angeles. His dedication to film scoring is evident, and his perfectionist attention to detail and tireless work ethic are quickly leading him to success in Hollywood.
Basement Records

* Until 2015 all Skanna masters where believed to be lost to cutting houses, defunct labels and the ravages of time leaving only compilations from the time to fill in the blanks. Until now! Skanna Records in collaboration with Underground Music present two seminal Drum & Bass vinyl reissues, Remastered from Original DAT Masters for digital and Vinyl by Bob Macc @ Subvert Central Mastering.

* After two years of hunting, a search of John's parents house finally turned up just one DAT containing pristine original masters from three seminal Skanna EP's. Another chance find at the same time among the archives of DJ Spatts from The Criminal Minds turned up their remix of "The Greatest Thing". The result is three Seminal reissues that sound better than the original pressings, now changing hands for silly money on Discogs, if you can find one in playable condition.

Delsin present a new EP by B12 aka Steve Rutter entitled Orbiting Souls, a name which comes from the fact the veteran artist has recently spent contemplating the loss of a friend and believes we are surrounded by lost souls and spirits. This is B12's second EP this year following on from the Bokide 325 release on Soma Records and comes years after still acclaimed album like Electro-Soma and TimeTourist on Warp Records back in the 90s. Orbiting Souls is a somewhat complex journey, a representation of inner Bi Polar opposites; isolation; sadness, but also acknowledging the great and wonderful things around that swirl and support and energise us. A perfectly formed sound world that is both absorbing and cerebral and comes with a full colour sleeve by Boris Tellegen.

Baauers Single "Harlem Shake" löste 2012 einen wahren Internet-Hype aus, der am Ende mit dazu führte, dass die US-Billboard Hot 100 Charts erstmals Streamingzahlen mit einfließen ließen. Zusätzlich belegte die Nummer #1 der US- und #2 der UK iTunes-Charts. Es folgten Kollabos mit Jay-Z, Just Blaze, RL Grime und Alunageorge. Nun legt Baauer mit seinem Debütalbum "Aa" (ausgesprochen: "double a") den State Of The Art in Sachen Bassmusik vor. Aufgewachsen in New York, inspiriert durch Rap und Dance Music, im Gepäck unzählige, global gesammelte Samples, erschafft Baauer ein einzigartiges Universum aus moderner Clubelektronik und der aktuellen World Music-Bewegung, das mit prominenten Features von Future, Pusha T, M.I.A, Novelist, Leikeli47, Rustie und Tirzah daherkommt.

Off the back of his release for Livity Sound, Timedance label boss returns for his most expansive work to date. The Monolith EP is comprised of three original tracks and a remix from renowned PA artist, Lee Gamble.

Inspired by the relationship between light and dark timbres, the title track takes on a low-slung, hypnotic pace.

"Reez" expands on this downtempo feel, focusing on a more dubwise aesthetic.

The B-side opener "Void" is an infectious, gradually building loop. Strong emotive melodies set the track apart from the artists' usual "headsdown" style. Lee Gamble's Reez remix deconstructs the propulsive nature of the original track into a hazy fog, closing the EP with a bold nish.

In 1972 Francois de Roubaix and Bernard Maitre composed together the music of a TV series for children presented by puppets, called the Onix. The musical oddity here released by WeMe Records is a part of this OST. This piece of music demonstrates once again that Francois de Roubaix was in touch with all kinds of music of his time, including contemporary music. In this experimental track we can feel the influences of the composer Pierre Henry, an other explorer of unknown sounds. On the B side Jodey Kendrick makes his own interpretation of this music with current tech and sounds while keeping the atmosphere and fantasy of the original sound. Attention "Non music" !

Max Würden invites to Transit, an intense ambient trip through lush sonic felds as well as dark sound tunnels. Atmospheric feld recordings invite their listeners to stay a while - right before the dub beats reliably push the tempo. So get in, take a seat and let yourself go. Your journey begins here.

Killer Algorithmic Body Music' from the canny cat behind that "For Promotional Use Only" 12" on Diagonal! Not Waving's Ecstatic label grip a bendy-as-f**k live recording of (deep breath) alternatively-tuned polyphonic multi-rhythmic live-mixed live-generated parameter based unrendered unsequenced spontaneous improvised electronic music' performed () by Novo Line at Berlin's Sameheads club night in December, 2015. Using a software program on a 720kb floppy written in 1988, run on two x Atari ST PCs using only era-consistent hardware FM synthesis via MIDI, it's nothing if not authentically retro, but also proves there's latent, vital life in outmoded gear, provided you're willing to look hard enough. Like his aforementioned For Promotional Use Only 12', everything's yoked to a mesmerisingly sluggish pace, which is perhaps necessary as the spiky, curdling, and discordant sequence of events carries so much repetitive - yet subtly morphing - information that it may be genuinely psychotomimetic at higher tempos. To be honest, we're a bit baffled at mention of his current actions reflecting research in the fringe fields of electrical theory with relation to pythagorean tuning systems', but it should prompt some interesting wikipedia mooches later on. Ultimately, it sounds like something hypothesised by boffins at IPEM's secret darkrooms circa '88, and that cannot be a bad thing in any freak's estimations.

It is certainly not a small feat to have an ambient compilation series running for over a decade and keep it fresh and interesting - especially when the core aesthetic idea is as well-defined as POP AMBIENT's. However, this didn't keep last year's instalment (KOMPAKT 315 CD 120) from finding a compelling balance between veteran contributors like JENS-UWE BEYER or LEANDRO FRESCO and new, idiosyncratic voices like MAX WÜRDEN or THORE PFEIFFER. They all return for POP AMBIENT 2016, joining a captivating cast that also includes heavy-weight soundsmiths, experimental composers and ambient confidants like THE ORB, ANTON KUBIKOV of SCSI-9 fame, MIKKEL METAL, GREGOR SCHWELLENBACH or STEPHAN MATHIEU.

Starting off with a surprise guest, POP AMBIENT 2016 presents electroacoustic composer and installation artist STEPHAN MATHIEU, whose highly textured opening drone APRIL IM OKTOBER bears all the hallmarks of a pop ambient classic, stealthily weaving in layers of sound and moving fluidly between territories. The man clearly knows what he's doing - after all, he has worked with luminaries like Taylor Dupree, Ekkehard Ehlers, Janek Schaefer or Sylvain Chauveau (see also Pop Ambient 2009). Meanwhile, THE ORB show off the full extent of their experience in the field and have their own little ambient collage opera going on in ALPINE DAWN - a slight detour from their beat-laden full-length MOONBUILDING 2703 AD (KOMPAKT 330 CD 124), but just on that same level of masterful sonic dexterity.

Moving forward, SCSI-9's ANTON KUBIKOV builds momentum with a sweet melody slowly evolving to the atmospheric backdrop of a light synth rain, while MAX WÜRDEN imagines a dreamy, yet twisted underwater world with lots of space to get lost in. He later returns for a collaboration with THORE PFEIFFER (not on vinyl), the other newcomer hero from Pop Ambient 2015, and the result is a fascinating amalgamation of both producer's distinct sonic sensibilities - the grittier, drone-based approach from Würden and Pfeiffer's penchant for roaming samples and skewed loops. Another dedicated collab comes from SICKER MAN & GREGOR SCHWELLENBACH who team up for string-infused, cinematic epic TURNS.

Longstanding Kompakt ally MIKKEL METAL presents the surging TITAN, followed by LEANDRO FRESCO's magistral rework of DAVE DK's VEIRA from his VAL MAIRA album (KOMPAKT 326 CD 121). A very special bonus adventure can be found in THORE PFEIFFER's "megamix" of WOLFGANG VOIGT's RÜCKVERZAUBERUNG (not on vinyl) - an entire concept series succesfully reimagined as one sweeping cut. JENS-UWE BEYER continues his expeditions into hypnotic, semi-acoustic soundscapes on THE BREMEN, transitioning into the windy mountaintops of LEANDRO FRESCO's mysterious, multi-layered CONFIGURACION DE ATAQUE (not on vinyl). THORE PFEIFFER has the honour to conclude POP AMBIENT 2016 with the appropriately titled IDYLL, a soothing, swirling synth study giving the listener ample opportunity to return to mundane reality at his own pace.

Wolvennest or WLVNNST is a musical partnership project with Kirby Michel (La Muerte), Corvus von Burtle (Cult Of Erinyes) and Marc De Backer (Mongolito) proposing a compositional process of guitar loops, repetitive beats, synthesizers keys mixed to darkened hypnotic ambient vocal sounds. Our first album featuring Der Blutharsch and The Infinite Church Of The Leading Hand members Albin Julius and Marthynna as guests and co-writers of the album will contain 5 songs which are described by metal/gothic musical magazines and webzine as a mix of 70's sounds Krautrock and early 90's Norwegian Black Metal. Label WeMe records known for his soundtracks releases of Francois De Roubaix and electronic projects as CARETAKER or BLACK NARCISSUS will bring to you WLVNNST's first release on a limited double vinyl with a special Artwork named "Unspiral" by Gianni Sarcone. (Ltd edition!!) "YOU HAVE TO NAME A THING TO MAKE IT LIVE"

* Batu returns to Livity Sound's reverse label for its first release of 2016.

* Fresh from recent releases on Hotline, Mistry and his own Timedance label, this new 12" is an emphatic statement of dance floor intent cementing Batu's status as one of the UK's most exciting new producers.

Benjamin Damage liefert mit seinem Solodebüt "Heliosphere" ein Sonic-Sci-Fi-Techno Album ab, das nicht nur an die frühen Plaid, Black Dog Prod., Boards of Canada oder Luke Slater's 7th Plain-Projekt erinnert, sondern auch an Dancefloor-Klassiker von Surgeon, Regis, Dave Clarke oder Jeff Mills, die bekanntlich genau wussten, wie man die Leute zum Tanzen bringt. Das Album atmet den Sound von 1994, ohne dabei zu vergessen, dass wir uns im Jahre 2013 befinden. Tanzmusik mit Überzeugung und ein geradliniges und schönes Werk.

* An artist with minimal online presence and who keeps himself to himself, Commodo is one of an increasingly rare few who make waves through the strength of their music alone. He builds bass-focussed beats with soul and substance that never perpetuate a formula, distancing himself from contemporaries with ingenious sampling and sound design influenced by his long-time affinity with the vibrancy of hiphop. Regardless of whether it's the tough, dread-pressurised bassweight of his dancefloor-leaning productions or the tonally rich and immersive qualities of his more cerebral work, his scrupulous studio techniques are evidenced by the resounding freshness and longevity of his tracks both new and old. His inherently unique and accomplished production style earned him recognition right from the outset of his ascendancy and garnered early attention from a host of key figures within the dubstep community, finding a natural home for his music at the bastion of low frequency excellence, Deep Medi Musik.

* Having already accumulated a gem-laden discography, there is undoubtedly much more to come from Commodo, who is set to release his debut artist album on Black Acre in April 2016. It's shaping up to be an exciting future for a guy who will continue to challenge himself musically, explore new BPMs and aesthetics, innovate and cement his reputation as one of the UK underground's best-regarded producers.

* Commodo's inherently unique and accomplished production style has earned him recognition right from the outset of his ascendancy, garnering attention from a host of key figures within the electronic community. Set It Straight' features Croydon's fast-rising rapper-beatmaker Rocks FOE, and like Commodo's Jme-featuring hit Shift', is an instant underground anthem. Commodo blends Madlib-style hip-hop beats with the fierce spirit of grime. The addition of Rocks' straight-talking charisma and energetic flow transitions Set It Straight' into an uptempo head-banger.

Following on from his Make It Hot six-tracker, Rinse are pleased to announce the release of Burnin' Up, the debut full-length album by DJ Haus. One of the UK's most exciting DJs and boss of acclaimed labels Unknown To The Unknown and Hot Haus.

Over the last few years Haus has honed his own unique, anarchic strain of bass-heavy house music, both solo and in duos Trumpet & Badman (with DJ Q) and Hot City. The result has been a salvo of raucous, dancefloor-focused records joining the dots between classic Chicago acid and ghetto house, hints of UK garage's compulsive bump 'n' swing, old-skool hardcore and the brusque splatter of the Bunker Records sound — a vivid hybrid sound that channels sheer energy in the club.Burnin' Up picks up and expands on that track record to date. Gathering twelve brand new club tracks, including collaborations with Innershades and Chambray, it showcases Haus as a dancefloor alchemist par excellence. Refracting the rawest styles of house-rooted music from the last two decades through the gleefully recombinant, mutagenic tendencies of UK dance music, its tracks are all united by Haus' characteristic diamond-hard percussion and distinctively deft ear for a vocal sample flip.Indeed, there's barely space for breath as the album burns through bleep 'n' bass opener 'Won't Let U Get Away', 'Houz Muzik'  featuring Chambray, firey 303 lines 'Acid Stringz', saucer-eyed rave 'EEE Werkin and the dizzying percolations of ghetto house (the title track, 'Make Me Feel') Innershades collaboration 'Track 10' evolves from a stripped-back, staccato drum machine workout into a hypnotic Motor City groove, while album centrepiece 'No More Loving', whose disorienting whirl of 8-bit bleeps tears upwards through a brusquely funky bassline. Burnin' Up is a sweat-soaked end to end, body-jacking debut album.

Fantastic venue on Psychodynamik ! With Ed Solo, Benny Page, Ragga Twins, Freestylers... Crazy tunes full of skillz ! Be Fast !

Another monster Italo Disco Classic on Fonogrammi Particolari !
The release is strictly limited to 300 12' vinyls, 150 colored copies plus 150 classic black vinyls.

Seven 'Shaker'

* London's dubstep manifestor Seven opens 'Shaker' with a mystical arpeggiated rhythm that builds to an intense climax from the ground up. Its minimalistic behaviour, backed by dark edgy atmospheres, a square-waved lead & heavy-duty bass weight, captures the essence of the artist's vision. Seven has aimed for maximum impact with this anthemic A-side of his awaited 'UA015' release - and succeeds in stating the future Uprise Audio sound.


Seven & Joe Raygun 'Elevate'

* 'Elevate' follows suit with the raw vocal talents of Joe Raygun, who manages to infuse his conscious, mind-opening lyrics into the track's core. Combined with wild peaks, wicked grime-esque basslines and unconventional melodies, imprint head-honcho Seven has built a track of the highest grade. It embodies every aspect of a hot record, simply because its uplifting vibe isn't reworked easily. Every frequency it generates plays part in preparing people for the future carnations of Uprise Audio music - fasten your seat belts! Support from Youngsta, J:Kenzo, N Type, Hatcha, Kaiju, Quest, Bun Zero, Rinse FM and SUB FM

UK Bass legends Stanton Warriors return with their highly-anticipated seventh studio album Rebel Bass. Following the huge lead single Loving Me Wrong, proclaimed 'game changing' by leading tastemakers Mixmag, Thump and DJ Mag, we present a 4 Track vinyl sampler taken from the LP featuring 3 tracks from the lads and a Danny Byrd remix of 'The One'
Formalising this new juncture in the Stanton Warriors sound; Rebel Bass is full of thumping bass bangers that perfectly showcases the fresh, new sound they've been busy crafting over the last year and paves the way for an album that draws on their strong Garage roots; with infectious, radio-friendly songs sitting comfortably alongside booming club tracks, all underpinned by that inimitable bass sound we've all come to know and love.
Limited edition 12 Inch Vinyl in full Sleeve.

Drone Grand Maester Spencer Clark teams up with Finnish toy-wizard Jan Anderzén (Tomutonntuu/ Kemialliset Ystävät) to create psychedelic magic.
You just need the guy from The Skaters and one really out-there Finnish dude to make sure you get the best kind of weird there is.Animal calls pierce the layer hypnotic synths, drowned by tiny bells engorged by fuzzy delay and reverb pedals to evolve into alien laments from a different dimension. With its bubbling baselines, boiling percussion and hissing drums, Tarzana creates a sort of futuristic aquatic universe, bustling with new energies and hidden treasures.
The alien on the cover has the eerie appeal of an axolotl, the smiling amphibian with a strikingly human resemblance. The same could be said about the music : it feels like something so familiar, yet it refuses to succumb to simple category, floating as an amorphous, genre-defying entity.
As any Spencer Clark release, Alien Wildlife Estate is accompanied by a very specific concept and mythology, using the artwork and liner notes to shed some light into this esoteric universe.
Here the central motif is an international airport, but considering their convoluted, otherworldly vision, it is probably closer to those alien meeting places in Rick and Morty than LAX.
The use of muddled, underwater sounds might put this in line with the short-lived Tumblr-genre SLIME, but whether you want to call it hypnagogic pop, drone or simply experimental electronics, one thing is pretty clear : those boys know how to make 'em synths purr.
This convoluted journey among heavy, primitive percussion, extraterrestrial vocals and airy melodies reaches its final destination in the sublime 'Gemini Observatory Landing Strip', a pure lysergic ambient masterpiece.
While taking cues from the real world, (Tarzana, CA is a neighborhood in San Fernando Valley built on the former site of a ranch that used to belong to the author of Tarzan) Spencer and Jan manage to embark us on a journey well beyond the Earth's asteroid belt.

Tarzana really puts the t back in trippy. No mind-altering drugs necessary.

Techno deities James Ruskin and Mark Broom will release a collaborative album entitled Light Box in November.
The project, knows as The Fear Ratio, has seen two of the UK's finest proponents of no-nonsense, immaculately sculpted techno locked in the studio together.

10": Ltd. numbered Edition of 300 copies, silver vinyl, single-sided, silkscreened b-side, incl. numbered insert and photograph. DL contains 7 remix tracks, incl. mp3
Infinite Greyscale is delighted to present a new long-form composition by Anduin. Since 2008, Jonathan Lee has been releasing beguiling and dusky cinematic music to great acclaim. Last Days of Montrose House is a deeply impressionistic work that's constantly changing scene and perspective. Like entering a long abandoned building, it suggests both physical space and the unknown.

Conceived in New Jersey from its emerging DIY scene from the late '90s, cult hop-hop trio DÄLEK were known as pioneers over the last fifteen years or so of an intriguing sound which fused a blend of progressive hip-hop artistry supported by a rhythmic backdrop consisting of sonic experimentation through noise music and dark ambient (they would be dubbed by journalists as what would happen when you mix Public Enemy and My Bloody Valentine). Their singularity would be highlighted in four defining milestone full-length albums released on Mike Patton's Ipecac Recordings (one of them being their Absence' masterpiece LP from 2005), along with live actions where the band would support the likes of Tool and The Melvins, and even collaborate with the likes of artists such as Faust. In Spring 2015 mastermind MC Dälek (a.k.a. Will Brooks, with the blessing of ex-member/co-producer Oktopus) revived DÄLEK after a hiatus with a new lineup which now includes DJ rEk and Mike Swarmbots and are now preparing to release their new album Asphalt For Eden' which will be the first official DÄLEK release since their last full-length, 2009's Gutter Tactics'.

Asphalt For Eden' sees a new creative peak for DÄLEK and will bring a new awareness for this cult hip-hop entity now resurrected once again and ready to show a formidable display of true hip hop artistry and experimentation through their new album and the plethora of touring the band have planned in support of it. A band which many see as one of the most genuine underground DIY hip hop iconoclasts.

Dennis Young is best known as the percussionist of the New York band LIQUID LIQUID, which is known for their piece "Cavern" from 1983, which in turn became very well known because Grandmaster Flash sampled it and used it as the basis for their hit "White Lines".

But Young was not only a band member. In parallel he produced much of his own material, including three cassettes in the years 1985 to 1988, which are of particular interest for us. They are his tribute to the pioneers of electronic music. Those who don't know otherwise might guess that this music originated in the seventies.

But let's allow Dennis Young to tell his story himself:

"My love for electronic music goes back to the late 70's when I decided to buy my first synthesizer, a rare used vintage Davolisint made in Italy, after seeing Keith Emerson perform live with ELP. This lead to my discovery of more electronic music artists using synthesizers such as Klaus Schulze, Tim Blake, Larry Fast, Edgar Froese, Brian Eno, and Cluster just to name a few. My musical challenge was then to create my own electronic music using this instrument.

After experimenting in the early 80's with live recordings using a reel to reel tape machine I purchased my first multi-track recording system in 1984. When Liquid Liquid was on hiatus I was able to devote full time to this music and do professional recordings at my home studio in Edison, New Jersey. I added more synthesizers to include a Korg Mono/Poly, a Korg Poly Six, a Moog Rogue, and later the Korg M1. Every track was put through various delay and reverb units and I added vocal parts and along with guitar where I felt it was needed.

The music resulted in three now out of print cassette only recordings entitled 'Concepts' (1985), 'Reflections' (1987), and 'Quest' (1988). They were all mixed at Gabriel Farm studios in Princeton, New Jersey, with the help of Andrew Gomory who owned the studio and who himself was a keyboardist. Thanks to Bureau B I have been able to go back in time to put together what I feel are the best songs from that era for you the listener to enjoy." - Dennis Young

RECORD STORE DAY 2016 RULES APPLY
For their first Record Store Day vinyl, Dusky's 17 Steps unveil a much requested club cut from the label bosses themselves in 'Buckets'. A dark, murky groover full of heaving basslines, swampy beats and cut-up soul vocals, 'Buckets' has been popping up in Dusky mixes for a couple of years, earning it cult status amongst their hardcore following and making it a perfect choice for a limited collectors vinyl. It comes backed with a twisted two-step remix from Swamp 81's Paleman.

The legendary soundtrack composed by the Maestro ENNIO MORRICONE for IL GRANDE SILENZIO, directed in 1968 by SERGIO CORBUCCI and starring Jean Louis Trintignant and Klaus Kinski. A melancholic, emotive score, deeply moving and cold as the snow covered landscape of the film, a unusual stylistic choice for a western, is considered one of the best western' work by Morricone since the collaboration with Sergio Leone for the classic Dollar Trilogy' and Once Upon a Time in the West'

- FIRST REISSUE EVER ON VINYL

- LIMITED EDITION OF 500 COPIES ON DOUBLE COLORED VINYL

This record is wrapped in a funeral card which has to be
presented at the entrance to the funeral party.

Macro has been the home for the albums of some of electronic music's most exciting live acts. So when you are a live band and you enter this context, you'd better enter with a bang. KUF do just this with their debut EP for the label. The three-piece outfit with keys, bass and drums cook up a sound that's as warm, cozy and exciting as it is utterly alien, all at the very same time. The rhythm section hints at the great history of dirty funk and r'n'b, but the grooves are firmly of today: dance-centered and broken up at the best possible joints. The bewildering thing about KUF is that it is a vocal-led group that has no singer on stage at all. All vocal elements are based on self-recorded samples which keyboard whizz kid Tom Schneider melds and bends and squeezes in real time. As if it was a regular thing to do. With no artificial synchronization in place, Valentin Link on bass and Hendrik Havekost on drums push the disembodied, highly abstract voices into an arena of hyperintegrated realtime magic. Odyssee' and Wildlife' are full-on introductions to the world of KUF, with Staring At The Sky' being a jam-type addition which the band is killing with in their live sets. The title track also comes with a special guest VIP remix for the techno clubs. But never forget this is a live band, and that's how anything you hear here has been developed. Seeing is believing.

THE EYES is the meeting of three musicians whose culture and listenings are spread through the twenty years among their respective ages.
All tracks are improvised. Improvisation is valued for its expressive potential, often rough, always genuine and effective. It allows to imagine obscure and manifold worlds and to make them real through a non evident and never fully disclosed complexity.

The intention behind this album was to open doors and windows to fortuities and mistakes as we think true identity can be generated by their acceptation and genuine imperfection.
We lift our hands to the result.
THE EYES is just the sight on a world seen through curious eyes.

'On the conceptual point of view, we wanted to give value to the materic content contained in our music.
We were interested in going deep in the process which is behind sounds generated by self made instruments played in real time and through improvisation.

'The Eyes' has originated by a two days fully improvised studio session which created thirty tracks for a total of eight hours of music.
The week following the recording sessions we've been working on the album concept, defining its feeling and message.

The following editing has brought us to 10 different tracks for 60 minutes total time. On this result we've been developing the electronic production and sound templates.
Before the mixing sessions we've observed a two weeks break for the work, gaining the useful distance from it.

Mixing went through 5 days, spent on a Solid State Logic G Series analog desk, all tracks were bounced to 2 inches tape machine on two tracks
Ritmo&Blu is a great studio for mixing, its rich assortment of analogue outboard has allowed the songs to gain a psychedelic and circular portamento and mood.

At the end of the mixing sessions we've realized 10 tracks were just too many.
Our interest was not to reach a certain length in time, we were aiming it to have a sense from start to end. We wanted it to offer the listener the chance of being brought through a journey into which let himself go.
We thought that taking four tracks out of the original tracking list could help us on this.
Once the album identity was clear for all of us, we've mastered it to tape through analogue outboard.
This is some of what is behind 'The Eyes'.' SenderFlos

Limited edition of 400 on clear vinyl with screen printed artwork. Organic Analogue Records returns to present its second release from Georgian producer HVL. Away From Everything We Know, is the perfect balance struck between a meditative state and playful electronic experimentation, for all its subtlety it's an incredibly detailed piece of work that deals in myriad layers of tone and pulse. To bring a fresh perspective, LA-based artist Gabriel Reyes-Whittaker, perhaps better known for his Gifted & Blessed project, steps into The Reflektor guise to drop a plush remix of "Away From Everything We Know".

M83, aka Anthony Gonzalez, announces the highly anticipated details of his forthcoming full-length album, JUNK, out 8th April on Naive. Following the critically acclaimed silver album Hurry Up, We're Dreaming, featuring Grammy nominated single Midnight City,' and two triumphant years of world touring, Gonzalez - who serves as M83's musical architect, songwriter, front man and primary vocalist - returns with an artistic evolution, explaining, I want to show different sides of me on this album. I want to come back with something more intimate, yet somehow with...less me!'

Feeling a renewed kinship with Gonzalez's early musical inspirations like Tangerine Dream, Aphex Twin, and genre-expanding visionaries like Brian Wilson and Kevin Shields, Gonzalez both returns to his roots with this album, yet makes a logical leap forward. And while M83 albums has always combined genres in a nostalgic and provocative way - from shoegaze and ambient to synth-pop and '90s alt-rock - for JUNK, Gonzalez experiments adventurously with sounds and styles he's never previously attempted in his music. All my albums have layers of eclecticism to them, but with this album I wanted to take that even further,' he says.

On the album title JUNK,' Gonzalez divulges, "Anything we create today is going to end up being space junk at one
point anyway, and I find it really fascinating and scary at the same time - beautiful too in a way. I have this image of pieces of humanity floating in space, lost forever. It also means that nowadays everything goes so fast and everybody is kind of throwing away art in a certain manner. People will listen to an album for instance and just pick a track they like to put on a playlist. They're not going to take the time to listen to an album anymore because they have to jump on the next thing.'

Clattering drums hum alongside the chatter of birds, the trickle of rain, and the billowing of wind chimes, as Marina Price layers on her smooth, smoky vocals, creating gorgeous soundscapes.

Very cool 9 track album of "music for infomercials and action movies that were never made." Done by two producers connected with the
SOUL CLAP label. Fans of cool instrumental electronic/soundtrack music will dig it.

The force known as 33.10.3402 has built a cult following in certain circles through the years with his adventerous production approach and execution.
With numerous releases on labels such as ESP Institute, KUNSTKOPF, and most recently Second Circle we now see his appearence for the first time on L.I.E.S.

33.10.3402 perfectly balances his sound and presentation with this three track effort where we hear tones and rhythms that can go from baleric to metal beat in the blink of an eye. With looming clouds clearing for the light of day and then back again, these tracks sonically play with the emotions and serve equally as dancefloor cuts or for home listening bugout sessions.

Alex Menzies, more commonly known as Alex Smoke, has a techno career spanning 15 years, DJing & playing live the world over numerous times and culminating with a recent string of heady twelves for the inimitable R&S label. The first in a two part series of BBC documentary soundtrack work for Kathexis , 'Order & Disorder' sees Menzies using a sound palette of mostly orchestral instrumentation, including, voice, cello, prepared piano as well as electronic sources like the ondes martenot

With over a decade of providing the most cutting edge drum and bass the genre has produced, and after putting out monstrous release after monstrous release on the world's leading drum and bass label Ram Records, Audio has cemented himself as one of the world's all time heavyweights. Whether it be playing to crowds of 15,000 people at festivals such as Rampage, or at an intimate, local club, there is one thing that Audio is renowned for and that his trademark dark sound and ability to fuse elements from all ends of the spectrum and make it sound as nasty as possible.

The first track is no exception. The sinister tones of 'Now the Future' set in and grab hold, taking you into the mind of Audio's twisted vision of the future. Percussive elements tick away under petrifying atmospheres, building up into an unstoppable bassline offensive. Perfectly executed pitched up drums rhythms cut through delivering an onslaught of dancefloor carnage leaving no escape.

And next up is 'Drop It Human'. Kicking off, spine chilling and twinkling blips immerse you into the twilight zone. As the main lead filters into the build, the track thrusts into a sonic array of growling mids and low end sub grit, delivering a devastating blow. Audio's precise, sharp, stepped trademark drum sound forms the backbone, marching the track through to inhuman perfection.

Audio yet again sets the bar with two monstrous cuts that are set to dominate the clubs and festival circuit in 2016. Audio consistently shows the world that he is an unstoppable force to be reckoned with no signs of stopping and the momentum keeps on building up. This is 'Now the Future' and 'Drop It Human'.

"Leaves Of Grass" is a collaborative EP between Tarwater, alva noto and Iggy Pop. Each of the seven featured tracks scores a poem by American wordsmith Walt Whitman. Iggy Pop contributes spoken word recordings, while Tarwater and alva noto create the music.

The EP lends its title from Whitman's main work 'Leaves Of Grass'. It channels forces from exceptional artists: Carsten Nicolai, aka alva noto, is a renowned artist and electronic producer. He is well-known for his diverse electronic work released through Mille Plateaux or his own label Raster-Noton. His first recordings had a huge impact on what was called 'Clicks & Cuts' in the late 90s. At the same time, Ronald Lippok and Bernd Jestram began their pioneering work: As Tarwater they pushed the last existing boundaries between electronic music, new wave and indie culture with their idiosyncratic music, which was hard to describe without using the prefix 'post-'.

As you may have heard, the career of Iggy Pop started back in the 1960s. In 1967 he formed The Stooges and was later deemed 'Godfather Of Punk'. For this EP he lends his distinctive voice to seven poems by Walt Whitman, while Tarwater and alva noto create a vibrant and ever-pulsating score, sometimes calm, sometimes plodding and monolithic.

Iggy Pop on Walt Whitman:
"You know, I think he had something like Elvis. Like Elvis ahead of his time, one of the first manic American populists. You know you're looking at pictures of him, and he was obviously someone who was very much involved with his own physical appearance. His poetry is always about motion and rushing ahead, and crazy love and blood pushing through the body. He would have been the perfect gangster rapper. Whitman says, even the most beautiful face is not as beautiful as the body. And to say that in the middle of the 19th century is outrageous. It's a slap in the face. Look at the popular, well-educated poets of the time, those sensitive noblemen. But Whitman writes: "Fuck ass."

Nickbee is truly a legend in his own time, and an artist and producer who has won acclaim from right across the drum & bass world. Starting out at the early age of 15, releases on Horizons Music, Dispatch Recordings and Close 2 Death earned him the praise of Bad Company, Noisia and Friction amongst many, many more. Now, he is moving on with a new release on Concussion, a label who previously hit you with music from Kantyze and Bowsar in the form of Prelude to Schism and Thanos. Now, make sure you are ready for Another Dimension and Splitting Hairs.

Dark Entries digs deeper in to the archives of Severed Heads, one of the longest surviving bands to emerge from the Australian post-punk independent music scene. They began in Sydney in 1979, incorporating elements of 'industrial' noise-generation, tape cutting & looping and electronic sound synthesis. As the project developed song-structures and vocals were employed in a more-or-less recognizable mutant electro pop style. In 1986 the band released the 12' single Petrol' on Nettwerk Records. We've decided to shed light on the evolution of Petrol' with this EP showcasing four earlier incarnations of what became an instant synth pop classic.

Petrol', originally titled Lamborghini', was written by Garry Bradbury and Tom Ellard in 1981. The first version of the song featured vocals by Finoa Graham and music by Tom Ellard. Lamborghini' was featured on a compilation of Experimental Australian bands titled Entrave Et Étouffement, From Australia...' released by L'Invitation Au Suicide in April 1982. DJs in Chicago discovered the import compilation and Lamborghini' became a proto-House secret weapon, traded on mix tapes. In July 1982, the band was invited to record several songs on Metro TV in Sydney to demonstrate the video synthesizer, a new piece of equipment played by Stephen Jones. The video synthesizer was installed into Metro's control room above the main studio to process the performance in real time on two cameras while recording to video. Tom Ellard and Garry Bradbury were using analog synths and tape recorders along with the screaming guitar work of Simon Knuckey, while Garry took over vocal duties. In 1984 Tom took another stab at the song, re-recording and singing Petrol' for the compilation Beyond The Southern Cross', a double compilation album of Electronic and Post-Punk bands from Australia and New Zealand. Finally in 1985, the band went into the Terse Tapes studio with producer Robert Racic to record Petrol' for a 7' single release on Volition Records. Featured here is the B-side of the 7', a cut-up dub version' remixed by Racic and packed full of intensity.

All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in a jacket featuring brightly colored, distorted, VHS graphics output by Stephen Jones' video synthesizer created by Tom Ellard video piece Kato Gets The Girl' in 1985, designed by Eloise Leigh. Each copy includes a postcard with notes and original hand-written lyrics by Garry Bradbury. More than 30 years later Severed Heads are still paving the way for powerful imaginative challenging music far and wide.

Switch Technique & Deathmachine joined their forces to spread the word and to underline their achievements in one of the freshest revelations in hard electronic music - Crossbreed. Neither of them needs a special introduction, Switch Technique & Deathmachine are nowadays one of the fundamentals of true Crossbreed. After their own single releases on Genosha175 and first collaborations on UNION Recordings, they're now ready for a worldwide domination tour. With their unique style, perfect sound and completely new standard music production, which for many producers is the best example of Crossbreed music.

An exercise in Uncon Sci's versatility seamlessly blending downtempo and dub to create a lush psychedelic landscape. A blend of dubby psychedelia & classic sample based beat making, with more than a hint of the exotic.

Mengamuk seeps out from a Camberwell garret via the sweet sea scum of Terrengganu via a faint dusting of eczema via the DLR via distempered brass via engorged staves via broiled nuance via priapic 16ths via gentlemanly conduct via binary quicksand via Basingstoke via Beyer via a short in the spoken word via herring via industrial climes via salt via a fucking good slap round the chops via Korg via taxi highwaymen via viols & vials...once again Vindicatrix smears the air with the heady scent of amok...BM

* As the old saying goes, you wait so long something and then two turn up in a row. Head honcho Goldie is back on the firm after his solo single 'Broken Man' end of 2015 with two versions of absolute Rufige Kru classics.

* First up is SCAR's remix of Dark Rider, premiered by Goldie himself at Deviation to an massive crowd reaction- SCAR bring Dark Rider into 2016 in inimitable style.

* Beachdrifta is perhaps Rufige Kru's most seminal moment and the VIP pushes it out to another realm with Cleveland Watkiss vocal, a voice synonymous with Goldie's classic work.

With Ceres", Rebecca von Kalinowsky marks her first release on Rote Liebe. An athmospheric and bass-heavy offering, this one-sided vinyl will fit into Techno and half-step settings alike.

Hazy, snare-heavy, house stompers. John Swing's percussive edit gives a gritty, tropical twist to B's beats, clicks and terse samples.