Beats News

Yves Tumor - Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)

"Yves Tumor redefines Rock Stardom." - The New York Times

"Tumor's idiosyncratic and even intimidating aesthetic choices are precisely what gives the work its glowing modernity." - The Nation

"The quintessential performer, Tumor exudes Prince's androgyny flare, D’Angelo’s tender masculinity, Iggy Pop's freakazoid mania, and Grace Jones' magnetic mystique." - The Austin Chronicle

Soul Jazz Records new Sounds of the Universe: Art + Sound 2012-15 is a new double album CD (and two separate volumes of double-vinyl) featuring a line-up of some of the most forward-thinking and progressive artists and producers working with electronic music around the world today.
This lovingly compiled collection features a stunning array of contemporary artists: Chicago's Afro-futurist genius Hieroglyphic Being, Kassem Mosse (aka Gunnar Wendell/Siege of Troy), one of the most talked-about, respected artists in underground house and techno, out of Detroit's Moodymann stable comes Andres, also featured is Los Angeles-based Ras G, associated with the Brainfeeder label established by fellow producer Flying Lotus, and many more!
This new collection features a first CD of tracks recorded exclusively for Soul Jazz Record's bespoke Sounds of the Universe label. These were originally issued under their Art + Sound series between 2012 and 2015 as unique hand-etched and original commissioned art pieces (reproduced here) collectors' 12' singles - all pressed in micro-editions of 250 copies for each artist's release that were only ever available exclusively from Soul Jazz Records' boutique Sounds of the Universe shop in Soho, London.
The second CD features a fantastic set of all brand new exclusive tracks from the likes of Seven Davis Jr, Drexciya collaborator DJ Stingray, deep house virtuoso Mike Huckaby, Glaswegian noise-punk six-piece Golden Teacher, and lots more - all created and commissioned especially for this release. These songs are not available anywhere else in the world.
Together these 2CDs comprise an amazing selection of new progressive electronic music.
This album is released as double CD pack with slipcase and booklet. It is also available as two separate limited edition double vinyl editions in heavyweight vinyl and gatefold sleeves with full artwork + free download codes, and as a worldwide digital release.

»Italia Synthetica 1981-1985« represents the musical mutation that occurred after the post-punk hangover gave way to more frigid emotional shores, in-line with the synth-wave moment that was sweeping Europe and the white cliffs of Albion. This scene flourished in Italy between 1981-1985, and the musicians that came out of it are still revered today (particularly in the US).

Robotic rhythms and intuitions that, besides sharing common ground with the electronic movements that had come before, also knew how to fill up the dancefloor. Featuring four previously unreleased tracks by Der Blaue Reiter, along with tracks by Modo, Actor's Studio, and La Maison, as well as the still fresh sounding contributions by true pioneers of the genre Neon and Naif Orchestra. Also features Ein-st-ein, Scortilla, Eurotunes, Oh Oh Art, and 2+2=5 featuring Paolo Mauri.

After some time of laying in the dark, the Warsaw-based Syntetyk label and club night series emits waves yet again with their very first cassette release by various friends from the local and global underground.

Tape starts with a pathos ambient track by Mchy i Porosty, followed by a desert night drive dub by Rapha. The A side continues with a wavy melodic thumper by Olivia, accompanied by a nostalgic club diver by Czech maestro Exhausted Modern and a punkish fast paced hymn done by the Colombian prodigy – Filmmaker.

The B side opens with Dogpatrol’s broken jungle track and carries on with Astma’s industrial dub-driven tune. Album slowly comes to a close with a nasty distorted wave by Dyktando, dystopian radiation emitter by Chino and ends with Mala Herba’s folk inspired epic ambient drone.

Introducing Challenger Deep: showcasing dub from the abyss.

Mr. Roque resurfaces from his solo mission to the deepest chasms of the Mariana Trench, bringing with him two high pressure cuts.

Hand stamped. Limited run. No digital. Support from: Jane Fitz, Onlyz, Presha, Footprint, Frazer Ray, Manny, Dirty Hans, Mushtrax, Ash Brown

A 4 track 12 inch EP, 4 completely different sounds, each one written with a different process. These tracks do not converge towards a single musical style, but each one has its own taste and goes through its own sonic evolution. A tangle of sounds that looks at itself, without time, without space, without wanting to be or look like something that already exists.

The second strike of Leipzig’s new electro offshoot sets
Friedrich Ernst on the offensive. With these four new tracks
he progressed his sound signature from a playful but
reected 8bit world soundtrack on SELF001 to a rm and
gritty b-boy attitude. With SELF002 the do-it-yourself label
team of DJ Unisex and Friedrich Ernst back up nothing less
than their label mission: "We believe in the human mind as a
self-learning system" – and it has the basement dance in the
eye. Classic electro otakus will parté about the succinct
elements that ts each other seamlessly on Class Beat while
the groove remains alert and phantasmagoric. Back 2 The
Ol_ Skool invites two breakdance crews to battle out who
owns the oor: the pale electro robot boys on the left and the
hoover sound loving UK hardcore girls on the right. Wildstyle
is the living proof that a tight 808 groove still smashes
especially hard when complimented with a proper breakbeat.
Best played loud and from vinyl. The last bit of the whole
enchilada is almost tranquilizing until you realise how far
your stone rolled already. Rhythm Control is a crowd pleaser
with endless qualities. Collaboration partner Dominik
Widmann delivers the stunning artwork again for their
ongoing conceptual series with his acrylic paintings.
Included as A2 inlay print in every record.

When is the future? She was last seen looking for a way to pass that one testpressing to a DJ in the club, dancing with her girlfriends and stayed at T's flat while we were all overfeeding Frida the cat. I said I don't have an electric grinder. We bumped into her dad, I pretended that I understood what they spoke about (I kind of did), then biked away and contemplated fun she strived to have and to provide. She came back early though. Shjva hails from Lutsk, Ukraine and organizes parties and get-togethers in Warszawa now. Her sound is supposed to be minimal yet at times gently overwhelming (spores! spoooores! the room is suddenly full of spores!). She's 1/2 of analogue live duo ПЛАН and will pinch you when you're not looking.

Desert Dictionary navigates sonic territories oscillating between language and landscape, between notation and noise. Voices responding and contributing to a complementary narrative, connecting personal memories, political considerations and psychological effects of a landscape seemingly empty and quiet. Adjacent, beneath and intertwined a modular synthesizer score based on field notes – a synthesized soundscape appearing as imaginary field recordings, at the same time resembling and unalike the place in question.

The twelve contributions presented on the LP were recorded in South Africa over a period of three months in 2020 and 2021. These recordings occurred in various locations in Kimberley, Bloemfontein, Richmond / Northern Cape, Cape Town, Grassy Park, Krugersdorp and Johannesburg.

The Desert Dictionary appears in four iterations – a situation as part of Modern Art Projects South Africa’s collection, a radio play (commissioned by Deutschlandfunk Kultur), a book edition (published by MAPSA), and the present LP.

The LP version is based on the radio play and features the voices of Richard John Forbes, Maja Marx, Phala Ookeditse Phala, Victoria Wigzell, Tubatsi Mpochmoloi, Liza Grobler, Nkosinathi Gumede, Karlien van Rooyen, Mongezi Ncombo, Ivan Messelaar, Gerhard Marx and Lindiwe Matshikiza.

The synthesized field recordings – translations of fieldnotes taken in the desert – were recorded in Johannesburg and Berlin.

Written and produced by Boris Baltschun, 2021-2022. Mastered and cut by Kassian Troyer at D&M, Berlin. Photo & map by Boris Baltschun. Graphic design by Joe Gilmore.

Astral Industries is a creative platform that challenges artists to experiment, collaborate and work outside of their comfort zones. Our core aim is to combine the atmospheric sounds of our musicians with the strong aesthetic of our visual artists to curate a catalogue of premium-quality releases that evoke glimpses into the greater depths of what electronic music has to offer.

For our first release, Rod Modell (a.k.a. Deepchord) presents "Lanterns" - an epic journey through an evolving sonic landscape propelled by the churning momentum of reverb-soaked percussion. Red Lantern is an ode to the eerie red glow that once beckoned sailors to the port of Amsterdam - on one side, the gentle thud of a bass drum rolls beneath haunting yet uplifting pads whilst on the reverse, bubbling bass underpins echoes of a shoreline that shifts in and out of focus. Blue Lantern merges dub techno and ambient experimentation, showcasing Modell's impressive talents in sound design and the diverse influences that span his 25-year career as a musician. Warm, thunderous kicks rumble beneath restrained hints of percussion, creating an immersive soundscape allowing for music and space to envelop the listener, with the result both enticing and unsettling in equal measures. Deepchord's music is accompanied by visual artist Theo Ellsworth's trademark illustration on a gatefold sleeve with 180g crystal coloured vinyl and a bonus release poster. Words by Martin Gould.

On 'Love Hallucination' Jessy Lanza is in control as a songwriter and producer, flexing her skills in the studio and rebuilding her sound, taking chances with production and energy in all directions, from club-ready, to downbeat and sultry, with the theme of trusting yourself in the moment and using intuition as a compass driving the record forward. ‘Love Hallucination’ is the sound of an artist in bloom, an album of big emotions and big songs, with direct, personal lyrics, such as the upbeat but panicked opener 'Don't Leave Me Now' and the 2-step drama of 'Midnight Ontario', or 'Limbo', an ear worm disco stomper about produced with Marco 'Tensnake' Niermeski. Also featured as co-producers are David Kennedy (Pearson Sound), adding slick arrangements for the club, long-time collaborator Jeremy Greenspan (Junior Boys), and Paul White. ‘Love Hallucination’ is a bold and immediate record from Jessy Lanza, her most clear, authentic and best to date.

MD Pallavi & Andi Otto first crossed paths on a theatre stage in India ten years ago. They started collaborating instantly and in 2016 MD Pallavi's mesmerizing vocals for the downtempo raga Bangalore Whispers warmed hearts and ears. Their musical relationship flourished with artistic residencies in Bangalore and Hamburg, their respective hometowns, and a concert tour in Japan. The collaborative track Six made ears turn again on Andi’s album Bow Wave (Multi Culti 2019). And now, years later, the fruits of this artistic endeavour are fully formed here on Songs for Broken Ships - the debut album of the duo.

The album presents an interwoven pop-aesthetic vision of the two artists with their contrasting musical backgrounds. It ranges from organically woven folktronica to cut-up disco tracks and acoustic ballads. Reminiscent of, but not akin to Nicola Cruz, Beach House or Four Tet’s early productions the music is experimental but focused on the listener and their experience.

MD Pallavi is a singer, actress, filmmaker and performer from Bangalore, South-India, where she trained in Hindustani music and poetry since childhood. On Songs for Broken Ships, poems in her native tongue Kannada*, one of India's many languages, are performed over Andi’s alluring production, translating the stories into musical narratives. The poems address topics that are as timeless as the music itself. Social equality is touched upon in Bayalu (written by Bontadevi in the 12th century). Artistic struggles - communicated on An Unwritten Word (Gangadhar Chittala, 1865) - are almost prophetic and the surreal, dreamlike scenario of Clockshop (KS Narasimhaswamy,1958) brings you further inside the sonic journey.

Andi Otto is a composer, cellist and DJ based in Hamburg, Germany, He is known for his idiosyncratic and unconventional dance music productions on labels such as Multi Culti, Shika Shika and Pingipung (which he co-runs and curates). For this collaborative experience his dubbed out basslines gently interlock with the 7/4 and 5/4 beats to create a backbone for the instrumentation and expressive vocal timbres of MD Pallavi. His sound design combines graceful acoustic recordings, juxtaposed against modern drum machines, computer generated noise and vintage synthesizers.

*The LP comes with a text sheet containing all Kannada lyrics - which have their own vocabulary and script - together with the phonetic transcription and English translation.

Robin Saville - one half of the influential duo ISAN - returns to Morr Music with »Lore«, his fourth solo album to date. After 2020’s »Build A Diorama«, the British musician takes his love for field recordings, whirring pads, hovering bells and subtle electronics further, adding extra depth to both his sonic palette and his storytelling, focussing on biological diversity and its implications for human life.

For many years now, ›look and listen‹ has been Robin Saville's motto on his regular environmental explorations. The avid ambler does not just enjoy being out and about in nature; it is an important inspiration for his creative work as well. Sounds, smells, colours and even soil properties add to the experience. Equipped with a microphone and a recording device, Saville documents his strolls, using these recordings as a base for his compositions. »The field recordings on the album were made very locally this time, for obvious reasons,« he says. Welcome to the sonic landscape of the UK's East Anglia.

»Judith Avenue«, the opening track, is a great example of how Saville evolved his perspective on the sounds of nature: »It is a residential street, fading into a scrubby, wild landscape. There, I made a recording of nightingales at dusk. Such romantic birds! The males fly here from Africa a couple of weeks ahead of the females. They find a good territory, and at dusk, when all the other birds are going quiet, they start to sing to tempt the females down from their migratory flight paths. This has happened for thousands of years. However, the patch of ground where I made the recordings is earmarked for development and I don't suppose it'll happen there again. The recordings therefore become part of the history of that place, the lore.«

Recording the sounds of nature and enriching them with electronic sorcery, Saville is not only a documenting preservationist; he also translates these recordings into meaningful musical miniatures. Building on the soundscapes that marked his previous LP »Build A Diorama«, »Lore« is dominated by both open-hearted melancholy and more upbeat rhythms. But even when the music sounds quirky and loose, there is always deeper meaning. The album is characterised by an ever present melancholy about the threatening loss of living spaces, and a celebration of their beauty. This simultaneity turns the tracks into existential meditations about our human habitat. Saville enriches our lives musically by addressing the very issues we often ignore. At the same time, he becomes an agent of hope and change. Moving between light and dark, »Lore« is a musical allegory of where we stand today.

»The album is a document of places and times and while it is certainly a celebration of those things, it is also a record of things we are losing. That's how interaction with nature feels to me nowadays: something precious and amazing, but with an underlying sadness about the destructive relationship that humanity seems inevitably to have with the world around it.«

Let's not lose any more things.

Following the path of their previous works, ASG releases the fifth chapter of the series.

Focused on evolving and captivating textures, the EP continues to scuplt the rhythmic soundscape developed through their journey. Pulsating grooves melt into ethereal atmospheres, while organic percussive elements tear up the mesmeric state.

Chapter V marks once again the narrative developed by the label, approaching an unexplored edge.

Solo project of Nathan Van Brande (TUKAN, Saudade), Bleu Mustang navigates between Lone, ClapClap and Floating Point. The young Brussels producer signs his first EP "NOCTUELLE" on the MAGMA label (Umbra, ECHT!, TUKAN). Between powerful and jerky rhythms and melancholic chords, Bleu Mustang's music can be listened to both in the back of a Berlin hangar and while contemplating a landscape. Currently in residence in Volta for the creation of his live album, he is preparing a duo with a drummer.

Clear Vinyl

Cairo’s trip hop, illbient and club producer Hashem L Kelesh aka Dijit documents a decade of sprawling productions at his home studio, fuelled by the energies of his friends and collaborators.

Populated with the vocal presences of vocal spars Deedz, 7aleeb, and Lella, ‘The Room’ is a metaphoric synecdoche for Kelesh’s studio output between 2008-2019, featuring 9 tracks of lo-slung but levitating trip hop and illbient that overlaps his productions on the long sold-out ‘Hyperattention: Selected Digital Works Vol.1’ album, and augmented by a number of fiery percussive pieces and future folk works that give a wider frame of reference to his style.

While the album follows the smoke curl dynamic of his previous work, the glorious mesh of electro-chaabi breaks and Eno-esque ambient guitar licks on ‘Dreak’, and the heat-seeking street rave scenes of ‘Saga’ will no doubt disrupt your preconceptions, while his folk prayer-like ‘Loli’ reaffirms a knack for captivating downbeats. ‘Leban’ brings a chopped ’n screwed trip hop temporality, deploying laminar layers of male/female vocals that inevitably call to mind Tricky via Leila Arab, while ‘Hasheesh’ trades in red-seal levels of heads-down pressure shades away from Portishead or even Pessimist’s snapped productions.

Dijit smartly manages to keep it all just the right side of gloomy though, with the shatterproof tension between screwed vox and ascendant hyaline electronics on ‘Hamhama’, or likewise in the high-register piquancy and celestial chorales of ‘Dream of a bee’, while the upfront burst of drums in ‘Saga’ will bring heads to their feet.

This Remix, kind of a 'Egoless' version by 'Dubkasm' - With Title 'Enter The Gates' featuring Rider Shafique. ... Based on a new, white label which calls onself "Deep Medi Musik".

Hope, you enjoy.

Dusky’s Life Signs project for Running Back remixed! The Londoners and their distinct hallmark of euphoric, yet multilayered dance floor dynamite get treated by Cinthie, KiNK and Rumu. Similar to the scope of original artists themselves, their interpretations are a wide choice of styles and suitable for different usages. Berlin’s true school house head Cinthie delivers her tried, tested and desired method of disco bass lines and deep house melodies on „Static“, while everyone’s favorite live act from Sofia turns the sounds of „Fridge“ into a lost mid-90ies techno classic. KiNK’s high-octane take would fit perfectly on every fantasy mixtape of Derrick May or Laurent Garnier of those days. Last, but not least, Dusky very own discovery and 17Steps artist Rumu uses „Lea Valley“ to punch his ticket with the UK bass and breaks fare. These goods sell well!

Since we started with this beautiful idea of releasing vinyl records to the market, we have not stopped working, always trying to improve to offer you the best of our music.

This is our first chapter of “Classic Chapter” in which we have chosen to recover old jewels from our scene, adding some remix of some of the monkeys of our family.

It is an honour for us to present our next release at the hands of Mr. Eddy Mendez.

Welcome to the family…!!!

Transversales Disques presents KSHATRYA, (The Eye Of The Bird), never released before
recording by french avant-garde electronic composer Igor Wakhevitch, who composed a bunch of
major experimental albums in the 70's such as Logos, Docteur Faust, Hathor, Les Fous d'Or,
Nagual and Let's Start.
During this 10 years period, Wakhevitch was close to Jean-Michel Jarre, the Pink Floyd, the Soft
Machine, and legendary choreographer Maurice Bejart having with him many conversations around
dance and music, human body and soul, spiritual path, collective life, new society, human evolution.
As a composer Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley to
name a few. He's considered as one of the first French composer using synthesizers like Synthi
AKS, ARP2600 or Moog modular systems.
After spending almost 30 years in India, Igor Wakhevitch dug in his archives this unreleased work
recorded in 1999 on his 'Mysterious Island 88' system. Esotheric, sacred and cosmic, KSHATRYA,
(The Eye Of The Bird) is the logical follow up of Igor's early works and a monumental piece of
electronic music. A must!

2024 Repress

Mariah was a Japanese outfit in the field of art pop, way back in the very late 70s and early 80s with 5 albums up their score from 1980 to 1983. The album from 1979 entitled as “Mariah” was actually made before the band Mariah was formed, and was released as a solo album by Yasuaki Shimizu. The album at hand is the fifth and for the time being last album in this row, released as a double vinyl back in 1983. Original copies, that are at least in very good condition, are hard to find. The brand new reissue on Everland, unlike the original and the first vinyl reissue from 2015, comes housed in a thick and artfully designed gatefold sleeve with OBI, which finally does justice to the progressive spirit of the music you will find here.

The musical basement of Utakata No Hibi is a fusion of dreamy synthesizer pop and haunting new wave music, that could be found all around the globe back in 1983. In the vein of TEARS FOR FEARS or more adventurous DAVID BOWIE stuff, with a touch of KRAFTWERK or even BRIAN ENO here and there, but all this gets spiced up with an atmosphere of Japanese traditionalism, with a few bits and pieces from the old music from this Far East island, which sounds so magic to us Westeners. The progressive, wacky art pop of this project was led by the popular Japanese composer and musician Yasuaki Shimizu, a relentlessly exploratory saxophonist who even dared to rework Johann Sebastian Bach’s cello suites for saxophone.

As brilliant as this man is, the music on „Utakata No Hibi“ turns out to be. And the master himself approved and much appreciated the brandnew remastering of this album by assisting a highly professional team of sound engineers who dusted off the ancient tape reels. For certain the record sounds and feels 80s through and through, electronic to the very rhythmical bone of each song sugar coated with catchy melodies that resemble Japanese classic and Enka music, which is a kind of folksy pop music. The listener gets directly drawn into a feverish dream of steaming Far Eastern cities and their darkest and most depraved corners where you find everything cheap in sleazy bars and unlighted backyards and alleys. The next moment he strolls through a beautiful Japanese park surrounded by a sea of blossoms. This change in mood and style you will experience in the sparsely instrumented tune „Shisen“, which indeed comes closest to classic Japanese folk tunes without any too catchy and pop oriented melodies. But we certainly find these harmonies allover the album. Some tunes even feel like ancient BEACH BOYS compositions and Brian Wilson creations played by a then contemporary electronic pop act and sung in Japanese.

An amazingly colorful album with songs that are based on solid substance rather than cheap pop structures. This is music for the bold listeners and music lovers and this awesome reissue should quickly find it’s way into the record collections of 80s synth and art pop aficionadoes.

Yasuaki Shimizu did what he wanted with MARIAH, pushed the borders of popular music further than anybody would have thought. Listen to a track like „Shonen“ with a repetitive rhythm pattern that hypnotizes you and somehow silky melodylines by saxophone and synth piano upon which a female voice sings in a very spiritual way. Praising pop or whatever this can be called, it is sheer magic put in music. I wonder if this would have made it into the charts back then, but you never know. It is a piece of musical art that shall be listened to.

Murmer is the long-standing project for Estonian field recordist and composer Patrick McGinley, and in Tether, The Helen Scarsdale Agency welcomes Murmer back to our roster, over a decade since he graced us with his last production for the Agency. His field recordings often center upon the amplification and activation of resonance from a particular space, landscape, or object. Such sounds emerge from a condition as begin fleeting, inconsequential, or ephemeral and explode into that which alien, sublime, and profound. Here lies the tremendous prowess of the contact microphone, as wielded by an accomplished musician! The source material cited by McGinley includes cables, fences, wires, and vents.

There is a heft to many of these sounds as heard throughout all of "Taevast" with deep throbbing pulsations from arctic wind generating subharmonic patterns upon thick high-tension wires. Elsewhere the subtle dissonance from a rasping cooling fan blooms into a brooding ambience that is sublimely rich in its metallic timbres and complex reverberations. McGingley has long been an exemplary artist in the field of phonography even as he is less prolific than others. On Tether, he has produced a majestic if occasionally foreboding work on par with the mythic wire recordings of Alan Lamb, Jacob Kirkegaard's haunted resonance from Chernobyl, and much of the Touch catalogue for that matter!

Patrick McGingley on Tether:

In 2006, I made a collection of recordings at a mobile phone mast in Mooste, southeast Estonia. It is a guyed tower, 80 meters tall, affixed to 3 support points with heavy cables. I attached my self-made contact microphones to these cables with poster tack, and spent many hours over several weeks recording the various wind and weather variances (it was summer), and the birds that passed or settled on the tower or cables. This was one of my first visits to estonia, where i now live, and one of the things that marked me about that experience was the access: the tower had no fences or protections around it (I have not been back there recently to answer my own question of whether or not this is still the case); it stands in the middle of a field of tall grass along a dirt road in the countryside, just out of view of the few nearby houses, and during all the hours I spent there I was never disturbed or shooed away.

For more than 16 years, I have been thinking about this location and these recordings, and have made several attempts to work with them. I have used the sounds in installations a handful of times, and uploaded one short edit to the Aporee soundmaps, but have never managed to use them in any composed work. They always seemed too big for any structure I could provide them, whether I left them on their own, or partnered them with other sounds. Finally, in 2019, after putting them down and picking them up again repeatedly over so many years, they seemed to allow me in, although it took me another few years before they were happy with what I could offer. They stand now not quite alone - the majority of the layered sounds in the piece come from various edits of those cable recordings, but I added two other contrasting sounds, related to one another: one is snowflakes landing delicately on a plastic cakebox with microphones inside it, and the other is a frosted field of grass thawing on a lightly warming autumn morning (both these recordings can also be heard on their own on the Aporee maps).

Coming back to those cables brought to mind so many other wind-driven sounds that I had spent time with and recorded, but never returned to, that I began digging through my archives looking for them. I ended up with a pool of sounds from resonant wires, cables, fences, poles, fans, and vents, which became the basis for the 2nd work on this release. One of these sounds is among the first sounds I ever recorded, possibly within a month or so of buying my first microphone and minidisc recorder: the rhythmic fan of a beer cooler in a pub where I worked in North London in 1999. Other sounds in the piece include another phone tower, recorded on the northern coast of France in 2008, a telephone pole recorded in the Beaujolais region in 2010, the drone of ventilator fans at a factory in Tezno, Slovenia in 2012, an electric sheep fence in the Scottish borders in 2013, a hanging wire in a storage space in Rovaniemi, Finland in 2016, and, with no relation to cables or wind at all, calcium deposits being cleaned from the inside of an electric kettle here in Estonia in 2019.

I offer these two new pieces as my first solo publication since 2018, the first release on a physical medium since 2016. No one has ever accused me of working too fast, or being too prolific. I have a need, it seems, to leave a physical space of time around my work, before I can consider it 'finished'. Perhaps it is a simple need to forget how I did something, or that I did something; perhaps I have a need to be able to hear a work as a first-time listener would, before I can consider it ready for such an encounter. In some part of my mind I have to forget it before I can let it go. Well, I've just about forgotten that London beer cooler now, and that walk in the Beaujolais (with my father, who has since passed away), and that sheep fence next to our campsite in the borders, and that kettle that is now leaky. So I guess it's time.

A new NWW mutation, with some of the most hauntingly evocative pieces in Stapleton's catalog, as striking and unusual as anything else Nurse With Wound has produced. A coherent sampler of Nurse With Wound’s range of dark and humorous that includes a full side of »Funeral Music For Perez Prado« on vinyl for the first time, the masterpiece »(I Don’t Want to Have ) Easy Listening Nightmares« from »Alice the Goon«, and a a remix/rework of this track, renamed as »Alice The Goon (A Floating Eye)«.

The tracks have been remastered by Colin Potter for a new full LP with a new Babs Santini artwork.

»(I Don’t Want to Have ) Easy Listening Nightmares« is fairly creative experimental electronic music, mixing distortion and cartoon parps, sinister rhythms, looping mambo and a surrealist feeling going through the whole track.

»Alice The Goon (A Floating Eye)« is a brilliant rework of the previous track by Colin Potter, a more industrial approach and thickening rhythms.

»Funeral Music For Perez Prado« is perhaps the most atmospheric ambient track by Stapleton, and the backdrop for strange dream-like gibberish centering around a shakuhachi phrase played by David Jackman aka Organum back in '87.

Insanely productive Pieter Kock of Berlin’s OTannenbaum serves up an album full of polyrhythmic collages, hovering ostinatos and explosions.

General aesthetics of sound: flying marble in an underground scenario totally overground. Planet of the Superapes, being a soundtrack of now, is composed of the following chapters:

Night Clubs: hard grooving eight and a half minutes, gently topped with cosmic synths and distant choirs.

Phillipines: strings and weightless vocals telling of hope and loneliness over a driving beat.

Oedipus Listen: euphorically floating atmosphere. ecstasy.
Planet of the Superapes: title track: dark, ghostly, naked, melancholic, dramatic. With a good pinch of optimistic fun.

Page 25–30: total apocalyptic drama, agressive rhythm.
A warm and inviting yet alienating record for an interesting summer.

UNRELEASED MID 90’S TRACKS FROM PULSE

The 'Sepia Grooves' release pays tribute to the influence of jazz, funk and soul music on DnB / Jungle and to the players (most particularly the drummers) who have inspired so much of what we do today.

The 3 tunes included on the release feature some of the biggest breaks in Drum & Bass, namely the Amen, the Apache and the Funky Drummer and there are photo's of each of the people responsible for the original rhythms on the sleeve and on the vinyl labels.

Okay, so some of us that are close to the music know who's responsible for the foundational beats, but it still feels like people such as Gregory Coleman, Clyde Stubblefield, King Errisson and others haven't really gotten the respect and kudos they deserve to this day. This is our little way of saying thank you to these great people and of raising awareness about their contribution to the music we love so much.

Pianos Raining Down' is a collaboration with house veterans McDonald and Jannetta, and it continues in the duos passion for blending the old with a new production standard. The breakdown has classic, acid-house piano before a visceral jungle break takes center stage.

Kinder Der Sonne is the title of the new album by Alva Noto featuring music composed for the score of the theater piece ‘Komplitzen' by Simon Stone.
The album title comes from Maxim Gorky's plays “Children of the Sun” written in the context of the 1905 Russian Revolution. Simon Stone wrote the new play for the Burgtheater ensemble, on the basis of this drama. Across fourteen compositions, Alva Noto’s 'Kinder Der Sonne' takes the listeners into a sonic journey of emotional tensions and release, reflecting the social upheavals of our days.

Arovane's acclaimed 2004 album »Lilies« has been out of print on vinyl for nearly 2 decades now. It finally gets a well-deserved reissue through the Berlin based Keplar label. The new version has been remastered by Kassian Troyer at Dubplates & Mastering and comes with a brand new cover artwork.

»Lilies« was a follow-up to »Tides« in every sense, exploring a trip to Japan and drawing on shimmering textures and the sort of melodies that you might need some time to recover from. There's a hugely evocative sense to these tracks, emotionally driven, free of complexity or conceit, piano melodies providing the central focus for a twilight cascade of light that seems perfect for the Tokyo skyline - just as the sun sets. It's an album that radiates warmth and vulnerability, fusing the technological might at the heart of each track (and at the heart of the city) with an age-old understanding that certain echoes of sound, small melodic changes and cushioned lullabies can imprint sounds on your mind like childhood memories - remembered forever. Like a dreamlike score, or maybe even an alternate soundtrack to »Lost in Translation« - the sort of music that intertwines with images and stays in your mind indefinately.

After coming back from Tokyo and completing the production of »Lilies«, Uwe Zahn disassembled his studio in the big flat in an old building in Berlin's Prenzlauerberg district and stored it away in boxes. He needed a break from making music. »Lilies« was the last album prior to a nine-year hiatus for Arovane, ending in 2013 with the release of »Ve Palor«.

Sicilian-born, UK-based DJ and producer Clafrica has been heavilyinfluenced by the dub and reggae sounds from a very early age and thegeographical proximity to Africa allowed him to soak in the various culturesthat exists in Sicily - moulding him into the musician that he is today. Fastforward, he makes his Darker Than Wax debut with Never Not Balling - adazzling sonic exploration of nostalgia, vintage circuits, and basketball.Owing his first musical exposure to the Space Jam soundtrack and 90sbasketball video games, as well as his first time seeing a DJ courtside atthe And1 Mixtape European tour, Clafrica's love of both music andbasketball have always gone hand in hand. After honing his craft as a DJand studio engineer from as early as 12 years old, and moving from Sicilyto Edinburgh in 2010 to further his studies of sound design, Clafrica hasemerged as a certified production mad scientist and studio boffin in his ownright. Fast forward to 2019, Clafrica emerged as one of the most excitingnew producers on the scene with a string of releases on labels such asAxe On Wax, Vakum, Deep&Roll, and Perpetua.

Hotflush - the label founded by Scuba in 2003 - continues its celebratory 20th anniversary year with a debut contribution to the institution that is Record Store Day UK.

‘Hardcore Heaven’ is a collection of six fresh Scuba takes on the classic era of hardcore. Taking influence from producers like Top Buzz, Nookie, and Foul Play, the familiar collision of hard-edged beats, euphoric breakdowns, and helium vocals gets something of a 2023 update from one of the UK’s most versatile and prolific producers.

The tracks on this collection will appear ONLY on this release - a Neon splatter-look, 500-unit press vinyl special with no streaming platforms, no represses, and definitely no Youtube rips.

OK, there will probably be Youtube rips but we will do our best to get them taken down!

TYRON is a tale of two halves exposing human complexity. Just as with the narrative of his own life, there are always two sides to every story. Side one re-introduces us to the classic hubris, machismo, and braggadocio typical of rap music. Side two takes what you thought you knew about slowthai and flips on its head. ‘feel away’ and ‘nhs’ go some way to dip a toe inside the complexities of his mind but delve deeper and you’ll be left with a clearer understanding of who he truly is. Honesty is paramount as ultimately Ty wants listeners to know that “it’s ok to be yourself”.

TYRON was formed against the backdrop of an unforgiving climate where judgement, shaming and underdeveloped and simplistic conceptions of other people are fashionable. Instead of succumbing to such simplicity, TYRON presents an artist who is unabashedly complicated and willing to explore themes of loneliness, identity, self-acceptance, and the difficulties in becoming an individual. Unlike the political overtone of slowthai’s debut album ‘Nothing Great About Britain’ which took listeners on a journey through slowthai’s turbulent upbringing and his stance on British life – this self-titled follow up, TYRON is a melodic dive through the expansive landscape of his feelings. His ability to bear his imperfections and contradictions makes TYRON an album that is the antithesis of a culture of purity. A resistance to the rising tide of moral one-upmanship and the pervasive self-righteousness that blinds us to our own fallibility.

blue + red + pink vinyl

It's a huge link-up. We proudly present our fifth compilation, celebrating seven years of service. Over the course of the 18 tracks, divided across 3 discs, a whopping 25 individual artists show us what they can do, repping the distinct sound they bring to the label.

On the first disc, techno giant Alan Fitzpatrick teams up with Drumcode affiliate Reset Robot on a big-room techno slammer before Israeli duo Red Axes take us into the big room of our mind with a transcendental techno cut. Laurence Guy guides us in a different direction completely, joining Lis Sarroca, Marc Brauner and Tender Games in creating a groove that you can sit back into, losing yourself amongst Lis' syrup-smooth house, Miller Blue's soul-stroking vocals and MB & TG's piano tickles.

Before you get too comfortable, the Time Is Now lot come through with a suitable dose of ruffage, from Main Phase and Soul Mass Transit System's giddy UKG and speed garage, to the '90s-inspired atmospheric garage house of Borai and Coldpast & Tufftrax.

Closing proceedings are SNF's melody specialists. Ams, Kassian and Kaysoul each offer their take on blissed-out deep house whilst Module One & Soela and Alex Virgo & Benjamin Groove infuse stripped-back garage and breaks instrumentals with contemplative atmosphere.
Order SNFLP013 now

The NID Tapes’ presents a collection of early Indian electronic music uncovered at the archives of the National Institute of Design in Ahmedabad. Recorded between 1969-1972 the compilation chronicles electronic works from the previously unknown Indian composers Gita Sarabhai, I.S. Mathur, Atul Desai, S.C. Shama and Jinraj Joshipura who worked at the nation’s first electronic music studio founded at the NID during the utopian years following India’s independence - a radical period of visionary experimentation and artistic freethought.

The studio was founded with support from the New York composer David Tudor who personally set up a Moog modular system and tape machine in the autumn of 1969, and The NID Tapes also includes an excerpt from Tudor’s work discovered amongst the collection of tapes. The release developed from a long-term research project by the British artist and electronic musician Paul Purgas who travelled to Ahmedabad over many years to explore the origins of electronic music in India. This resulted in the discovery of the electronic music archive at the NID and its eventual restoration and digitising, which featured in the acclaimed BBC radio documentary Electronic India.

The compilation presents excerpts from the 27 reels of archive tape spanning the three years of the studio's operational history, showcasing work from the pioneering electronic composers which included the musician and poet Atul Desai, NID teachers and technicians I.S. Mathur and S.C. Shama, Gita Sarabhai who had previously studied with John Cage in New York in the 1940's and the young architecture student Jinraj Joshipura who was just 19 years old at the time of first composing with the Moog synthesiser. The audio showcases their various visions for electronic music production, exploring analogue synthesis, tape collages, voice experiments and field recordings revealing a meeting point of Western and Indian avant-garde traditions, and offering a unique insight into South Asia’s post-colonial sonic imaginary. The vinyl and digital is a collaborative release by Strange Attractor Press and The state51 Conspiracy and has been mastered by Hari Shankar Kishore (HVAD) with design for the release and a vinyl etching created by Shreya Aurora a recent graduate from the National Institute of Design.

Launching at the same time through Strange Attractor Press will be a book titled ‘Suncontentinental Synthesis: Electronic Music at the National Institute of Design, India 1969–1972’. Edited by Paul Purgas this collection of critical essays will reflect on the larger cultural and political dialogues surrounding the studio as well as written contributions by Geeta Dayal, You Nakai, Rahila Haque and Jinraj Joshipura the last surviving composer from the NID.

I got a message on social media one day saying someone had some tracks for me. I get messages like this all the time. I always listen to the tracks, eventually.

When it came to listening to these I was blown away. Who was this? Why are they being offered to me for Time Tunnel? It turns out Andrey, knows Ant To Be who recommended me and my label as a potential outlet for his music.

There is a great story behind the artist and this particular alias he uses. But for now, I want to talk about the music.

As I previously mentioned, I was blown away. Undoubtedly the most beautiful music I will have the pleasure in releasing so far on Time Tunnel. Layers of pads and ambience, fantastic musically. Drum programming is top notch. The production is bang on. I could type on & on about these tracks but I wont be able to do them justice. You need to hear them.

Here we have the eagerly awaited Boombastic Plastic 8, from A-Sides. These are some more unreleased tracks from the early days of hardcore. This is a wicked 4 track EP with all the tracks being made back in the early days of rave, but the tracks never received a full label release. You will most definitely know two of the tracks because they got caned by all the big name DJ’s back in the day, Narrow Boy and Brothers In Arms. If you're lucky and old enough to remember 1992, you will be back there in a heartbeat with these authentic, original hardcore rave tracks.

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

Deep, rolling sound system steppers made to rattle your chest plate.

After months of track iD pleas, Dubstep royalty Cimm (SYSTEM / SENTRY / TEMPA) makes his KAIZEN debut with this dark and dangerous 130 release.

Street Kings is certified festival artillery. Tried & Tested for those Gully, Gun-finger "lick off your headtop" moments.

The B-Side comes through with some restorative energy. Mellow grooves, floating pads, and bouncy UKG rhythms in Day 1 & It's Alright.

Early support from Loefah, Breaka, Jay Carder & Walton.

Bristol native Daffy returns to Shall Not Fade with his second solo EP, focusing on the darker aspects of 4x4 garage.

The title track typifies Daffy's unique and forward-thinking take on UKG. The dynamic chant of a dancehall MC is ramped up to invigorate a UKG stomper, the product: a rude, flavoursome track which evokes Spooky and Riko Dan's "High Power". Serious. The aptly-named "Darker Days" is more reminiscent of El-B with cool-toned low end growls before "Take It Easy" and "Warped" bring things to an energetic close with a stomping 4x4 rhythm and warped bassline which nod to old school speed garage.

Daffy debuts on Hot Haus Recs with 3 tracks of Bassline 2-step garage infused house muzak! Having made a name for himself with releases on the super hyped TImeisnow - check the original flavour!

Recital presents »As Above, So Below, a new album from French multi-instrumentalist Delphine Dora. Over the past decade, from poetry reading, chansons, organ performances, tape compositions and so on, each album in Dora’s lush discography feels like a feather from a different bird. A keen ability to defy any singular “sound,” always diving to different depths.

»As Above, So Below« centers around mystic piano and voice recordings. In a distinct gothic landscape, each of the nine tracks float into one another. From verdant piano works that revolve like beautifully stretched out miniatures, expanding and bending like shadows across the floor, to foggy vocal arrangements hovering above beds of rural field recordings. Quiet synthesizers crawl in the backdrops, never disturbing the spirit of the piano motions.

On the track »Cantique spirituel,« Dora, from a cloud of her phantasmal caroling, recites a poem by German author Novalis (1772-1801). »Blindly we strayed in night’s confusion…« This poetic essence is found throughout the album… »gladness and grief alike consume.«

»As Above, So Below« was produced and mixed by the brilliant British musician Andrew Chalk, whose presence tints the air throughout Dora’s album. Chalk ornaments the pieces with additional instrumentation, along with Jean Noël Rebilly playing clarinet.

DJ Swagger teams up with DJ ÆDIDIAS on four feel good UKG anthems for their first vinyl outing on Bristol label Time Is Now.

Long time friends and collaborators DJ Swagger & DJ ÆDIDIAS join forces on their first full length collaborative vinyl EP, showcasing their love of UK Garage. This killer four track dance disc delves deep into all things feel good and fun, 2-step laden drum sequences meet catchy vocal hooks and pulsating bass tones.

‘Speed Limit’ EP drops January 27th via Time Is Now

G of D welcomes back to the catalogue its co-founder Sabla, back to his spiritual home, with a collaborative ep alongside one of the most revered and transcendental artists out there, Donato Dozzy.

Crono is a collection of 4 tracks made in the span of 2019-2022, following each other in chronological order of creation.
In an era where information runs fast, and just one year ago feels like ages ago, the music inside this ep comfortably sits in a time bubble, absorbing old and new influences and melting them organically.

Dozzy’s signature enchanting synth sequences, created with iconic synthesizers Buchla and Ems Synthi, steadily flow in and out with digital sounds and editing by Sabla.
The core of this collaboration is the exploration of these steady flows, which is a peculiarity easily found in both artists’ works. The 4 Flusso flow like water, like thoughts, like energy, lifting up with no specific intention if not the simple act of moving forward.

Artwork by Jonathan Castro Alejos and Tom Volkaert
Mastering by Neel at Enisslab Studio


DUBURBAN & JAHGANAUT return to the label for their second release with us. Following on from thier previous tracks, going deep again with some fresh new Jungle vibes, from these quality producers. We also returned to same spot to create the graffiti for the cover 'Love Blind'.

Big ups to the DNG crew, DAER for the Graffiti Artwork.

Back in stock !

Floating Points began as the solo project of Sam Shepherd before it became clear the immersive, intricate nature of his music demanded expansion. Following his critically acclaimed debut Elaenia this is exactly what happened and Floating Points live became a band of incredibly talented musicians with Sam at the helm. Now, Floating Points has announced a new short film and soundtrack, featuring entirely new and unheard compositions - Reflections - Mojave Desert via Pluto on 30 June. The film, in collaboration with director Anna Diaz Ortuño, finds the ensemble in a thrilling sonic exploration of environment under an endless desert sky.

Whilst we were out playing and exploring the area around us - the sound reflecting from the rocks, the sound of the wind between them, complete stillness at night and packs of roaming coyotes in the distance, it became apparent that we could use this as its own unique recording environment.'
- Sam Shepherd, Floating Points

The first in a planned series of environmental recordings by Floating Points to be filmed and recorded at different locations around the world, the recording was made last year, as Floating Points travelled to the Mojave to rehearse in between US touring. Immediately struck by the distinct sonic tapestry created by the rock formations and valleys, Sam and the band set up a recording operation and filmed this new work at the base of the natural sculptures they encountered. The music of Reflections - Mojave Desert mirrors the landscape: soaring and vast, dynamic and intimate, centred around two longer works and shorter pieces that create a singular and seamless experience.

Reflections - Mojave Desert begins with chords played on a Rhodes Chroma and recorded with a surround sound microphone. Throughout the filming, microphones were placed throughout the landscape to capture the natural sonic textures of the desert: the undulating sound of wind, a bird call, the rustling of bushes and more created a backdrop on which much of the record rests. The music softly shifts from the Fender Rhodes introduction to 'Silurian Blue', an expansive full band piece that balances refined restraint with explosiveness. In one scene, 'Kites', Sam Shepherd walks through a valley with a super directional microphone, swinging it back and forth as a synthesiser loop gets faster to showcase the natural reverb and shifting phase of sound waves. 'Kelso Dunes' signals the film's final act: the sky grows dark, lasers flash, the band and rocks gleaming in the pitch black around them.

One of London's most sought-after DJs, producers and live entities, Floating Points has toured with The xx - supporting their record breaking string of dates at Brixton Academy, collaborated with Caribou, Four Tet, and has performed across the globe including festivals like Glastonbury, Primavera, and Pitchfork Festival Europe. Floating Points' debut LP Elaenia was deemed Resident Advisor's 'Album of the Year' as well as Mojo's 'Electronic Album of the Year' in 2015. This was followed by the Kuiper EP in 2016. Sam also hosts the internationally renowned You're A Melody DJ parties and co-runs the Melodies International reissues label.

DJ Support
Jessy Lanza, DJ Flight, Giant Swan, Pangaea, rRoxymore, Laurent Garnier, James Ruskin, Carista, Kikelomo, Vladimir Ivkovic, Sinistarr, Metrist, EMA, Alan Fitzpatrick, Dangermami, Alienata, James Zabiela, Mark Archer, Lucretio/ The Analogue Cops, Star Eyes, Tailor Jae, Doc Scott, Yorobi, DJ Fart In The Club, FFF, Jamiu, Smokey, Aquarian, Photonz, Roger 23, Om Unit + more to follow

Following the release of ‘The Rainmaker EP’ back in 2020 John Rolodex continued to hunker down in the studio, recognising that there was much more to come. Fast forward a couple of years and we’re delighted to welcome John back for a full vinyl EP, one that showcases his love of different styles in a deeply personal manner.

The ‘Formless EP’ consists of 4 tracks headed up by ‘Depth Of Field’ which draws from many influences and is an example of John’s ongoing study into drawing a groove out over time. With the title track up next the EP becomes suddenly very experimental and boundlessly creative, a piece of music that Goldie didn’t hesitate to jump on. The origins of ‘Tentacle’ go back to 2010, only recently revisited with John’s expanded skill set, whilst ‘Serve No Kings’ brings the renowned Jungle Drummer into the fold for a unique percussive work out.

Remastered and Recut for 2022 by Lewis Hopkin at Stardelta Audio Mastering

Here are the 2 tracks from the 21 Album that are currently being championed by the beatseekers of the scene, such as Radio 1's Benji B and Eglo's Alexander Nut, Swamp 81's leader Loefah, 3024 boss MartynBen UFO, Scuba, Oneman and 2562. 'Dusk' shows Marcus' ability to create spacious downtempo soundworlds, and the acid-drenched 'TB or Not TB' is filled with analogue 303 stabs that give a nod back to his first love: the early sounds of Chicago and Detroit in the late 80s.

Recorded at the 2017 Venice Biennale, for the French Pavilion installation. Mixed by NIAGARA. Mastered and Lacquer cut at D&M by Helmut Erler, pressed on White Vinyl, limited to 200 copies.

In 2017, we found ourselves quite unexpectedly on our way to Venice for three days, to participate in an installation created by Xavier Veilhan for the French pavilion at the Venice Biennale. We did not know exactly what we were going to do, nor how. We got there. The heat was brutal and the mosquitoes beastly.

We had an excellent studio, really over the top. We picked a couple of instruments for each one of us, guided by not much more than intuition and serendipity, put all the stuff in the studio and started playing.

The record you will hear (cut from 14 hours of music) is just that. Us playing; improvising for a bit and then asking Thibaut to hit record. People kept coming in, getting text messages, coughing, it’s all there in the mix. Actually, the long piano song (B3), was supposed to be nothing but a musical frame for the people walking around and looking at us making music, a way of including them. This, of course, only occurred on the second day, when we realised that people were inevitably part of the process, and also that Sara had access to a Grand Piano! So, we decided to open the record with the very presence of the room (A1). (There is this cello thing that is like a ghost: no one remembers who was playing it and there is no separate track for it. Whatever.)

The first day was more rhythmic for some reason; I suppose the trip, planes + vaporetto, was still very much in our system. Also, we were trying to get our engines going for this thing. Tó was absolutely mesmerized with the Sh101, which made everything have this thick forward moving sound (A2, A3, A4).

On the last day, we made this more reduced music. Before lunch, this more vernacular thing, an interplay of Dx7 and these other synched sounds (B1), and then, right before we left for our vaporetto a Buchla solo by me (B2) (If you listen carefully, at the tail end, you can hear Tó and Thibaut discussing how to send the files so we could mix it and do this record).

40+ minutes of music, not a live record, but also, only a studio record in a very very peculiar sense.

Mastered and Lacquer cut at D&M, by Helmut Erler, pressed on White Vinyl, limited to 200 copies.

Paradox needs no introduction and we are thrilled to once again have one of our old friends on board. Two tracks on 140g black vinyl of pure breakbeat craft. As Dev said to us when presenting the 12 - "Some things are meant to be full circle...

City Road is proud to present two unearthed garage productions from Ratman. They originate from around the turn of the millennium, when UKG was hitting its stride but hadn’t quite found a footing in Bristol.

Ratty and a friend were at St Paul’s Carnival somewhere around 1996 when they happened upon a small soundsystem playing out of the back of someone’s car. The minimal, swung 2-step rhythms sounded completely alien to them, and set them off on a quest into the burgeoning garage sound, resulting in Rat producing a bootleg of an evergreen pop classic of the era.

Rat was a well established part of Bristol’s underground music community with a smattering of jungle-oriented singles behind him and the odd remix commission. Around the same time he made the bootleg, he was approached about remixing a track on a major label. While it went down a storm amongst his peers, Ratty's’bass-heavy version wasn’t a match for the label’s vision and so the remix sat gathering dust for some 20 years.

Now both these misfit, quintessentially Bristolian twists on the UKG sound get a fresh airing on a label based just round the corner from where that car soundsystem was rinsing out mystery garage rollers all those years before.

Repress

A four track EP, by mysterious up & coming producers, which brings to you both the thrills of modern techno and the feel of a classic 90's rave. This is the real deal. Unknown artists' hand stamped limited edition white label delivered with a well balanced mixture of banging techno/early rave tracks that will bring you back, to the lovely times and feelings of the 90's.

CHAPTER 1

BAMBOO KILLERS AND MOUNTAIN GODS!

Fearless master Action SHO! opens the compilation with thunderous Shaolin inspired action as an intro to our man at the helm, Deadly Avenger with his beastie boys inspired, dirty drums and lo-fi synths super sound taken from a forthcoming secret album. Things the take a dark turn as the mysterious THEN 66 delivers a satanic beat laden and onslaught of sick synths, as the compilation introduces us to the wonderful world of Shiro Hagen, to our intrepid Space Pilot John Lee, to the notorious killers of the Black Dragon Fighting Society with revenge on their minds, and death in their hands.

Oh....

And finally you may be asking yourself "who the f*ck is Bobby Ming” and you would be right to do so, we don’t know who he is either.

The trio Amiira of Klaus Gesing, Björn Meyer and Samuel Rohrer has returned after a layoff of six years since their debut LP. It would be unwise to expect for them to pick up exactly where they left off, given all the turbulent change that the world has encountered since this time, and indeed the new Album Curious Objects reflects a clear expansion of the players’ abilities. The fundamentals that guided the
debut album – spatiality, refined coolness, the non-verbal “narrative” quality - are still very much present, but are this time reinforced with an even more pronounced feeling of communicating across wide
physical and conceptual spaces. Altogether, Curious Objects is a potent antidote for spiritual and musical fatigue; especially
recommended for those who have already left behind the limitations posed by genres. It is more than the sum of its parts, and its crossing of numerous different boundaries never feels like the goal in and of
itself: instead, all this activity feels like a tool for unlocking and decoding even more supposedly irreconcilable qualities and ideas.

blue marbled vinyl

Blissful atmospherics wash behind heavy amens on Spacewalk, tightly constructed old school style breaks thump along with subtle effects create a vibe that will take you to a world beyond ours.

A distinctive crisp unorthodox beat pattern opens Oceans and sets the tone for this beautiful composition of smooth pads and earthy bass-lines, a dreamy treat which builds the vibe as the track progresses.

Messages from Space opens with a mellow, eerie intro that washes in before the Spectrum breaks - heavy on the ride cymbals - take centre stage in this lunar-inspired composition.

Energetic rapid-fire break work punctuates Quiet Storm with drum funk vibes that sound immense at this BPM - playfully filtered, surrounded by delicate atmospherics and an understated vocal sample - a treat for the breaks fans.

Words by Chris Hayes (Spatial / Red Mist)

PROXY Records’ first transmission is a 2 x 12” compilation by Boom Generation, containing 8 sought-after tracks produced between 1991 and 1995. These cuts aged particularly well, embodying the groove of the 90s by connecting raw and euphoric vibes. Remastered from the original DAT tapes, these recordings are configured to last another 30 years.

Two peak set destroyers from VNR label bosses DJ Flash and Chippie

Nerve Collect co-founder Gamma Intel follows up label partner Identified Patient's inaugural release with his thrilling E.M. EP. Across six club-ready cuts, the Dutchman explores the spaces where bass, techno, electro and acid all intersect.

Laurens van de Werken is Gamma Intel, a project that has roamed through a number of different worlds since debuting in 2017. From early outings of chugging techno and dark wave on brokntoys to more inventive rhythmic explorations and futuristic sound designs on Pinkman via deconstructed jungle on Mechatronica, it is impossible to define what he does. What unifies it, though, is his ability to twist and contort sound in surprising new ways. For proof, listen to him spread his sonic wings on Rotterdam’s Operator Radio, or play at some of the hidden underground gems around Europe that deal only in forward-thinking sounds and you will get more insight into his love of leftfield electronics. It's the same story with the Elektrostaat collective he is part of: they host musically adventurous club nights in Rotterdam that offer a different take on electro, acid and techno. It's best to forget handy genre tags, though, because as this EP proves Gamma Intel is always on the move.

'Little Mirror Man' opens up with an elastic but thumping broken beat. A flurry of jungle drums rain down next to scratched metal stabs, bleep-techno melodies and all underpinned with heavy bass rumbles. 'Save Pair of Hands' doesn't let up, with knick-snapping hits and earth-shattering bass weight. As heavy as the groove might be, there is still plenty of room for deft synth designs to bring plenty of emotion. On '5AM-SBM' you are tugged in many directions at once - nimble drums dart about beneath prickly percussion and flaming hits that have a mind of their own. Although the low end is distorted, the details up top are well-defined and given plenty of space to make their mark.

The flipside takes off on turbocharged techno-electro fusion 'Sleep & Cry.' It's a devastating and visceral drum track that also packs an emotional punch as celestial chords suspend you at the doors of heaven. 'Panthera Leo' soundtracks the end of the world as acid lashes about amidst controlled but unrelenting drum chaos and finally, the drilling bass and frantic drum programming of 'Trust' is another all-powerful club track. Its dark energy sucks you in for a white-knuckle ride to remember.

This EP finds Gamma Intel pulling off plenty of unusual tricks and twists on his way to conquering the dance floor.

Little Dragon, die allseits populäre und Grammynominierte Band, wird am 7. Juli 2023 ihr neues Album, „Slugs Of Love“, bei Ninja Tune veröffentlichen.

Die Band besteht aus den Schulfreunden Erik Bodin (Schlagzeug und Perkussion), Fredrik Wallin (Bass), Håkan Wirenstarnd (Keyboards) und Yukimi Nagano (Gesang) und hat sich zu einer der beständigsten, respektiertesten und beliebtesten Bands der letzten Zeit entwickelt. Aufgenommen in der musikalischen Oase ihres Göteborger Studios - demselben Studio, in dem sie seit fast 20 Jahren arbeiten - bringen sie auf „Slugs Of Love“ ihre unverwechselbare Mischung aus gefühlvollem Pop, Elektronik und R&B - untermauert von der unverkennbaren Stimme der Leadsängerin Yukimi - in elf Tracks zum Ausdruck, die die ganze Bandbreite ihrer individuellen musikalischen Einflüsse widerspiegeln.

Das Album enthält einen Gastauftritt von Damon Albarn (Gorillaz/ Blur) auf „Glow“, einem „langsam triefenden, glitzernden Ritt zu einem Tagtraum im Wunderland“ und eine Zusammenarbeit mit dem angesehenen Rapper JID aus East Atlanta (der bei J. Coles Dreamville-Label unter Vertrag steht) auf der zuvor veröffentlichten Single „Stay“, einem Song, der die Höhen und Tiefen einer Beziehung beschreibt. Sie sind die neuesten Zusammenarbeiten in der langen Liste der Band, die bereits mit Künstler:innen wie Kali Uchis, Kaytranada, Brittany Howard, Flying Lotus, Badnadnotgood, Moses Sumney, Kelsey Lu, Gorillaz, Big Boi (OutKast), Sbtrkt, Yo-Yo Ma und vielen anderen zusammengearbeitet hat. Darüber hinaus zählen SZA, Erykah Badu, Anderson .Paak, Diplo, Flume, Ava DuVerney, Ali Wong, Syd, Disclosure, LaKeith Stanfield, The xx und viele mehr zu ihren Fans, was ihren Status als eine der einflussreichsten Bands ihrer Zeit zementiert.


Durchsichtige Vinyl-LP mit orange/schwarz/blauem Splatter. Inklusive Poster und MP3-Album-Download. Gemälde von Yusuke Nagano. Fotografie von Jakob Ekvall. Grafische Gestaltung von Alice Winroth.

Each track sets out to showcase a different element of Quartz's now distinctive sound, from the crunchy mid-range of ‘Blacklist’ to the ingenious edits of 'Beat Down Babylon', not forgetting the astutely effective use of vocals on 'Moving With Time', provided by fellow Welsh talent Vanity Jay.

In many places, this release follows on from where 2021's 'Coercion EP' left off; another impressive result from an immensely proficient producer who has now built himself into a fundamental part of Metalheadz's future.

repressed !

Boogie Beat Records and Kniteforce bring you one of the most sought after underground jungle classics ever. Jonny L is the legend behind the Baraka alias, and this EP has been sought after by many collector for years and years! There is not much more that can be said about this superb slice of old skool jungle, it’s a must have by any and every standard.

Unforeseen arrangements:
Droplets gather in clinging mist,
Multitudes within multitudes.
The world has a body that spares everything;
In light, it undoes nothing.

Third D21 release by Joao Necton who has previously released on D21 the E.P. "Devastante".

"Hay Alguien" is a journey in heavy atmospheres, House, Techno and Electro with sounds fused between industrial and futuristic.

Identity in every release of Joao who shows us an apocalyptic world where people lose their minds.

Soft Raw is a new label from Danielle – a natural extension of the Bristol-based DJ’s expansive tastes within contemporary club music. Over the past few years the NTS resident has become a leading light in the multifaceted world of modernist techno abstractions, ably balancing soundsystem pressure and propulsive rhythmic intensity with experimental textures and explorative energy variations. Soft Raw seeks to continue that mission with releases which will progress stylistically from one approach to another, taking in exciting, emergent producers unique in their approach but bound together by the idiosyncratic curation of Danielle – a faithful reflection of her proven skill as a selector.

The label launches with a six-track drop from Slacker. Sam Black has been winding up a potent strain of needlepoint techno which leans towards jungle and half-time D&B in its tempo and structure. Across a selection of various releases, Black’s sound has evolved into an accomplished and detailed style which draws on moody atmospheres and advanced engineering in the grand tradition of UK soundsystem music. Across this EP the Slacker sound matches up to the spirit of Soft Raw, balancing fierce kinetic energy with delicacy and finesse and leaving some space for outright ambience. At times he locks into a half-step warm-up mode, while elsewhere the amens creep in for a more pronounced jungle rinse-out.

It’s a strong opening statement for this new label, but crucially this doesn’t spell out the future in absolute terms. True to Danielle’s broad outlook, subsequent releases are set to take in everything from straight up 4/4 and acid to footwork and electro, with a narrative binding each release together according to her internal logic and the tension between soft and raw qualities explored across consistently cutting-edge tracks.

Treasure from the depths: five high pressure records in one pack from Holding Hands' Submerged series.

HHSUB001 - Yosh - The Hype EP

HHSUB002 - James Bangura - For The People EP

HHSUB003 - Mariiin - Stuck In Town EP

HHSUB004 - Ocean Stirs - Minesweeper EP

HHSUB005 - Fred Quest - Who You Would Have Been EP

Latincore is a musical journey that begins with this compilation. latincore is a virtual club. latincore is an attempt to reflect with artists whose origins share the same soil.

This compilation brings together 14 sound propositions, offering a snapshot of a latinx, political, migrant and diasporic underground scene. Curated by Marion Stucky Callañaupa and Juan José Moreno Izquierdo.

Atheris joins the Amniotes with a 2-part egg:
ZRS-1: Instant Molting 1.0 (blue pill)
ZRS-2: Instant Molting 2.0 (red pill)

Chose one or ingest both for a wild ride at the Zion Cave #reloaded.

Presented by Julian Muller.

One of the most notorious hatemongers in movie history is Captain Ahab from John Huston’s 1956 classic Moby Dick. His manic monologues cast a spell on generations of viewers. Berlin based musician and sound artist Jan Jelinek has now turned the voice of Ahab into a musical instrument.

Faitiche presents Jan Jelinek's soundtrack for SEASCAPE – polyptych, an audio-visual software developed in collaboration with Canadian new media artist Clive Holden in 2022.

SEASCAPE – polyptych is based on image and acoustic source material from Moby Dick. While Holden works on manipulating film sequences, the voice of Ahab plays a central role in Jan Jelinek’s soundtrack. The dynamic volume and tone of the captain's speech control a synthesizer system that turns Ahabs voice into ten abstract soundscapes.

In this production the voice gives the impulse and controls things but is not the sound of spoken word itself that we hear. Only occasionally can snippets of speech be heard so that syllables or sounds are recognisable. Instead we hear compositions made of hissing, soundscapes and eruptive sounds. The atmosphere is dark and sinister. Still every piece has a clear sonic structure and follows an understandable dramatic composition. This music is abstract but not overwhelming. Quite the opposite, SEASCAPE – polyptych is an invitation to listeners to let themselves be carried by the stream of sonic events. Although part of a media art work, the soundtrack can be enjoyed without any of this connecting superstructure. It works with no previous knowledge. But what happens when one does know that it’s the sonic waves of a human voice that is controlling a network of synthesizers?

If you want to hear Ahab, you will hear a choir of Ahabs in every piece of sound. The subliminal threatening as well as the conjuring Ahab. Finally the Ahab who whips up his crew and tears them with him into their downfall. The majestic „on the quay now, waiting and watching“, the oppressive “drawn towards the whirlpools center” - they are all music as well as sonic discourse.

One of the most notorious hatemongers in movie history is Captain Ahab from John Huston’s 1956 classic Moby Dick. His manic monologues cast a spell on generations of viewers. Berlin based musician and sound artist Jan Jelinek has now turned the voice of Ahab into a musical instrument.

Faitiche presents Jan Jelinek's soundtrack for SEASCAPE – polyptych, an audio-visual software developed in collaboration with Canadian new media artist Clive Holden in 2022.

SEASCAPE – polyptych is based on image and acoustic source material from Moby Dick. While Holden works on manipulating film sequences, the voice of Ahab plays a central role in Jan Jelinek’s soundtrack. The dynamic volume and tone of the captain's speech control a synthesizer system that turns Ahabs voice into ten abstract soundscapes.

In this production the voice gives the impulse and controls things but is not the sound of spoken word itself that we hear. Only occasionally can snippets of speech be heard so that syllables or sounds are recognisable. Instead we hear compositions made of hissing, soundscapes and eruptive sounds. The atmosphere is dark and sinister. Still every piece has a clear sonic structure and follows an understandable dramatic composition. This music is abstract but not overwhelming. Quite the opposite, SEASCAPE – polyptych is an invitation to listeners to let themselves be carried by the stream of sonic events. Although part of a media art work, the soundtrack can be enjoyed without any of this connecting superstructure. It works with no previous knowledge. But what happens when one does know that it’s the sonic waves of a human voice that is controlling a network of synthesizers?

If you want to hear Ahab, you will hear a choir of Ahabs in every piece of sound. The subliminal threatening as well as the conjuring Ahab. Finally the Ahab who whips up his crew and tears them with him into their downfall. The majestic „on the quay now, waiting and watching“, the oppressive “drawn towards the whirlpools center” - they are all music as well as sonic discourse.

Hi Tech a new Ghetto Tech group from Detroit partners Milf Melly and King Milo.

This Album contains the hit song Cash App & Fitness which rocks all the underground partys in Detroit.

Rupert Marnie’s debut album “Evocative Rhythm” is a singular object to begin with. Split over two parts, each one working as an individual piece and under seemingly endless configurations when played together on a pair of record players, “Evocative Rhythm” is an elusive piece of musical abstraction you will play a crucial role in shaping, fashioning it as you dabble with it - certainly curious and cautious at first, then manipulating its raw clay more firmly as you envision it with a clearer idea of where to go with it. Or is that just a mirage?
Fruit of geographical meanderings through Hamburg’s tentacular architecture, Rupert Marnie’s maiden full-length effort reflects that of the city’s tonal, rhythmic and harmonic structures in a uniquely vibrant way: dancy and not, ethereal and full-bodied, oneiric and anchored. From field recordings garnered here and there across town, then either truncated, morphed, stretched out beyond recognition via a wide palette of technical means (granular synthesis, time-stretching, use of resonators, delay, reverb, pitch-shifting…), Marnie weaves a narrative that bridges the gap continually betwixt non-formulaic beatless meditation and proper club-focused functionality, plus the countless possible creations that will emerge when combining both sides of the disc to form your own story out the battery of elements at reach.
Evocative Rhythm” is much more than the sum of its parts. A mirage of ambient, techno, electro, whatever style and labels that could be stuck all over it, yet never managing to say a true word of it.

clear yellow vinyl

The fourth release on Schloss Records comes from British multi-instrumentalist and polyrhythmic wizard A Psychic Yes (Timothy Crombie). While most of us are even confused as to where to place a hi-hat, Crombie carefully and effortlessly arranges a bouquet of bleepy bloops, melodic U-turns and chaotic ideas, welding together a beautiful soundscape that makes perfect sense. Or as one friend described it: “his music tastes like strawberries”. A Psychic Yes has previously released music on Kalahari Oyster Cult and Tech Startup. The B-side features a lush remix from Bristolian DJ and producer Hodge. Artwork, as always, by Schloss co-founder Ida Ekblad. That Swamp Feeling is mastered by Matt Karmil.

The Berlin musician, visual artist, and label owner Lasse Winkler aka ACUD has attracted attention with titles such as MATJESFILET or VERBRENNUNGSMOTOR. He shows that electronic dance music can also have a sense of humor without ending in slapstick. Creaking basses and swinging rhythms meet warm synth chords and complement his bright voice. The microphone, always ready, replaces the notepad. Succinct, spontaneous keywords and sentences are created, snapping up everyday life. On the 10-track album VERDAMMT NOCHMAL, the musicians are accompanied over a creative period of three years.

semi-clear red marbled vinyl

A good old fashioned amen banger opens up Quantum State, as Howling Winds takes it back to that classic break sliced and chopped expertly as you'd expect from ASC, with a solemn, almost mournful melodic backdrop.

A tense, moody vibe awaits you with Nectar, ominous pad work and Hot Pants breaks craft an uncomfortable, brooding atmosphere you won't forget.

Flashback lives up to its name with classic jungle break work and effects, taking you right back to the 90's with a purposeful yet sombre oceanic backdrop. Towards the back end of the track the mood shifts skyward somewhat as if reaching its goal. Delightful.

Minimal breaks punctuate Hindsight with spaced-out kicks and jittery cymbals, smooth pads and that classic deep 808 bass wind and weave through a relaxing sonic landscape.

Words by Chris Hayes (Red Mist/Spatial)

First ever vinyl pressing. Mastered and cut by Andy Miles at Star Delta Audio Mastering.

First ever vinyl press. Mastered and cut for Vinyl by Andy Miles at Star Delta Audio Mastering.

Creating an introverted version of restrained electronic music Berlin-based artist Constantijn Lange releases his second album 'Liquide' on Heimlich Musik. The album is based on sketches created in isolation during the second pandemic year. The compositions are characterized by self-reflection and an attempt to translate the abstract experience of listening to oneself into a concrete form. The sound of personal isolation, the necessary withdrawal from the world and the restriction of all social contacts is, therefore, less club oriented and focused on functionality than an expressive concept of ideas, rather oriented on Trip Hop, Breakbeat, Ambient and Jazz. The collective rediscovery of shared experience results in arrangements of melancholic but optimistic melodies recorded with vintage synthesizers, supported by complex drum patterns and diverse percussions that create a signature sound as a new liquid amalgam.


Constantijn Lange is an electronic music composer originally from Ostfriesland now based in Berlin. Besides several releases on Laut & Luise since the early days, his productions appear on labels like Get Physical, Traum Schallplatten, Sinnbus, Platon Records, Egoplanet
and many more.
His passion for thick layered synth melodies, jazzy and kraut – like vibes, atmosphere recordings, deep basslines and selfmade percussion designs give his music a recognizable vibe which can be heard on nearly every production he was involved in so far. He spends a lot of time in his studio in Berlin, working on new music, remixing other artists and also engineering for other sound projects in the art scene. On top of that, he performs as a liveact in clubs and on festivals all over the planet where his music can be described as very emotional and personal. Repeatedly this amazed people in countries like Germany, Russia, Poland, Switzerland, South Africa, Austria, Belgium, Mexico and
many more.
Constantijn’s ambition as an artist is to constantly evolve his productions and create music
which carries emotions and energies into the clubs, to festivals and living rooms alike.

incl. dl code